• بشار الحروب في معرضه «شاشة صامتة» .. حين تتلون الــمـأسـاة بالأمـل وتبـقى عيــون «الجثـاميـن» مفـتـوحـة !
  • بشار الحروب: «شاشة صامتة» في الحرب
  • بشار الحروب: هياكل بشرية في انتظار المجهول
  • Silent Screen by Jonathan Harris
  • بشار الحروب التقى الغرائبية في مخيّم الزعتري
  • بشار الحروب في «اللامكان» ..
  • Gold: Susanne Slavick
  • Nowhere: ByAndrew Ellis Johnson
  • Ghost in Residence: The Disappearances of Bashar Alhroub
  • The ghosts of Bashar Alhroub
  • "طبيعة العقل" لبشار الحروب .. معرض متعدد الوجوه وغير هائم على وجهه!
  • طبيعة العقل) .. معرض يصور فيه الفنان نفسه لايصال فكرته- رويترز
  • Nature of Mind Solo Exhibition, Bashar Alhroub
  • برنامج مبدعون- نلفزيون فلسطين٢٠١١
  • بين فن العرب وفن العالم! بشار الحروب مع الدكتور محمد قواص في برنامج علامات استفهام- ANP TV
  • Review of Points of Departure, ICA, London Aesthetica Magazine
  • بشار الحروب يستعد لـ«الطريق تأخذني وأنا أري- الحياة اللندنية
  • Movement Magazine "Un art Politique, art video ", Issue 69, May/June 2013, France
  • Alienation: a personal response
  • feature at 3 sat channel - Germany
  • Carte Blanche - Spatial Reflections - Charlotte Bank IKono TV
  • حصد الجائزة الأولى في بينالي الفن الاسيوي
  • فلسطين تحصد الجائزة الأولى في بينالي الفن الآسيوي بعمل "خارج الإطار" لبشار الحروب
  • Palestinian Grand Prize winning artist on his work
  • ‎بشّار الحروب... مصيدة الألم الفلسطيني/ جريدة الاخبار اللبنانية
  • ART CONTEMPOAIN, Territoire Libere, LaTribune&Moi, Venderdi 27 mai 2011
  • „Here & Now” - dziennik podróży, obieg 22.07.2011
  • "Reflective Consciousness" Exhibition Catalog
  • بشار الحروب فنان تشكيلي بمفردات بصرية عالمية وتقنيات متنوعة- هيام حسن ، القدس العربي،٢٠١٠
  • شرقيات بشّار!- نجوان درويش ٢٠٠٥
  • Exactly like the beginnings of color, Self’s Monologues … A view of Bashar Al-Hroub’s works
  • Reconsidering the Value of Palstinian Art & Its Journey Into the Art Market Part II
  • Longing to belong - By Jyoti Kalsi
  • بشار الحروب فنان اللغة البصرية :" اخلق عملية ربط بين اعمالي المتنوعة التي تشكل موزاييكا اسمه بشار "
  • Bashar Hroub, by Simon Morley
  • Bashar Alhroub makes observations.
  • Gold: Susanne Slavick


    Gold

    Susanne Slavick is a professor at Carnegie Mellon School of Art in Pittsburgh, Pennsylvania.

    Susanne Slavick, August 5, 2014

    Gold is precious.  So is life – or so we assume.

     

    But what can we assume in Bashar Alhroub’s Nowhere Project?

     

    Gold is a constant in each image, invoking the alchemical pursuit.  Physically and symbolically, transmutation and transformation are at the heart of the alchemical tradition -- whether pursuing the philosopher’s stone, the development of noble metals, or the elixir of life.  A mixture of protoscience and mysticism, alchemy has become a metaphor for the creative act. Its practitioners sought to transform base metals into those of value – silver and gold.  Artists also seek and enact transformation – of material, ideas and relations.  Alhroub wrestles with the limits of this power.

     

    In Nowhere, simple white structures form constellations or float alone in fields of gold.  The structures are temporary, uprooted, not grounded. And yet they are “home” – the only home available to countless refugees, proliferating for decades and currently at horrific speed under unspeakable conditions for occupied and exiled Palestinians. The omnipresence of gold may insist on value – that the lives conducted within these abodes are worth living and that they deserve more. 

     

    In other works, gold pronounces against other blank fields, isolating small pleasures and daily realities of the displaced.  A child balances on a makeshift swing supported by two gold dumpsters. A child wearing gold sandals sleeps on a pillow of gold bricks; another shelters or slumbers in a carton. A boy helmets his head with a golf cardboard box. One bathes in a gold plastic tub provided by the UNHCR (United Nations High Commissioner for Refugees).  A golden donkey bears children with their bundles wrapped in gold; unaccompanied children stand cloaked in a blanket or proceed with their meager belongings, each delineated in gold.  Common discarded objects become comforts, shelters, and playthings in dire circumstances; necessity becomes the mother of invention. 

     

    Alhroub’s assignment of gold to each object and to the entirety of place struggles to confer and maintain value.  It is a Sisyphean struggle as the gold is artificial.  It has no real luster, applied in streaky acrylic washes. Its fakeness washes over each scene and stresses each detail, embodying falseness of a greater order. Is this gold “fool’s gold,” representing the hypocrisy of nations and peoples who proclaim respect for human lives and advocate, then abrogate, human rights?

     

    Two images return us to “nowhere”.  One shows three children with smiling faces birthed into nowhere, flashing “V’s” for peace or victory with their small fingers.  The last image in the series shows a lone boy.  One hand points a golden toy gun toward the sky; the other clutches two suction-cupped darts.  Their tips are blood red.  What futures await for over seven million displaced Palestinians, 6.6 million of whom are refugees with nearly another half million internally displaced? What will victory mean and how will peace be won?

     

    Gold might represent stability in that it is one of the least reactive chemical elements and is non-corrosive. It may gleam in the most inhumane conditions, but for how long?  In Nowhere, its glimmer is alluring, but ultimately anemic—converted to cheap plastic, barren land, and empty sky.  It is a veneer over the untenable.  Nowhere must become somewhere.

     

    Susanne Slavick, August 5, 2014