• 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.
  • The ghosts of Bashar Alhroub

    By Marc Mercier

    It is said that before his death, the great Chilean poet Pablo Neruda insisted on being accompanied to the window. He wanted to be sure that the army of the dictator Pinochet could not imprison even the sea behind barbed wires.

    When Bashar Hroub came to the Marseille “Instants Vidéo” festival (2011) to present his installation Heavenly (2010), that Chilean story came to my mind. Bashar Hroub went back in the souk (market  place)  of his childhood in Hébron to verify if the settlers had not imprisoned even the sky. As a child, his father used to carry him upon his shoulders, there his eyes watching the roofs and the sky. An adult, he comes back and he films to find out that the sky is imprisoned behind nets and grids.

    I wanted to write about this work, because it seems emblematic of the artist’s approach; to seize a piece of reality, to live it internally until the endpoint of a justified anger, and then transform it into a poetic and plastic composition. This work allows us to escape from a mere documentary approach, a description or a denunciation , to go further and deeper, where worn out words and images of everyday prevent us from saying a novel truth. Bashar Hroub carves energies.

    This energetic sculpture, is found also, but in another form in Aura (2010). A golden frame hanging on a white wall within which we should see a portrait. Yet, there is only a white surface. But that is not nothing. The bottom of the frame act as a screen. From behind, a form appears (a face), then another form (hands), they seems to pierce the screen, to go out of the world of imagination ,which is still an image, to enter into reality. How to get out of the frame? How to go out of the scope of the representation of oneself? ,that stranger, other than oneself, this heteronym according to the poet Fernando Pessoa, to reach the truth of his being? Precisely that one which has no representation.

    This is an impossible operation. But it is that impossible that tells us the whole history of the visual arts since the beginning of time, since the first drawings in caves. It was not until La Mariée mise à nue par ses célibataires, même (1934) by Marcel Duchamp, offering the zero degree of representation, since it is a glass sculpture, to break definitely with this pictorial tradition. The transparency discharge art from its duty of representation. It is only a question of pure thought, only a mental relationship that creates no illusion, as it runs invisibly. Bashar Hroub, meanwhile, is working at the limit of presentable and invisible.

    This is not all. Bashar Hroub, and from the title, questions the notion of aura that was treated in 1931 by Walter Benjamin in "The Work of Art in the Age of Mechanical Reproduction ", and was defined as "the unique appearance of a distant, regardless of its proximity." It is not innocent if Bashar Hroub chose to install a video form with a loop of 4', an obsessive repetition of the same scene, the same impossible portrait. In his work aura, there will never be more. The unique is definitely multiple. The new issue of art is to deal with this impossible reconciliation of the diversity contained in each human being. Contemporary man is a fragmented, unrepresentable being.

    In No Time No Place (2009), the black dominates, the power of the shadows. A gray/white surface attempts to break loose, a kind of pleated curtain, shaken by the wind or by an invisible presence. The movement is repetitive. A kind of anguish appears. This device, abstract at first glance, is however not unfamiliar to us. This is a constant with Bashar Hroub: the familiar strangeness! A haunting rhythm dominates here, that recalls so much the machines of our contemporary world , and most seriously, that fits so much the daily routine experienced by most of us, orchestrated by the responsibilities of work, transport ... Routine that prevents us from starting to think. But a man who does not think anymore, who acts mechanically, is a shadow of itself. A ghost! Bodies are absent. To be fair, we should use an action verb and that the bodies are absented, which is perhaps the highest stage of extermination. No blood. No tears. In French, for " to kill", sometimes we use the term liquider. To become "liquid", the body has no more organs and bones. It is only a wave circulating through the cables of digital global communication networks. It is just a pixel on the giant screen of internet networks. That may explains why the images of No Time No Place are so pixelated, stained with twinkling points, turning on and off at the speed of light. A video image, it is technically nothing more than bright spots that appear and disappear so quickly that the eye does not notice. Bashar Hroub exaggerated the points, as a painter magnifies the line, the raw material of images. The pictures want to take shape in a dematerialized world. A world without space or time! How could it be otherwise when everything is globalized, standardized, organized on a single criterion, determined by the market and geopolitical strategies that nobody control.


    Godard once said, "I do not have time. I have the space." It was the last great dream of cinema: to occupy a space. To contain a whole world on pieces of 35 mm film. This space was still called an image. But there are no more images today. There is only visual. Things to see where the others are absent, where there are no more meetings desired of bodies. We still have facebook, global theater of narcissism! What is an image for, in a world populated by ghosts?

    With Purgatory ( 2011) , we are still faced with a ghost story .

    Didn’t Aby Warburg, the founder of iconology, said that the history of art is just a ghost story? For grown-ups, he added.


    A ghost, because the image; a fixed plane, a corridor that gets lost in the dark, open doors on the side, black & white is over-exposed, whites are saturated with lights, making blacks even more obscure. In the middle, at the heart of this contrast, there is a whole range of gray. This is where everything happens, in the interspace. Purgatory is nothing but an interspace, between heaven and hell, black and white. What is at stake then? What is at stake is a body draped in white. We hear his steps slipping on the ground , as sound has a very important role in this video, which is not really consistent with a ghost who is a body without mass. But in purgatory, bodies still have weight. The ghost is looking for a way to go, he enters through a door, walks back out, tries another door, in vain. Freedom does not exist, there are only acts of liberation. How to cope? That is the limit! In a world where bodies circulate as digital information, as goods, there are still areas where traffic is impossible, where movement is hampered by checkpoints. Yet the world has become a gigantic fully developed network, where we're just well-trained electrons. Yes, but there are some short-circuits. Places where the current is not flowing. Then, bodies have only one solution: to become able to walk through walls. To volatilize.


    Bashar Hroub tells us something about the world that we do not see, or we do not want to see. He explores the regions less exposed to media spotlights. The human depths. Nevertheless,  his images attempt to rise to the surface to be seen by all. But the world is blinded, saturated with false information, clichés, business or political propagandas. Whatever. Bashar Hroub persists. He presents us ghosts that enter into our bodies, haunt us, dwell  in us. They are looking for a way out ... The only possible escape is our attentive gaze.