Hazem Harb, TAG 04 from TAG series, 2015
Hazem Harb, TAG 08 from TAG series, 2015
Hazem Harb, TAG 13 from TAG series, 2015
Hazem Harb, TAG 21 from TAG series, 2015
Hazem Harb, Untitled #6 from the Archaeology of Occupation series, 2015
Hazem Harb, Untitled #10 from the Archaeology of Occupation series, 2015
Hazem Harb, Untitled #22 from the Archaeology of Occupation series, 2015
Born in Gaza, artist Hazem Harb’s name has been circling in relation to questions related to architecture and destruction—specifically, how and when does architecture cease to be an oppressive apparatus? How can sculpture be non-monumental? These and many other queries have translated to multiple forms of art at Harb’s first-ever solo museum show. The Invisible Landscape and Concrete Futures by Harb is being showcased at the Salsali Private Museum in Dubai until June 1st and features sculptures, installations, video projects, and a series of collages. Completed over a year’s time, the exhibition, curated by Lara Khaldi, includes a new series of collages comprising archival photographs of pre-1948 Palestine. Among the video installations is Build, Re-Build, which is based on the legend of the phoenix that is re-born out of the ashes—a symbol for the city of Gaza. Another video shows Harb at work in slow motion, using a sledgehammer with all his strength. Harb, who is represented by the Jeddah-based gallery Athr, splits his time between Rome and Dubai but his work never strays far away from Palestine and its war-ridden history.