Palestinian artist Hazem Harb. Reem Mohammed / The National

Artist Hazem Harb's excavation of the Palestinian past



“I was fed up with painting,” Hazem Harb recalls. “I felt almost sick. I started to ask myself what kind of artist I wanted to be: an artist with a mission in life or just a good painter? Maybe it was better for me to work for money, be a commercial artist.”

Harb, a Palestinian artist now living in Dubai, reached a turning point after art college. “I did an investigation with myself, and I looked into my history, my belongings, my story of Palestine. I started to think: I have a mission in my life, with my artwork. Being an artist is not just a job.”

At that point, he had been painting in the almost academic manner taught at Rome’s Academy of Fine Arts. He turned towards Palestine again, and started collecting different items from Palestine’s past before the occupation.

These included photographs, negatives, slides, Palestinian pounds and maps of the area dating back to the 1600s. By now, more than a decade on, friends and Palestinian families from around the world have donated material to him; he has bought other goods at auction. His studio in Umm Suqeim is a treasure trove of ephemera, which he stores following archival practices. With white gloves on, he flips through a Palestinian business directory from 1937. “One of the first car show rooms in the Middle East was in Haifa. One of the first cinemas was the Hamra Cinema, in Palestine. When I found this book, it was like a font of new information. All the businesses, in Arabic and English – you feel like you are in Dubai today.”

'I want to put the images back into time'

Though he was amassing stores of material, it only recently began to appear in his work. Around four years ago, he started painting coloured shapes on a large, almost architectural scale. Slowly, he started folding his archival goods into these paintings. First drawing from sketches, he then places the photographs and maps on paper, layering them in collages with blocks of colours such as earthy greens, tawny yellows or lavender purples. It is geometric abstraction meets archival remains.

“It’s not so easy to find these objects because there’s so much denied about Palestinian history,” he says. “I want to put the images back into time. Philosophically time stopped at that moment [of the Naqba]. Now they are part of the present again.”

Images of fishing boats on the River Tiberius are overlaid against one another, beside blocks of aquatic colours. Another collage shows an olive tree, and a man sitting on the Mount of Olives; the work is titled This Place Is Mine (2018). In Power Does Not Defeat Memory (2018), cacti crawl across the collage. The images are mostly from the 1920s – from a time pre-Israel – and the ­colours Harb uses are symbolic. In Power, for example, two hilly cutaways shadow each other, one as a photograph and one in grey. The latter, Harb says, "is the colour of concrete – of colonisation.

Early influence

Harb was born in 1980 and grew up during the First Intifada in Gaza as one of eight children. He was always sketching, drawing portraits of his mother and others around him, and he won a scholarship to the Academy of Fine Arts in Rome. "You have to be 17 to go," he says. "But they accepted me at 15.

"Rome was like a dream. I'd seen works by Da Vinci and Michelangelo in books, and there they were. All around me, the city was like a dream to me. I couldn't believe I was there."

The Academy gave him a classical education in both fine and applied arts, which are generally kept separate in other western universities. He learnt architecture, sculpture and draughtsmanship rather than the theory and modern art history that most art students now graduate with. Even now, his work feels sculptural rather than depictive: some corners of colours are bent forwards in works, which are framed in thick Perspex boxes. The use of the rare objects gives his work a push-and-pull between the immediate application of colour and the difficult-to-arrange collaging of historical objects.

Harb’s time in Rome also refined the way he thought about his home, giving him for the first time the experience of exile that is so associated with the Palestinian imaginary. “You miss your place, your country,” he says. “You are not allowed to be there. It becomes a phantasm. It was so hard for me to see Palestine from outside, not from inside. When you are inside the situation, you do not see it. But when you are outside, you see it from a grand angle.”

A sense of belonging 

Some of the elements of life that were always just around him took on symbolic resonance. He is toying, for example, with a prototype for a public sculpture inspired by the keys that many older Palestinian women wear around their necks, in the hopes of one day returning to their own homes. But, he says, he can’t quite find the right material in which to cast the work. 

Others suddenly made sense. Growing up, he had an insatiable curiosity for the old photographs that his mother kept in an old tin for sweets. “I would always say to my mum, let me see your photos! It was such a strange question for a young child to ask,” he remembers. “But I knew even then there was something lost in my country. And now, finally, I start to answer why I wanted to look at them. I had a sense of belonging when I looked at them.”

_____________

Read more:

‘Solidarity’ and what it means in Palestine’s art scene

Art under occupation: Qalandiya International opens in Ramallah and Jerusalem

From humble beginnings: this Palestinian museum in the US has big ambitions

_____________

His research also opened up an understanding of the scale of the destruction. Palestine was a thriving economic centre, famous for the learning and intellectualism of its people. One gets the sense that his decision to be an artist “with a mission” – which is a challenge, he concedes: “I have to eat!” – is a way of continuing this tradition into the present, and that it grows in importance as he realises how much has been lost. 

“As I started to see more details, study more and search more, I rediscovered my country. As I look through the archives I rediscover the places, I rediscover the history; I feel like a researcher. This is why I ask myself what kind of artist I want to be. It’s maturing now. When you use archives, there’s a responsibility you have to take on.”

Hazem Harb’s work will be shown at Sabsay art gallery in Copenhagen, Denmark, from January 31, 2019.

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Mercer, the investment consulting arm of US services company Marsh & McLennan, expects its wealth division to at least double its assets under management (AUM) in the Middle East as wealth in the region continues to grow despite economic headwinds, a company official said.

Mercer Wealth, which globally has $160 billion in AUM, plans to boost its AUM in the region to $2-$3bn in the next 2-3 years from the present $1bn, said Yasir AbuShaban, a Dubai-based principal with Mercer Wealth.

Within the next two to three years, we are looking at reaching $2 to $3 billion as a conservative estimate and we do see an opportunity to do so,” said Mr AbuShaban.

Mercer does not directly make investments, but allocates clients’ money they have discretion to, to professional asset managers. They also provide advice to clients.

“We have buying power. We can negotiate on their (client’s) behalf with asset managers to provide them lower fees than they otherwise would have to get on their own,” he added.

Mercer Wealth’s clients include sovereign wealth funds, family offices, and insurance companies among others.

From its office in Dubai, Mercer also looks after Africa, India and Turkey, where they also see opportunity for growth.

Wealth creation in Middle East and Africa (MEA) grew 8.5 per cent to $8.1 trillion last year from $7.5tn in 2015, higher than last year’s global average of 6 per cent and the second-highest growth in a region after Asia-Pacific which grew 9.9 per cent, according to consultancy Boston Consulting Group (BCG). In the region, where wealth grew just 1.9 per cent in 2015 compared with 2014, a pickup in oil prices has helped in wealth generation.

BCG is forecasting MEA wealth will rise to $12tn by 2021, growing at an annual average of 8 per cent.

Drivers of wealth generation in the region will be split evenly between new wealth creation and growth of performance of existing assets, according to BCG.

Another general trend in the region is clients’ looking for a comprehensive approach to investing, according to Mr AbuShaban.

“Institutional investors or some of the families are seeing a slowdown in the available capital they have to invest and in that sense they are looking at optimizing the way they manage their portfolios and making sure they are not investing haphazardly and different parts of their investment are working together,” said Mr AbuShaban.

Some clients also have a higher appetite for risk, given the low interest-rate environment that does not provide enough yield for some institutional investors. These clients are keen to invest in illiquid assets, such as private equity and infrastructure.

“What we have seen is a desire for higher returns in what has been a low-return environment specifically in various fixed income or bonds,” he said.

“In this environment, we have seen a de facto increase in the risk that clients are taking in things like illiquid investments, private equity investments, infrastructure and private debt, those kind of investments were higher illiquidity results in incrementally higher returns.”

The Abu Dhabi Investment Authority, one of the largest sovereign wealth funds, said in its 2016 report that has gradually increased its exposure in direct private equity and private credit transactions, mainly in Asian markets and especially in China and India. The authority’s private equity department focused on structured equities owing to “their defensive characteristics.”

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UAE's role in anti-extremism recognised

General John Allen, President of the Brookings Institution research group, commended the role the UAE has played in the fight against terrorism and violent extremism.

He told a Globsec debate of the UAE’s "hugely outsized" role in the fight against Isis.

"It’s trite these days to say that any country punches above its weight, but in every possible way the Emirates did, both militarily, and very importantly, the UAE was extraordinarily helpful on getting to the issue of violent extremism," he said.

He also noted the impact that Hedayah, among others in the UAE, has played in addressing violent extremism.

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War and the virus
UAE currency: the story behind the money in your pockets
Hidden killer

Sepsis arises when the body tries to fight an infection but damages its own tissue and organs in the process.

The World Health Organisation estimates it affects about 30 million people each year and that about six million die.

Of those about three million are newborns and 1.2 are young children.

Patients with septic shock must often have limbs amputated if clots in their limbs prevent blood flow, causing the limbs to die.

Campaigners say the condition is often diagnosed far too late by medical professionals and that many patients wait too long to seek treatment, confusing the symptoms with flu. 

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Term life insurance: this is the cheapest and most-popular form of life cover. You pay a regular monthly premium for a pre-agreed period, typically anything between five and 25 years, or possibly longer. If you die within that time, the policy will pay a cash lump sum, which is typically tax-free even outside the UAE. If you die after the policy ends, you do not get anything in return. There is no cash-in value at any time. Once you stop paying premiums, cover stops.

Whole-of-life insurance: as its name suggests, this type of life cover is designed to run for the rest of your life. You pay regular monthly premiums and in return, get a guaranteed cash lump sum whenever you die. As a result, premiums are typically much higher than one term life insurance, although they do not usually increase with age. In some cases, you have to keep up premiums for as long as you live, although there may be a cut-off period, say, at age 80 but it can go as high as 95. There are penalties if you don’t last the course and you may get a lot less than you paid in.

Critical illness cover: this pays a cash lump sum if you suffer from a serious illness such as cancer, heart disease or stroke. Some policies cover as many as 50 different illnesses, although cancer triggers by far the most claims. The payout is designed to cover major financial responsibilities such as a mortgage or children’s education fees if you fall ill and are unable to work. It is cost effective to combine it with life insurance, with the policy paying out once if you either die or suffer a serious illness.

Income protection: this pays a replacement income if you fall ill and are unable to continue working. On the best policies, this will continue either until you recover, or reach retirement age. Unlike critical illness cover, policies will typically pay out for stress and musculoskeletal problems such as back trouble.

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Company%20Profile
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RESULTS
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What can you do?

Document everything immediately; including dates, times, locations and witnesses

Seek professional advice from a legal expert

You can report an incident to HR or an immediate supervisor

You can use the Ministry of Human Resources and Emiratisation’s dedicated hotline

In criminal cases, you can contact the police for additional support

The%20US%20Congress%2C%20explained
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How to protect yourself when air quality drops

Install an air filter in your home.

Close your windows and turn on the AC.

Shower or bath after being outside.

Wear a face mask.

Stay indoors when conditions are particularly poor.

If driving, turn your engine off when stationary.

About%20My%20Father
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