The Christian Palestinian Archive (CPA)
The Christian Palestinian Archive (CPA)is a growing collection of archival photographs from the first half of the 20th century, documenting the personal histories of Palestinian communities worldwide, and their displacement from home. The Archive was founded in 2006 with a collection of family photographs and documents found in shoe boxes stored under Guez's grandparents' bed.
Following a process of storage and preservation, the community in which the artist grew up, began sending Guez images from other family albums in Lydda and Yaffa. Soon, the collection of photographs grew and now includes tens of thousands of documents and photographs. The archive includes photographs sent from Palestinian communities in Palestine and Israel, as well as from other cities in the Middle East, South America, and more.
The CPA is an ongoing community project that has been built by individuals. A large part of the archive includes documentation of family events, to which a photographer was specially invited, such as engagements, weddings, festivals, and holidays. The archive also includes scans of postcards, professional studio photographs, passport photographs, maps, and more.However, unlike state orinstitutionalarchives, the CPA is not based on just the filmof professional photographers only, but also includes a wide range of "amateur" photographers as well.
The project emphasizes the importance of representations of images in two parallel practices: aesthetical and historical. The first is the arrangement of the ingredients in the scanned material- the visual content of the image which the original photographer wanted to point at. The second is the material qualities of the original photograph, its surface, texture, etc. The CPA presents the historic photograph not only as an imagebut also as an object.
12th Istanbul Biennial
The meaning of the term Scanograms is literally drawing with a scanner machine. Every Scanogram is made by three layers of scanning, each scan is programmed to feature a different aspect of the material, and then the artist composes the layers into one image. These fifteen scanograms , dating from 1938-1958, portray a woman, Samira, and her family. Each of the images documents an important event in their lives while they were together before Samira's family was exiled from Jaffa and dispersed to Lod, Amman, Cyprus, Cairo, and London.
One of these works depict Samira's wedding in the Lod Ghetto in 1949, one year after what was a significant date for them: July 13, 1948. The day when her hometown was conquered by Israeli military forces.
Series of manipulated readymades, 60x75 cm each, 2010.
"Scanograms # 2", September 2011, offers a visual disorder in the Zionist-Israeli narrative, which was designed in Europe at the beginning of the 20th century. The project not only relates to the history of the Palestinians, but also to the modern narrative of nationality designing. It opens a door to contemplating the regime of identities in general, and Palestinian and Israeli identities in particular. By bringing together historical narratives with personal stories, the installation enables the viewer to examine his/her own cultural, national, aesthetic, and political perceptions.
Series of manipulated readymades, 60x75x75 cm each, 2010.
We are inviting participants from the Christian Palestinian Community to take part in a project, and contact us at: