Chapter III The Mosaic Shattered
Art has always been a powerful medium for storytelling, resistance, and reclamation. Falastin, a Digital Monument, weaves together art, historical narratives, and scholarly insights to illuminate the Palestinian experience—stories often marginalized, voices frequently silenced.
In Chapter III, the exhibition traces the Palestinian diaspora, forced beyond their homeland due to relentless Israeli hostilities. Those who remained in Palestine, the West Bank, and neighboring refugee camps faced systemic erasure, while international bodies like the UN issued condemnations without meaningful action. The Cold War further complicated the region, as global powers manipulated Palestinian suffering for geopolitical gain.
Among the featured works is Rosalind Nashashibi’s poignant series dedicated to Gaza. Her paintings, stamped with "UNRWA," juxtapose grace with siege—birds symbolizing both fragility and omens of crisis. Meanwhile, And Yet My Mask is Powerful (2016), a video installation, channels Adrienne Rich’s poetry to explore themes of ruin and resilience amid Nakba-era destruction. Chapter III includes contributions from Basel Abbas & Ruanne Abou-Rahme, Lawrence Abu Hamdan, Jumana Manna, Nicholas Galanin and others, each interrogating displacement, solidarity, and survival.
The systematic denial of historical context has created a void—one that art must fill. Art is more than a reflection of society: it is a vital instrument of education, a means of reclaiming narrative sovereignty, and a catalyst for collective understanding. Here, aesthetics and scholarship converge to dismantle silence. By centering contemporary diasporic artists, Falastin resists historical amnesia. It’s a call to witness, learn, and engage with a narrative too often suppressed. Explore the exhibition Chapter III The Mosaic Shattered
Cover: Nicholas Galanin Neon American Anthem (red),2023 Installed at SITE SANTA FE (2023). Photography by Brad Trone.
Curated Angels Miralda and A New Art World on the Collecteurs Platform.
