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In an era when mainstream media provides rampant misinformation surrounding global events, the anonymous account cointel.hoe (now known as showandtellhoe on Instagram due to censorship) has emerged as a powerful counter-narrative.

The “WANDERLUST ALL PASSPORTS” exhibition, curated by Kostas Prapoglou and organized by Artefact Athens, which is founded and owned by the curator himself, has stirred deep controversy in Athens, revealing troubling intersections between art, genocide, corporate interests, and Athens’ cultural legacy.

Intro Palestine in Exile: Diasporic Memory (1975- 1986)

Written by Richard Andrew Cahill. This article was first published in the Jerusalem Quarterly in the Summer 2009 issue. It is republished with permission.

Written by Shahd Abusalama. Excerpt from the book “Gaza on Screen”. Copyright Duke University Press, 2023.

This analysis paper explores a paradigm shift that alQaws has been exploring over the past decade of its grassroots community organizing, which centers the experiences of queer Palestinians.

Not Gay as in Happy but Queer as in Free Palestine is a statement that first appeared on placards in Palestinian queer solidarity marches around the globe, and later visualised by artist and designer Marwan Kaabour during Pride Month in 2021.

The Palestinian village of Tantura located south of Haifa along the Mediterranean, was occupied by Israeli forces 75 years ago, on 22-23 May 1948.

The short experimental video examines the network of apparatuses that Israel used to orchestrate its emergence.

Featuring in Sleeping with a Vengeance, Dreaming of a Life, curated by Ruth Noack, Yellow Brick, Athens; Lítost, Prague; Institute for Provocation, Beijing; Württembergischer Kunstverein Stuttgart; and in Transcultural Emancipation, FLUC, Vienna.

“Generation after Generation” is a series of screen prints that explores the visual language of political posters from the 1960s and 1970s, focusing on the influence of Palestinian revolutionaries like Leila Khaled. Khaled’s gender and her involvement in a plane hijacking captured international attention, challenging Western perceptions of Arab women as docile and oppressed.

The films of Basma al-Sharif often contain landscapes, cityscapes, and social environments that map out the fractured psychogeography of the Palestinian diaspora. She represents her own experience, as a drifting subject between the Middle East, Europe, and the US, and the resulting understanding of a shattered world that taps into a relatable experience of wanderers.