From September 22, 2022 to April 17, 2023, MoMA PS1 presents the primary main museum exhibition dedicated to Palestinian artist Jumana Manna (b.1987)
Source: MoMA PS1 · Image: Jumana Manna. Old Bread (element). 2021. Ceramics, plastic luggage, galvanized metallic.
The exhibition contains roughly 20 works by the artist, together with a large-scale set up of recent sculptures impressed by the stays of khabyas, conventional grain storage constructions of the Levant space. In addition, two latest movies, “Wild Relatives” (2018) and “Foragers” (2022), are additionally included.
MoMA explains that Manna’s movies focus “on the land in the face of increasing forms of alienation from it, Manna’s films use a range of narrative methods to examine how land-based practices like farming and foraging are embroiled in and struggle against neoliberal and colonial policies and in turn, climate change. Drawing from specific examples, such as the first withdrawal from the Svalbard Global Seed Vault in 2015 in response to the Syrian war—the subject of her film ‘Wild Relatives’—Manna underscores the scientific limitations in recovering the loss of biological life, in all of its forms. Additionally, her work visualizes the slow violence of industrial agriculture while asking poignant questions about what kind of future is possible in a precarious present”
Specifically, within the beforehand talked about “Foragers” (2022) the artist “moves between documentary and fiction to chronicle confrontations between Palestinan pickers of the wild growing herbs ‘akkoub and za’atar and the Israeli Nature Protection Authority, which has deemed the plants endangered. The foragers’ refusal and the punishments they face, from large fines and potential jail time, at times takes on an absurdist and comical tone that raises key questions around the politics of extinction—namely who determines what gets to live on and how. In both of Manna’s films, plants and seeds are primary subjects, and the relationship between human labor and the land is essential to their narrative structures.”