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Curator Statement by Elie Domit
In Raed Bawayah's work we find an awareness of the dwindling distance between the public and the private sphere, in this case of the Palestinian soldiers he portrayed. For the duration of their service in the army, they must make their barracks their home, although home is not the word that comes to mind when we see their living quarters. The sense of confinement, the extreme loss of personal privacy, the dilapidated condition of their belongings, the duty of the daily chores, in what does that differ from the conditions found in some prison camps? Outside of the barracks the situation is not that different, for what does it mean to belong to an army of a stateless state? How does one protect one's people against the militairy dominance of neighbouring Israel? How powerless must these soldiers feel, yet what display of strength is expected from them in public? Bawayah himself cites Diane Arbus as an influence on his work, but personally I would position him closer to Roger Ballen, with this difference that Bawayah doesn't need to stage a homelessness of the soul in a transient world, he can just record it as found in the world he lives in.
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Our poll "A photo essay always needs a great written story" closed. 267 people voted, 28% agrees, 72% disagrees. 233 people answered our follow-up question "Are you a photographer?" 82% indicated they are, 18% said no. Initially, negative answers to question #1 were almost 100% as was the pecentage of photographers among respondants. Then, when the level of non-photographers started to rise, the percentage of people indicating good text is always essential started to rise too. This seems to indicate that non-photographers think that adding good text to your photo essays is essential. In my opinion: if you want non-photographers to dig your work, you know what to do...
Turn Right is a term lifted from military vocabulary, and hence a priori it is no wonder that I would choose it as a title for my photo series on Palestinian soldiers.
My soldiers, however, are not shown marching or parading. Most of them are not moving at all in front of the camera. Their very stillness reveals the complex resonance of the title which, depending on how one reads the two constituent words, can be taken to mean very different things: a command to turn right, a right or correct change of direction, or the right to change direction.
Faced with the simple command: Turn Right! Every soldier and, generally, every human being, would pause for thought, even if just for a microsecond, before reacting. The response, if it leads to an observable external action, would not, however, reveal anything about the inner state of mind.
Indeed, in view of the complexities of today’s socio-political environment and of individual histories, what would be the right turn to take? Should one turn to the right, turn around in circles, turn back, or turn away?
The short pause between the military command and the reaction it implies appears like a very tightly folded piece of paper which then unfolds in front of my camera. Even if all the soldiers wear military garb which makes them an element of public order, most of the photos have been taken indoors, in private areas. The men who pose outside, festooned with their weapons, look away from the camera. Those portrayed inside face the camera and show other insignia: graffiti on the walls, a letter in the hand, shoes and socks, food, colourful blankets, photos pinned on the wall, a water hose.. Bereft of their arms they are equipped with the things that make up their individuality in daily life.
Raed Bawayah (1971) lives and works in Paris, France.
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