Shortly after Israel declared independence in 1948, local Arab communities endured violent annexations, deportation and displacements.[i] Currently, local practitioners return to those silenced moments of catastrophe, of Nakba, to examine the systems that orchestrated these events. The impulse for Dor Guez’s on-going Christian Palestinian Archive project can be traced to the aftermath of the Nakba, and the devastation of social, geographical and personal identities.[ii] By analysing Guez’s archival practises and the constant movement of photographs to and from the archive, this essay suggests his archive does not re-construct a lost national identity: it narrates and maintains the image of the individual disaster, and by so doing exposes the systems that aim to disregard these bodies, but fail to prevent their inevitable emergence.
[i] Mitra Abbaspour, ‘Photographs, Like a Sort of Embodied, Physical Subconscious: Mitra Abbaspour in conversation with Dor Guez,’ in 40 Days, published in conjunction with the exhibition Dor Guez-40 Days, shown at the Mosaic Rooms, London, April12-May 31, 2013, London: A. M. Qattan Foundation, 2013.
[ii] Susanne Pfeffer, ‘Susanne Pfeffer in Conversation with Dor Guez,’ in Dor Guez Al-Lydd, published in conjunction with the exhibition of the same name, KW Institute for Contemporary Art Berlin, September 12 – November 7, 2010, Berlin: Germany, 2010, 39-52.