“People I Met “

“People I Met ” 
project by Miki Kratsman
developing for the past 5 years.
What happened to the people in the photographs
?ماذا حدث للناس في الصور |

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ميكي كراتسمان هو مصور الذي يغطي الصراع الفلسطيني الاسرائيلي منذ 1986. هذه الصفحة مهداه الى مشروعه الحالي، لمتحف بيبادي بجامعة هارفارد، التي تركز على الشهيد الفلسطيني.

Miki Kratsman is a photographer covering the Israeli-Palestinian conflict since ’86. This page is dedicated to his present project for Harvard University, that focuses on the Palestinian Shahid.
اضغط هنا لقرائة المزيد >> Read More

في كل سنوات عمله (بالاضافة الى عمله المشترك مع جدعون ليفي في مقالتهم في صحيفة “هأرتس” )، كراتسمان التقط صور ل’ناس عاديين’ الذين كانوا فقط في الجوار او في المنطقة الذي كان يلتقط فيها صور لحدث ما. كجزء من بحثه، يحاول كراتسمان ان يعرف ماذا حدث لهؤلاء ’الناس العاديين’، الناس الذين عن طريق خطأ ظهروا في الصور. ماذا كانوا يفعلون هناك، اثناء اطلاق النار؟ ماذا حدث لهم منذ الحدث؟ وهل اصبح احدهم شهيداً؟

أي تعليق أو أي نوع من المعلومات هو موضع ترحيب.

شكراً على مساعدتكم, وليحل السلام على منطقتنا.

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In all the years of Kratsman’s work (including co-operating with Gideon Levy on their column “Twilight zone” in Haaretz newspaper), he captured many ‘regular people’ who just happened to be around the event he was shooting. As a part of his research, He is trying to find out what happened to those ‘regular people’, the ones that by chance appeared in the photos. What were they doing there, at the day of the shoot? What happened to them since? Did any one of those people died in the conflict and became Shahid?

Any comment or any kind of information is welcome.

Thank you for your help, and may peace arrive to our region.
Webseite
http://bit.ly/Kratsman_CheloucheGallery
https://www.facebook.com/kratsman.people.i.met?__mref=message_bubble

Bildschirmfoto 2015-10-07 um 10.17.40

Miki Kratsman’s images at the exhibition (Time After Time) are taken from his Facebook page (Miki Kratsman: People I Met); Kratsman “cuts” portraits of non-combatants in the occupied territories from his photographic archive, and uploads them to his “page”. ‘What has become of them?’ He asks his Facebook audience. The answers vary; some of these non-combatants have already died: wanted, by-passers, shot with precision (target killings) by employing some of the most advanced military technology that differentiates between one and the other, or in any other conflict-related situation. Some of them are still among us. Kratsman’s politics are there, of course. But Kratsman’s course has additional motives. To my knowledge, Kratsman is writing a story about ‘representation’ and its fate. I use the word fate for a good reason. ‘Happened’ is a word that could mediate the banal next to the tragedy. Indeed, while bearing in mind the objectives in the photographs, it is photography in a violent and difficult place. The photographs are ‘bad’, ‘cutout’, ‘taken by’, and ‘pasted on’. They are kind of an insult to the sharp and bright fetishism of photography as we know it. Kratsman points out to a fictitious subjectivity. These are classic ‘missing persons’ photographs; those that are pointed at, carelessly at times; a partially erased inventory list. The portraits, of people living or dead, are individually a world of its own for their relatives, yet nothing to those who want them dead. Kratsman brings this dissonance to his Facebook page. This results in a softer appearance on the one hand, while reveals the poignance on the other. Facebook, if you will, is the tool-box, the workshop. These are the boundaries of his territory; his space allowance. Facebook is “cool”, quick, clean, electronic. What does Facebook has to do with Shahids? How can one draw an analogy between a ‘Bullet to the head’ and Facebook ‘Likes’? Or, in other words- who, or what, do I like when I ‘Like’ a picture of a wanted man on Kratsman’s Facebook? And what does this entire colonialist Facebook issue have to do with the horrible life under occupation? These questions do not deal with sentimentality whatsoever. They are precisely what they are: questions that arise from representation, regarding the culture of representation and the ever-growing distance between ‘life’ and us.
From “Time After Time” exhibition text by Danny Yahav-Brown

Visit Miki Kratsman: People I Met Facebook page
http://www.chelouchegallery.com/artistWorks.php?id=49

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