Three pieces of work that were realized by three different people:
→ the first one is an industrial product with a commercial purpose,
→ the second and third ones are manual work:
→ one was made by a teenage girl during her free time in the 70s,
→ the other was made at school by a very young girl in the 2000s.
25th March 2005
During March 2005, I read a text from Leila Shahid published in the AUTODAFE magazine (second issue – autumn 2001). In this text Leila Shahid mentions Jean Genet’s bond with the palestinian women he met in 1970 in the refugee camp of Amman. He admired their ability to resist, to reinvent, through forms of cultural expression such as embroidery, their palestinian identity besmirched by exile. She also writes that “…What Jean found captivating in embroidery was the actual gesture of sewing the fabric, of making a circle…”. And, to her, this neverending back and forth gesture in space and time represents both “…the peculiar way Genet had to inhabit the world…” and the literary structure of Un captif amoureux.