Majd Abdel Hamid is a visual artist from Palestine. He was born in Damascus, Syria in 1988, lived in Ramallah, and is currently based in Ramallah and Beirut. Abdel Hamid graduated with a bachelor’s degree in Fine Arts from Malmö Art Academy in Sweden (2010) and attended the International Academy of Art in Palestine (2007-2009).
Abdel Hamid works within intertwined paradigms of trauma, acceleration, time, craft, national identity, and labour. Using a variety of media including embroidery/cross-stitching, videos, installations, and sculpture.
Selected exhibitions include:
- “In Search of the Miraculous, Kathmandu Triennial, Kathmandu, Nepal (2017)
- “Unraveled” Beirut Art Center, Beirut, Lebanon (2016)
- “VERNISSAGE Majd Abdel Hamdi and Oscar Guermouche” Krognoshuest Lund, Lund, Sweden (2016)
- “March Project” Sharjah Art Foundation, Sharjah, UAE (2015)
- “The Rhetoric From Within” Al-Ma’mal Foundation for Contemporary Art, Jerusalem, Palestine (2014)
- “Errors Allowed” Mediterranea 16, Ancona, Italy (2013)
- “Shubbak” – A window into contemporary Arab culture, Mosaic Rooms, London, United Kingdom (2013)
- “La Neumuller & Majd Abdel Hamid” Norrlandsoperan, Norrland, Sweden (2013)
- Qalanidya International/ YAYA, French Cultural Center, Ramallah, Palestine (2012)
- “De Ramallah et Gaza” Beaux-Arts de Toulouse, Toulouse, France (2011)
- “Escape” Lund Konsthall, Lund, Sweden (2011)
Abdel Hamid was a finalist in the Young Artist of the Year Award by A.M. Qattan Foundation in 2008, 2010 and 2012.
Abdel Hamid has participated in several international artists residencies and workshops, including The March Project, Sharjah Art Foundation (2015); “Former West,” Berlin, Germany (2013); “Truth is Concrete,” Graz, Austria (2012), and was an artist in residence at Cite Internationale Des Arts, Paris, France (2009).
The ongoing art practice is situated within a performative repetitive gesture, stitching, stitching in terms of labour, time, form, colour, imagery production, and the pixel. functioning within an assemblage of tensions: between the fetish and the “Aesthetic”, between the individuality of art practice and the relative autonomy of the craftsmanship, the slow process of rendering stitches on a surface and the acceleration of time, imagery and trauma. dichotomies of construction and concealment. devouring the banality of embroidery as a celebration of national identity.
The question is not of communicating an idea or perspective but it is a question of possibilities of form, of relevance to the acceleration of traumas in the collective conscious and subconscious
Majd Abdel Hamid: ‘Nothing is more present today than violence’
Regional Conversations, series of online articles by Ruya Foundation