http://www.la-razon.com/mundo/chile-bachelet-ceremonia-letelier_0_2561143916.html
Saturday, September 10, 2016
“Todas las Manos” at the American University Museum at the Katzen Arts Center.
https://www.washingtonpost.com/goingoutguide/museums/looking-for-art-free-of-politics-dont-look-here/2016/09/08/da535a28-7457-11e6-8149-b8d05321db62_story.html
The political is personal in all of these shows, but especially in “Todas las Manos” (“All Hands”), a series of five mural-style paintings on canvas. These depict Orlando Letelier, Ronni Karpen Moffitt and Rodrigo Rojas, all killed by agents of the former Chilean government. The artist, who worked on the project with children from the District’s Latin American Youth Center, is Francisco Letelier, Orlando Letelier’s son.
To Washingtonians, these are not distant events. Moffitt and the senior Letelier were killed by a car bomb detonated at Sheridan Circle 40 years ago. Rojas, who died in Chile 30 years ago after being set on fire, grew up in the District, where he was friends with the younger Letelier. Yet the painter recalls these crimes without anger. The mural prominently features a bloom known in Chile as “the flower of reconciliation.”
Thursday, May 5, 2016
VENICE ART WEEK MAY 15-MAY 22, 2016
Experience the first ever Venice Art Week, May 15-May 22, 2016,
through three independent events:
The Venice ARTBLOCK
Open Studios Sunday May 15, 11-6PM
The Venice Art Crawl Thursday May 19, 6-10PM &
The Venice Art
Walk Sunday May 22, 12-6PM
The
sixth Venice ARTBLOCK Open Studios takes place on Sunday May 15 from 11-6. Offered
free to the public, the highly anticipated event showcases the
art and artists that make up the soul of Venice, providing a fascinating
glimpse into established studios and emerging artist’s spaces. Centered in the
Oakwood neighborhood and Abbott Kinney Boulevard, ARTBLOCK calls attention to
the vitality and importance of the arts in Venice and the diverse art district
that is undergoing rapid change.
In their sixth
event with an estimated 70 venues and many more artists, ARTBLOCK 2016
emphasizes new forms of access to the arts and invites the public of all ages
to join in public arts activities and workshops along its route.
Endorsed
by a wide range of cultural and civic organizations, ARTBLOCK is a
grantee of the Arts Activation Fund, created by Mayor Eric Garcetti to support
creative community-benefit projects in Los Angeles.
Pick up a map at: 1003 Gallery and
Lounge -1003 Abbot Kinney Blvd.
Weir/Quiton Studio - 360 Sunset
Ave.- (4th and Sunset Ave.) Letelier Studio – 567 ¾ Brooks Ave and adjoining
alley- 6th Avenue at Indiana Court
David Tanych/ Meryl Lebowitz
Studio - corner of 5th Avenue and Westminster Blvd.
The Distillery/ Artist Studios-
361 Vernon Ave. (Sunset Court)
Social and Public Art Resource
Center /SPARC - 685 Venice Blvd.
Venice, California 90291
Look for the Yellow flags, grab a map and explore. Shuttle
buses and pedicabs will be available. For info and to download a route map: www.Veniceartblock.com
The Venice Art Crawl takes place Thursday
May 19 from 6-10PM and it's FREE.
The VAC promotes
businesses and studios opening up their spaces to share art diversity in
various neighborhoods including ten homes on the one block street Park Place
between Main Street and Pacific Avenue, as well as new participants on Lincoln
Boulevard near Venice Boulevard. "BEAUTY is the EYE of the BEHOLDER"
will be on display by international photographers Bobbi Bennett, featuring
traditional color prints. This exhibit is housed at the Bobbi Bennett Studio,
1145 Harrison Ave one block north of Washington Boulevard. There will be a unique student show of
various mediums at Venice Arts, 1702 Lincoln Boulevard, a nonprofit arts
organization committed to providing high-impact arts education for low-income
youth, www.venicearts.org. The Venice
Art Crawl spreads as far north as Rose Avenue and as far south as Washington
Boulevard, and has a western border of Pacific Ave and an eastern border of
Lincoln Boulevard. The information booths will be at Venice Arts 1702 Lincoln
Boulevard, Love Shack 2121 Lincoln Boulevard and Danny's Venice 23 Windward
Avenue. Hop on the Venice Art Crawl shuttle, the Rasta Bus that will transport
people up and down Lincoln Boulevard throughout the celebratory evening. For
more information and to download the VAC map with all the participants and pop
up galleries go to www. veniceartcrawl.com.
Venice Family Clinic’s
Venice Art Walk & Auctions is happening Sunday May 22, Google Los Angeles,
340 Main Street. Tickets for the Art & Architecture Tours, Angel events and
Artist Studio Tour can be purchased online www.venicefamilyclinic.org
or at 310-664-7916. With the support of artists, volunteers and 6,000+
attendees, Venice Art Walk & Auctions showcases emerging and established LA
artists and raises over $750,000 to fund health care for the 24,000 low-income,
uninsured and homeless patients of Venice Family Clinic. Experience exceptional
art and make a meaningful impact in your community at this not-to-be-missed
annual event. Hosted at Google Los Angeles, Venice Family Clinic’s Art Walk
& Auctions is free and open to the public and showcases a gallery-quality
contemporary silent art auction. Don’t miss the accompanying artist studio
tours, artisan shops, family activities, entertainment, music, food and more.
For further details www.venicefamilyclinic.org.
Come celebrate art, artists, community and
the spirit of Venice, May 15-May 22.
Venice Clown Rekindled
A
10' x 10' cloth mural, stretched on plumbing pipe, featuring the Venice
Ballerina Clown with tattoos on his arms representing homeless victims
of violence this summer in Venice, homeless people at the top
background, people taking selfies near a sign that says "STOP calling it
Silicon Beach," drawings by evicted Venice artist William Attaway in
the lower right corner and an artist working on a chalk mandala, which
was also happening at the Abbot Kinney Festival yesterday. — with Francisco Letelier at On Broadway between Electric Ave. and Main St.
ARTBLOCK Open Studios- Sunday May 15, 2016 11-6pm
PRESS RELEASE
FOR
IMMEDIATE RELEASE
Venice
ARTBLOCK Open Studios
May 15th, 20016
A journey into the heart of Venice
The highly anticipated Venice
ARTBLOCK Open Studios 2016 will be held on Sunday
May 15th from 11-6pm.
The
event is offered free to the public, providing a fascinating glimpse into
established studios and emerging artist’s spaces tucked away throughout the
neighborhood giving visitors imaginative opportunities to join in public art
activities and other creative events. Centered in the Oakwood neighborhood and Abbott Kinney Boulevard and spreading to
other locations, ARTBLOCK calls attention to the vitality and importance of the
arts in Venice and the diverse art district that is undergoing rapid change.
In
their sixth event with an estimated 70 venues and many more artists, Venice
ARTBLOCK Open Studios 2016 ARTBLOCK is included in the first cohort of grantees
for the Arts Activation Fund, created by Mayor Eric Garcetti, to support
creative community-benefit projects in Los Angeles.
The
ARTBLOCK map, listing studios and activities, invites the public to share a
sense of place and community as they guide themselves along the route on the
streets and alleys of Venice. Winding
through murals, street art, live art and chalk mandalas, there is something for
art lovers of all ages, including critically acclaimed exhibitions and the work
of noted contemporary artists.
A wide range of cultural and
civic organizations endorses the group, including Venice Community Housing
Corporation, The Venice Arts Council, The Office of City Councilman Mike Bonin,
The Venice Neighborhood Council, The Social and Public Art Resource Center, The
Mural Conservancy of Los Angeles and The City of Los Angeles Department of
Cultural Affairs. The public is encouraged to walk or ride the route on bikes;
however, shuttle buses are available for transport to all locations on the
route.
Pick up a map along the route, or at:
Pick up a map along the route, or at:
1003 Gallery and Lounge
-1003 Abbot Kinney Blvd., Weir/Quiton Studio - 360 Sunset Ave.-
Letelier Studio - 6th Avenue at Indiana Court
David Tanych/ Meryl Lebowitz Studio - corner of 5th Avenue and Westminster Blvd.
Letelier Studio - 6th Avenue at Indiana Court
David Tanych/ Meryl Lebowitz Studio - corner of 5th Avenue and Westminster Blvd.
The Distillery/ Artist
Studios- 361 Vernon Ave.
Wndow Space - 361Vernon Ave
Social and Public Art
Resource Center /SPARC - 685 Venice Blvd.
Rohitash Rao Studio 1637
Electric Ave. Venice, California 90291
VENICEARTBLOCK.COM
VENICEARTBLOCK.COM
Sunday, April 3, 2016
 |
| Photo Kelly Layne 2016 |
Guardian Mural Rekindled.
After waiting more than 2 months we finally get word that the Red Cross has signed our contract. Having lots of fun at this great site. All the folks that work on the Avis lot are kind, helpful and supportive even though they have to move cars and watch out for the guy overhead. We are all bilingual and the mural really seems to create bridges of understanding between all of us including customers, pedestrians and the guys that live in the alley.
It has been a remarkable experience; working in the hot sun on a South facing wall, hearing the traffic and occasional beep from friends and passerby. Lost in a field of orange, I sway in the afternoon deftly controlling a mechanical beast that makes it possible for me to reach new heights.
Thanks to Beautify Earth, Heather Rabun, The Santa Monica Red Cross and all the individuals that made the project possible through their support of out Indiegogo campaign.
Friday, October 23, 2015
The Guardian Mural Project with Beautify Earth for the Santa Monica Red Cross
A mural for the Santa Monica Red Cross
Francisco Letelier with Beautify Earth
http://igg.me/at/guardianmural/x/11582124
For more than three decades I have been making murals and public art that express the dreams and histories of communities and individuals.
Beautify Earth is a non-profit 501(c)3 organization that offers love to neglected communities through the installation of public murals. They are working in communities across the United States, putting an end to blighted walls and fixtures by empowering artists, encouraging social responsibility, and instilling community pride in impoverished or neglected communities and streets.
I am working with Beautify Earth to create a mural for the Santa Monica Red Cross. We share the conviction that acts of imagination can lead to profound change. As part of the greater efforts of Beautify Earth, the mural will add to the momentum already started on Broadway Avenue, creating a cluster of murals situated near each other for a gallery effect.
The Santa Monica Red Cross is one of the oldest civic organizations in the city, founded in 1918 by the historic Santa Monica Bay Women's Club. A largely volunteer organization, the efforts of the Santa Monica Red Cross chapter have left a tremendous impact on the lives of thousands across generations. The chapter serves more than 90,000 people over 16 square miles. Nonetheless, many remain uninformed about the work they accomplish. Despite the organization's enduring commitment to its surrounding communities many overlook its heroic dimensions and take for granted the importance of its tasks. For every crisis, every fire, every earthquake within its district, the Red Cross shows up for those who are in need.
I am asking my extended community to help create a place of imagination and memory through a public art work. I invite you to join me in giving a sense of place and belonging to an organization that has responded to human need for close to a century.Through its staff and volunteers the Santa Monica Red Cross consistently acknowledges the power of cooperation and helps reveal the inherent strength of our communities.Together, lets create a public monument that celebrates that spirit for their upcoming centennial.
Thursday, May 21, 2015
Already Home installation and public art project Venice, CA
I
began this installation amid the sounds of my neighborhood. Shopping carts and
the conversations of passersby mix with the shuffle of those who sleep down the
alley, the steps of mothers and children and the reverberation of car engines.
I
have lived in this neighborhood for many years and carry myriad details about
the people who live here. Towards
evening when I take a stroll, I look east through the alley hoping for a
glimpse of the soccer players who turn it into a field. I wonder how long it
will be before they must move elsewhere. In the garage next-door a famous
domino game was conducted for decades. Seven days a week Willie and his friends
played on, sometimes around the clock. Old timers and those who grew up around
here know this stretch of alley as a vibrant cultural landmark. Sometimes I
still hear a phantom slap as a domino hits the table.
Over
the years many shootings have occurred where the alley meets 6 th
Avenue. In front of the Viva Dogtown Mural, there is a new sidewalk. The roots
of the coral tree that stood there for a lifetime once created a tumbled and
treacherous walkway, a place where sellers and buyers could meet in shadows. 6 th
and Brooks was a place where crack flagged you down and addicts walked
searching the ground for a lost fragment of just one small hit please. Those of
us who still live here have witnessed our community change in significant ways,
but we have not yet forgotten the sound of ghetto birds and semi-automatic
gunfire.
Through
the last decades most of us were somehow making home, building a shelter the
size of our dreams. Throughout the good and the bad we were raising children,
holding on, growing gardens and hope. The police often arrived in the
neighborhood and treated most of us, if not all, as suspects: few escaped being
interrogated, questioned, harassed or arrested. It was hard then, but the truth
is that perhaps it has not become any easier.
Gangs
of one kind have been replaced by other innovations. A different kind of
violence, one that leaves people living on the streets and criminalizes poverty
has arrived in a more powerful and virulent way. It’s helpful to remember that
this was the ‘hood that no one wanted, where the weird and rebellious were
commonplace. Here you could still make things work on a shoestring and keep it
simple. Now other people want these alleys, these properties.
It’s
become difficult to keep a foothold and, if that happens, most cannot afford
the rent. Those who can pay erect mansions and replace the space where
communities built memory and myth. Cardboard encampments grow, new restaurants
and businesses arrive, while the diverse artists and cultures that once wove
the essence of Venice are displaced.
Few
see the parrots that fly through the high trees, or recognize the kestrels and
red-tailed hawks that perch in high branches, eluding the groups of crows that
mercilessly harangue them. Fewer recognize that these streets are full of
hummingbirds, their calls and the whir of wings is never far away. Fortunately,
some things persist. On Sunday morning in the house of the Lord on the corner
of Brooks and 5th Avenue people still sing Gospel even if they have
to drive from the valley to do it. Regardless of the changes the fruit and
vegetable truck still rolls by, the tamale seller makes her rounds.
All of us seek
shelter, a home. I join a multitude of others in believing that everyone has
the right to food and housing, regardless of circumstance. I also believe we
can gently help those around us to open their eyes and hearts to all who share
our community. May common sense prevail, may no one remain invisible or
neglected.
This installation
gathers thoughts about shelter, home and community and become a catalyst for
conversations that imagine a future for everyone. If it moves you, please make
an artistic contribution and be part of Already Home, a portable public and collective installation.
Participants at Venice Artwalk May 17 2015
Tuesday, November 18, 2014
Monday, November 10, 2014
Between Thorns and Thistles
At night I go to bed exhausted with a swirl of images in my mind.
Painting on the streets of Bil'in, Palestine is hard work and I have
trouble sleeping.
The morning call to prayers comes right when I am beginning
to unwind. Nonetheless,
every morning I arise in the early dawn with a clear vision
about what to paint next.
At home before I travel, I begin to think about thistles.
They are a classic plant,
appearing in the bible, and in many world geographies. The
thistle is a plant ripe for metaphor and symbolic use, virulent and fire-resistant; it has lovely thorns and needs little water. It persists.
Milk thistle is also known as Holy Thistle, a flowering herb
related to the daisy, it commonly grows in Europe, North Africa, and the Middle
East. It has bright pink, purple, and occasionally white flowers. It's popular
in flower arrangements. The seeds can be harvested to make tea with many
beneficial qualities.
Repeated exposure to toxins such as tear gas, fumes from
burning plastic or trash, fear, occupation by military forces and physical
beating can leave your liver damaged and working less effectively than it would
otherwise. Milk Thistle tea benefits the liver, helping in purification and
detoxification. This is seen as beneficial to people who are experiencing a
loss of human rights and other disorders.
In these kinds of conditions anger, fear and violence can
accumulate and its best to flush waste buildup from the system and the prickly
thistle can serve as an ally.
There are many kinds of thistle that are beneficial and Holy
Thistle, (Silybum marianum) is often confused with Blessed Thistle (Cnicus
benedictus). This latter variety treats bubonic plague and was even used as a
tonic by monks. It may be able to prevent heart disease, and so also ease the
symptoms caused by the loss of loved ones, incarcerated family members, as well
as the heartbreak of a hopeless future.
After demonstrations and exposure to tear gas and other
crowd control substances, gauze can be soaked in Blessed Thistle and applied to
the skin to treat skin inflammations, boils, wounds, and ulcers. Thistles seem
to withstand the toughest conditions and overcome the harshest challenges, and
it seems appropriate that Blessed Thistle, often labeled an invasive and
noxious weed has anti bacterial properties and is used to promote milk flow in
new mothers.
(Blessed thistle is also used as a flavoring in alcoholic
beverages as well, but it is not listed on the small batches of beer brought
to Bil'in by International smugglers during our residency.)
In the rugged
hills and lands surrounding Bil'in, a number of other thorny plants grow. The
flower heads of the stout prickly thistle known as 'Akkub or Kankar are reputed
a delicacy worth all the trouble of gathering and preparation, the freeing from
the sharper spines, and the blackened hands gained in the process. The plant, Gundelia
tournefortii, tastes like a cross between asparagus and artichoke. Even
though it is sold in Jerusalem markets, especially the young plant's thick stem
and undeveloped flower buds, Israelis do not eat it, but Palestinians do.
In perfect Bedouin style the plant is considered a
tumbleweed. It's use is mentioned in the Babylonian Talmud and the Bible. The
plant was called Silybum by Pedanius Dioscorides born in 40 AD. The Turkish born physician, pharmacologist and botanist
of antiquity, authored De Materia Medica, the precursor to all modern pharmacopeias regarding herbal medicine
and related medicinal substances. It was widely read for more than 1,500 years.
The work is the best source for information about the medicines used by the
Greeks, Romans, and other cultures of antiquity. De Materia Medica was
reproduced in manuscript form through the centuries, and often supplemented with commentary and minor additions
from Arabic sources. A number of densely illustrated Arabic copies survive from
the 12th and 13th centuries. In the medieval period, De Materia
Medica was circulated in Latin, Greek, and
Arabic. Its interesting to note that the work was not "rediscovered"
in the Renaissance, because the book never left circulation.
There is more to the hills and terraced land than meets the
eye. There is so much more
to Palestinian culture and history than the myth of
impoverished and ramshackle Arab villages that is used to justify the
colonization and occupation of this land.
The tale of the 'Akkub (Hathi haddoutet el 'Akkub):
Collected by the Center of Folktales and Folklore in
Haifa, Israel:
There was once a merchant who was traveling through the
wilderness with a stranger, and he murdered the stranger for the sake of his
riches. As the wounded man fell he grasped at an 'Akkub plant that grew by his
hand and cried out with his last breath, "This 'Akkub is my witness that
you have murdered me."
But the merchant thought nothing of that and went away with
the stranger's possessions.
Years passed and he traveled again through the wilderness
and passed that place this time with his friend and partner. The 'Akkub was
dead and dry and was whirling about, dancing in the wind. The merchant smiled
as he saw it and his friend said, "Why do you smile?"
At first he would not say why, but the friend compelled him.
Then he said "I smile, because here I once slew a stranger, and before he
died he cried, 'This 'Akkub is my witness that you killed me,' and now the
'Akkub is dead and dances in the wind."
More years passed and one day the merchant quarreled with
his friend and struck him. The friend in anger cried out, "Will you slay
me as you slew the stranger?" so loud that the neighbors heard. An inquiry
was made and at last the merchant was brought to justice. The 'Akkub was indeed
the witness.
This story is used proverbially to this day. Villagers will
say "The 'Akkub is the witness"
I bring a small sketch of thistles with me to Bil'in,
scratched in the margin is the word, persist. One morning I look through the
visual materials I have brought with me, along with the notes and sketches
accumulated in our workshops with people from the village and it becomes clear
that the symbolic thistle encapsulates many of the collective feelings and
stories. As the rising sun warms the white walls along the main road we begin
painting monumental thistles. We have a vibrant mix of collaborators with us
that morning, including, young men, women and children. I am wearing my
painting clothes, but the women are impeccably dressed with long skirts and
head coverings. Each manages to work without dripping paint on their clothes.
As the images appear on the walls, cars slow down and there is a constant honking
of horns. Amidst the dust and noise we continue until each thorn is finished.
Later a local tells me the thistle is used in the Jordan River Valley as a
symbol of resistance to the occupation. He shows me a leaflet with an image of
a thistle similar to the ones we have painted, the slogan says, 'To exist is to
resist.' Yet many are not familiar with its symbolic use and when an older man
on a white donkey ambles by, he engages me in conversation. "What is
meaning? He asks in broken but understandable English. I point at the plant and
pantomime kicking it and digging it up and make gestures that show it comes
back, blooms again. He nods his head, yes, yes.
"Even fire, always life. Thank you"
In the Old
City of Jerusalem, after I leave Bil'in, I visit the chapel built at the site
where Jesus is reputed to have been whipped, the Church of the Flagellation.
The church has a beautiful gold dome designed in mosaic as a crown of thorns.
As a boy, I was always most struck by this aspect of the stories told about the
man that was Jesus. He was able to take a whipping, wear a crown of thorns and
carry a heavy cross all because of his love for us regular humans. I found it
both mysterious and perplexing. As a kid I figured it meant I should let our
housekeeper whip me but not tell my mother because it would worry her. Later it
came to represent the deprivations and austerities that come with trying to
make the world a little better. In Chile and throughout Latin America much of
the work done for social justice is connected to understanding both the
suffering of Christ as well as his desire to be with those in need, the poor
and forgotten. This understanding transcends political and religious
affiliations; the constituency of the continent remains deeply Catholic even if
we work in a secular manner.
I do not consider the work we do in Bil'in as entirely
unselfish. The artistic satisfaction and the human payoffs are huge personal
rewards. Our work in Bil'in takes all my mental and creative abilities as well
all my physical strength and stamina, yet each day I find a
reservoir of energy and ideas. The crown of thorns worn by Jesus and his
suffering also came with rewards I suppose,
it's pretty cool to die and come
back to life a few days later.
I take a seat in the front pew, and think about
13-year-old, Bahaa Samir Badir. He is the young boy who is shot in the chest
and killed in the village of Beit Laqiya, just 24 hours after a similar IDF (Israeli Defense Force/ Army) raid we experienced in neighboring Bil'in during
the small hours of the morning. Bahaa Samir was 13, the age of my youngest son
Salvador. He will not come back from the dead.
I give thanks for life, all of us have emerged from our
visit to Palestine unscathed. Later, when I read more about the Church of the
Flagellation I learn that archaeologists have placed the place where Jesus was
actually whipped and fitted with a crown on the other side of town.
When leaving the church I join a large crowd of people who
are leaving services held the Al-Aqsa Mosque. I blend into the devoted
moslems, Arabs who amble out of
the city peacefully towards East Jerusalem, past streets bristling with weapons
and stiff lines of IDF soldiers. Thistles grow in the Valley of Kings, the widening trench that runs below the
old city and the Mount of Olives and I walk towards the Arab neighborhood of
Silwan. At the entrance to the neighborhood I visit the Siloam Pool, a site
mentioned in the Bible where it is believed Jesus healed a blind man. I talk to
Arab Christian boys who invite me into their home for coffee. Inside the whole
family welcomes me, they have never been to Bil'in, they are unclear of where
it lies, they are Arabs from Jerusalem and have lived here for millennia.
That evening, in my reading, I come across the astounding
idea that the crown of thorns may have actually been made from Gundelia
tournefortii or A'kkub. In 1999 the
infamous Shroud of Turin was analyzed for pollen grains and plant images. Some
believe the Shroud to be the burial cloth of Jesus, but scientific studies show
its origin in Jerusalem before the 8th Century. The analysis, presented at the
Internationl Botanical Congess in 1999, identifies a high density of pollen of
the tumbleweed. Near the image of the man's shoulder imprinted on the shroud
analysts declare they can devise an image of A'kkub.
A'kkub is the witness. Our murals of thistles are part of
ongoing creative efforts to use non-violent direct action in Bil'in. There are
few who will disagree that people will always struggle for self-determination.
We have been the first cultural delegation to carry out a residency in the
village and our actions have received support from Palestinian, International
and Israeli activists, creating
the possibility of new dialogues
and understandings. Despite the fires, these actions and modes of communication
are proliferating.
No matter what side of the road you are on or what stream of
history and culture you identify with, it's good to emulate thistles and other
democratic and enduring life forms.
As leaders in the movement for self-determination in Bil'in
and throughout Israeli and Arab Palestine often say, "One state or two
states?” is not the right question to start with. “The right question to ask
is, ‘What is the right thing to do that will guarantee the safety security, peace and humanity of
everybody in the long run?’
Once we can agree, we’ll work toward that.”
Perhaps there is no singular right thing, but cultural
action helps us have the conversations that must occur, helps us create common
goals as we learn to co exist with the painful memories and powerful cultures
that exist on both sides.
Persist.
 |
| An intergenerational and international thistle painting crew |
 |
| Thistles growing in the Valley of Kings |
 |
| Tear gas grenade that has set fire to brush and thistles in the Olive Groves near the Barrier Wall. |
 |
| Walking to school in the morning, Boys inspect the painted walls. |
 |
| Persist |
 |
| A'kkub is the witness |
 |
| Girls on the way home from school in Bil'in. |
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