Distortion No.1 by Sliman Mansour – Posters for Gaza

$ 80.00

Posters for Gaza: Distortion No.1 (2023) by Sliman Mansour
42 x 30 cm
FineArt archival paper, 230 gsm

Shipping and Delivery

  • $15 flat fee for local delivery within Dubai (3-5 days)
  • $45 flat fee for international shipping (7-10 days) via DHL
  • Ships unframed

Proceeds from the online poster sale will provide much-needed medical aid to affected children in Gaza, through The Palestine Red Crescent Society.


Distortion No.1 by Sliman Mansour

Distortion No.1 by Sliman Mansour: The project launched by Zawyeh Gallery, ‘Posters for Gaza’ aims to shed light on the ethnic cleansing and horrific massacres inflicted on the Gaza Strip demanding cease fire and the recognition of Palestinian rights to live freely on their land with dignity.

Representing a long tradition in Palestinian history, political posters were produced extensively in the seventies and the eighties by the Palestinian Liberation Organization with the contribution of Palestinian, Arab, and international artists. Posters played a crucial role then in supporting the justice of the Palestinian cause and promoting it globally, guided by freedom, dignity, resilience, and the ongoing aspiration for independence, sought by Palestinians.

Born in 1947, in Birzeit, Palestine, Sliman Mansour studied fine art at the Bezalel Art Academy in Jerusalem. Mansour is known for his 1973 work Camel of Hardship which depicts an old porter carrying Jerusalem on his back. Mansour has tailored his comprehensive portfolio around the Palestinian struggle, portraying peasants and women in traditional dress in his early work. During the first Intifada against Israeli occupation (1987 – 1993) Mansour and other artists in the ‘New Vision’ art movement started in 1987 boycotted Israeli supplies. Instead, Mansour used local materials like mud and henna in his work.

Mansour draws inspiration from the subject of the olive tree and has focused on the theme of ‘land’ since 1970. His recent work is centered on the individual figure to convey the ‘different states of exhausting anticipation or loss,’ resulting from his experience of living under the occupation.