Observing and Testifying to Events or Incidents
Art That Roars: Bearing Witness to Gaza's Children
Written by: John Gideon Hartnett
In the heart of the latest art exhibition, one piece screamed a message that couldn't be ignored. Jessamy Offszanka's "Bearing Witness," inspired by the heartache of Palestinian children in Gaza, showcases the horrors of war and begs for action against the relentless conflict. Yet, this powerful creation remains unrecognized, a reflection of society's indifference to the suffering of innocents.
At the art society event I attended recently, the exhibit was stunning, yet ordinary. Except for one masterpiece that stood out like a sinister whisper—a message that couldn't, shouldn't be disregarded.
Here's what Offszanka wrote about her masterpiece:
How can a modern, civilized society disregard the suffering of starving, impoverished children in Gaza? War is terrible, but this one is gratuitous. A conservative estimation puts the death toll at 40,000 women and children. At least 15,000 are children. Children cannot be terrorists, so there's no moral justification for their mass annihilation like this.
Lancet medical journal estimates the causalities at an alarming 180,000, including 15,000 Lebanese. This isn't civilization; this is barbarism!
This chaos can be traced back to the invasion of Palestine nearly a century ago, when tens of thousands of Jewish immigrants, fleeing persecution, settled there. But from the start, there was no plan for coexistence, only the elimination of Palestine's native people, regardless of their faith—Muslim, Christian, or Druze. In essence, this is genocide.
According to Dictionary.com, genocide is:
Where are the guardians of peace for the innocent children in this warzone? Where are our western values that supposedly support the oppressed? Where are those who protect the children?
Offszanka's piece should have won a major prize at the exhibition, but it probably wasn't politically correct for the judges. In fact, she was even barred from a major exhibition six months ago. The latter exhibit usually features politically motivated pieces and questionable artwork. Yet, the elite continues to turn a blind eye to the struggles of Palestinians.
This pattern of censorship isn't limited to just one piece of art. Palestinian children's artwork projects have been removed, and events or exhibitions highlighting the humanitarian crisis in Gaza have been canceled. For instance, an art exhibit featuring decorations by Palestinian children was taken down after complaints, despite Jewish patients never voicing their concerns[4]. This climate demonstrates a disturbing trend where politically sensitive Palestinian artwork, like Offszanka's, faces institutional rejection and suppression.
In essence, Offszanka's work was rejected because its candid portrayal of Gaza's children suffering and the implicit critique of Israeli military actions is deemed politically sensitive and controversial. This results in censorship by art institutions that aim to avoid backlash or political controversy[1][4]. The animation, pain, and cries of Gaza's children echo loudly in Offszanka's work, but the Western world seems to be deaf to their plea for help.
- The ongoing war-and-conflicts in Gaza are not just a matter of science and general-news; they also reflect the reality of politics and crime-and-justice, as evidenced by the unrecognized yet powerful art piece, "Bearing Witness," which raises questions about truth and morality.
- The art society's indifference towards Offszanka's piece highlights a troubling indifference to the suffering of children in war-and-conflicts zones like Gaza, raising concerns about the role of society in upholding its values and protecting the oppressed.
- The censorship of Palestinian children's artwork and events, such as the removal of an art exhibit featuring decorations by Palestinian children, is a clear example of the suppression of free speech and truth, a sad reflection of the broader issue of politics and its impact on art and science.
