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HIDE

The Greenhouse
BY
Kent Klich

In the early hours of January 9, 2009, an antitank missile was fired at the Salha family home in Beit Lahiya, Northern Gaza. Its hollow charge penetrated the roof, entered one of the rooms, and impacted the floor leaving a small hole. Three minutes later a bomb struck and destroyed the house. Two women, Randa and Fatma, and four children, Diya’, Rana, Baha’ and Rola, were killed.

Fayez Salha, the father of the family had to move with the surviving family member to an apartment nearby. Where their old home stood, he built a greenhouse.

This strike exemplifies a new strategy adopted by the Israeli army referred to as ” knock on the roof.” It is one of several methods used to alert residents of an imminent attack. Israel makes much of the fact that it tries to warn civilians of impending bombings. Warnings take the form of telephone calls or text messages, informing the inhabitants of the imminent destruction of their home. They can also take the form of leaflets dropped from airplanes; warning shots; or the firing of a nonexplosive missile.

When receiving such warnings, the inhabitants of a house need to make a choice, they can either leave the house and risk their lives in the streets, or remain in the house. If they remain their status changes in the eyes of the Israeli military lawyers. According to their interpretation of the law, if a warning has been issued and not heeded, the victim might no longer be considered as a “noncombatant” but rather as a voluntary “human shield.” Their killing is thus considered to be “justified collateral damage.”

Aspect ratio 1.33:1 (4:3)
Prod. format Generic SD-video
Duration 00:24:52
Language No dialogue
Color Color
Sound Stereo
Year 2015
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About the artist

Kent Klich

Kent Klich was born 1952 in Sweden. He studied psychology at the University of Gothenburg, Sweden and photography at International Center of Photography, New York, USA. He joined Magnum in 1998 and left in 2002. Kent Klich is a visual artist and educator working within the fields of photography and film, slow journalism, and collaborative methodologies of image-making and representation. He focuses on the interconnection between disciplines; an image never stands alone but links with language, objects, sounds, and documents. His work narrates the social and political realities that we inhabit in their complexities by questioning and creating a multiplicity of entry points into unresolved issues, giving room to critical reflection as much as a space for emotional engagement. Areas of work; Denmark, Mexico, Romania, Palestine/Israel and Russia.

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