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@ass.four

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فلسطين حرّة
📻 SADAA @mutantradiotbilisi

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a year of jordan

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October 7 will forever be remembered as the day the world finally took notice of the genocide of the Palestinian people at the hands of a regime that must be dismantled.

Today we would like to acknowledge and remember all of those tens–if not hundreds of thousands–of people, including over 274 photojournalists, who have been targeted and killed by Israel.

Let it be known that in every revolution, the storytellers are the ones who help us remember our power and fight. That is why they are the first to be targeted. They terrify empire because their images become the documents that will be transmitted to the world as evidence of their heinous crimes. Collectively, they remind us that we can and must do what is necessary to end and prosecute this horror once and for all.

Today we would like to celebrate our Palestinian family, including @emanit @rashaa_jv @ass.four @suhailnssar @mahdy_zourob @untoldpalestine @yura_gug

We highly recommend following them.

Thank you for the work you do to bring us closer to truth and moving us to take action.

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Do you have a finished project that needs funding? Are you looking to be in community with a cohort of revolutionary storytellers? Do you feel called to make an impact with your storytelling talents?

We are pleased to let you know that we have several opportunities that you may be interested in.

You can learn more by clicking the link in our bio, or by visiting photographerswithoutborders.org

📸 ”What Did You See? (Shu Shufet?)” by Rasha Al Jundi @rashaa_jv and Ali Asfour @ass.four

#morethanphotographers #photographerswithoutborders #grants

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الخميس، ٢٤ أيلول
من الساعة ٧ إلى ١٠ مساءً

الخميس في مجلس العجب مع نورس، فارس سلامة و علي عصفور

في آخر خميس من كل شه، يصنع نورس وفارس سلامة الأجواء الصوتية في بار مجلس العجب ومساحته. وهذا الخميس، ينضمّ إليهما علي عصفور لختام الأمسية. عزموا صديق وانضموا إلينا عند البار وكشك إذاعة الحارة.
مزيد من المعلومات عن الفنانين على موقعنا!

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THIS WEEK AT WONDER CABINET ★ هذا الأسبوع في مجلس العجب

A week of sounds and poetry that persist.

Wednesday's screening of Blue Note traces jazz's most enduring label, part of our tribute to John Coltrane's century. Thursday, Nawras and Fares close out the month at the bar, joined by Ali Asfour. Saturday folds two things into one afternoon, Ahmad Zoabi's calligraphy workshop, and a live broadcast from Turin's Mahmoud Darwish Poetry Day, readings carried across the distance by Radio Al Hara, running through Sunday.

أسبوع من الأصوات والشعر الذي يصمد.

يستعرض فيلم "بلو نوت" يوم الأربعاء أعرق شركة إنتاج موسيقي في تاريخ الجاز، ضمن تحيتنا لمئوية جون كولترين. ويوم الخميس، يختتم نورس وفارس الشهر في البار، بانضمام علي عصفور إليهما. ويجمع يوم السبت في أمسية واحدة: ورشة الخط العربي مع أحمد زعبي، وبثًّا مباشرًا من يوم محمود درويش للشعر في تورينو، قراءات تعبر المسافة عبر راديو الحارة، لتمتد حتى يوم الأحد.

Discover our program and activities/اكتشفوا برامجنا و أنشطتنا: https://www.wondercabinet.space/

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Love you fam
@jamajem_ at @wonder.cabinet ردّة روح ❤️

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@jamajem_ at @wonder.cabinet
Photos by @ass.four

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“I Was Three Meters Away: I took this photograph near Shuhada checkpoint in Hebron’s Old City in September 2025. I was three meters from the soldiers. A child stood between us, looking up at them.

Three meters is not a metaphor. It is breath, reach, the time it takes a body to cross space before thought can intervene.

Their rifles were not raised. They did not need to be. They hung casually, already doing their work. Nothing theatrical was happening, and that was the point. Occupation had become routine: soldiers shifting their weight, a market learning to arrange itself around imposed violence.

I lifted my camera knowing how unequal the exchange was. They did not turn away. They carried the ease of people who knew the image could not endanger them. I framed, focused, and waited as I had been trained to do. I hated how calm my hands were and how cleanly the shutter obeyed.

Every Saturday, settlers move through the Old City under military protection. This photograph would not stop the next Saturday. It would not protect the child in the frame, or me. I do not believe photography is resistance by default. An image can confront power, but it can also reveal how little power fears being seen.

I return to this photograph, and it refuses to settle. Some days it feels like evidence. Some days it feels like failure. Some days it feels like the only honest act available when looking away is easier, and refusal carries a cost.

The photograph did not save anyone. It did one thing: it stayed, not as proof of photography’s power, but as a record of its limits, and of the distance between those who can leave the frame and those who remain inside its conditions.”

#Tsawwar

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Photos and words by Ali Asfour @ass.four
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The photographs here were made digitally between Jordan and Turkey and have been sitting on my laptop for some time. I have barely been shooting digital lately, and there have also been periods when carrying a camera at all has felt difficult. Jordan in particular has complicated the way I photograph. I am physically here, yet often feel politically and emotionally distant from much of what surrounds me, and I have been trying to understand what it means to make images from inside that distance. Presence does not automatically produce intimacy, and I do not want to manufacture closeness with a place simply because I happen to be standing inside it.

Ali Asfour is a Palestinian analog photographer, writer, and researcher based between Ramallah, Bethlehem, and Amman. Working primarily with 35mm, medium-format film and digital, he photographs everyday Palestinian life under conditions of regulated movement, contested memory, and ongoing erasure. His practice moves through homes, streets, landscapes, oral histories, and family archives, attending to how identity is lived rather than declared. He approaches photography as a counter-archival act: a way of preserving what persists while questioning the gaps and violence through which official histories are constructed.

#everydaymiddleeast
#everydayeverywhere

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For the past month, I found myself questioning what it actually means to call oneself a visual artist or, more to the point, a photographer. There is the logistical part, of course: producing the work, disappearing into the motion of travel, submitting portfolios to magazines, filling out grant applications, waiting on residency decisions that threaten to rewrite your entire calendar overnight.

All of this is standard. But beneath the noise, the closest to me know about the paralysis I’ve been running from. There was the high of back to back trips, and then there was the return. And with the return came a sudden, absolute inability to look at the images. Part of it was time, or the lack of it. But mostly, it was a refusal to go back into that specific frame of mind, a reluctance to re-enter the high once it had ended.

Yet these delays are part of the arithmetic. How do you claim the identity of a photographer if you cannot bear to look at what you recorded, let alone release it into the world?

I am back in Jordan now. Time moves at a different pace here, it slows down just enough to leave a small gap for reflection. In that gap, I finally opened some of my hard drives: Nepal, Bhutan, Sharjah and Jordan.

What waited for me were the stories of strangers in street light, moments in the high mountains, the atmosphere and precise texture of each place: its dust, its movement, its smell, coming back all at once.

Perhaps there is no genuine reason to hurry the process. But reaching this particular headspace, allowing myself to inhabit those moments again, if only through a screen, has left me feeling complete again.

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We are pleased to share work by Ali Asfour in Palestine. You can follow him @ass.four. Stay tuned to seeing more of his photographs in Jordan as well in the upcoming days.

Ali Asfour is a Palestinian analog photographer, writer, and researcher based between Ramallah, Bethlehem, and Amman. Working primarily with 35mm, medium-format film and digital, he photographs everyday Palestinian life under conditions of regulated movement, contested memory, and ongoing erasure. His practice moves through homes, streets, landscapes, oral histories, and family archives, attending to how identity is lived rather than declared. He approaches photography as a counter-archival act: a way of preserving what persists while questioning the gaps and violence through which official histories are constructed.

#everydaymiddleeast
#everydayeverywhere
#palestine

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By @ass.four

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