Previous biennials have faced criticism for being overly centred on the West Bank.To address this concern, the third edition of Qalandiya International was launched with simultaneous events in Gaza, Haifa, Beirut, Amman and London on October 5. [Rich Wiles/Al Jazeera]

Organised by al-Hoash, the Palestinian Art Court, ‘RE/viewing Jerusalem 2: Return’ included a guided ‘art walk’ around six stations at which works tried to define new forms of social artistic engagement in public spaces and to increase the visibility of Palestinian life in the Old City. [Rich Wiles/Al Jazeera]

Several Palestinian shopkeepers opened up their stores as pop-up art spaces alongside the al-Ma’mal Gallery to host the various works of Jerusalem Show VIII, which launched on October 6. [Rich Wiles/Al Jazeera]

Alia Rayyan, curator of RE/Viewing Jerusalem, told Al Jazeera that al-Hoash had refused to apply for official Israeli permits for works to be presented in public spaces: ‘It was a political decision that was fundamental to us. In these circumstances – under Israeli occupation – there are some things that we cannot escape … but we also need to find forms of civil disobedience.’ [Rich Wiles/Al Jazeera]

A performance work by calligrapher Saher Kabi, in partnership with Campus in Camps, featured the re-writing of a collection of oral histories collected from Palestinians living in refugee camps in the diaspora. [Rich Wiles/Al Jazeera]

Saher Kabi is a Palestinian refugee, born in exile after his father’s forced displacement from Jaffa during the Nakba: ‘Through this piece we are returning these stories to Palestine. They are the stories of people in exile and they are being re-written by Palestinian hands.’ [Rich Wiles/Al Jazeera]

Showing at Birzeit University, the Gaza – Reconstruction exhibition is one of the major shows at this year’s biennial. It was produced by the International Art Academy of Palestine and features the work of more than 30 artists and students from the Academy and Birzeit’s Department of Architecture. [Rich Wiles/Al Jazeera]

At the launch of Gaza – Reconstruction, exhibition curator Yazid Anani asked: ‘How can we talk about the geography of Gaza when we can only see Gaza through the media? The reconstruction can be worse than the destruction itself as it is a hegemonic imposition on the local structures of resistance.’ [Rich Wiles/Al Jazeera]

Jumana Emil Abboud launched her latest exhibition at the Khalil Sakakini Cultural Centre in Ramallah. The show features a range of new and past works which deal conceptually and aesthetically with Palestinian folk tales, creatures and historic sites. [Rich Wiles/Al Jazeera]

Nat Muller, curator of the Pattern Recognition exhibition in Ramallah, believes that young Palestinian artists face many challenges: ‘Restrictions on freedom of movement are among the physical challenges faced by artists. Conceptually, the political circumstances weigh heavily on the expectations both nationally and internationally of what kind of art should be produced.’ [Rich Wiles/Al Jazeera]

Majd Masri’s work, shortlisted for the Qattan Foundation’s Young Artist of the Year Award, recreates an iconic photograph of a female resistance fighter from the 1970s in the styles of various eras of Palestinian art. [Rich Wiles/Al Jazeera]

Also shortlisted for the Young Artist of the Year Award was Ruba Salameh’s Yamm (Open Sea), a film installation in which a faded billboard poster in Jerusalem depicting the sea in Gaza is superimposed with film of the sea in the destroyed Palestinian village of Tantura: ‘My work ties together various fragmented pieces of Palestine and explores the different realities of freedom of movement for Palestinians in different geographic locations.’ [Rich Wiles/Al Jazeera]

Among the international artists exhibiting is indigenous Australian artist Richard Bell. Bell’s Tent Embassy references the original Aboriginal Tent Embassy protest tent that was erected outside Australia’s Parliament House in 1972 to protest against the government’s refusal to recognise indigenous land rights. [Rich Wiles/Al Jazeera]

Asma Ghanem was awarded third place in the Young Artist of the Year awards for her sound performance piece Homeland is … The work seeks to ‘render audible the stagnation in, and disillusionment with, the Oslo process’ and the post-Oslo period in which Palestine ‘finds itself suspended between a nation-in-the-making and one under occupation’. [Rich Wiles/Al Jazeera]

Implemented under the title This Sea is Mine, Qalandiya International hopes to welcome up to 15,000 visitors throughout October to its various events across historic Palestine and internationally. The geographically disjointed location of events plays homage to the fragmentation of the Palestinian people through forced displacement. [Rich Wiles/Al Jazeera]