The Forward: At the Mediterranean Biennale, the art must go on
Artforum: Iddo Markus, Herzliya Museum
Facing East, Tohu Magazine (Hebrew)
Publications: Under Dor Guez's Bed: Scenes from the Christian Palestinian Archive
Reviews: A Work within a Work: On Robert Irwin’s "Excursus: Homage to the Square3" at Dia Beacon
Publications: Pre-State Archive, Photolexic No. 2
Interview: Sari Carel, Artforum.com
Artist Book: Interviews, Santiago Sierra
Publications: The Camera and the Collecting Gene
Artist Book: Uri Gershuni, Yesterday's Sun
Reviews: Eyal Weizman, The Conflict Shoreline
Artforum: Zik Group at the Tel Aviv Museum
The Forward: At the Mediterranean Biennale, the art must go on
Artforum: Iddo Markus, Herzliya Museum
Facing East, Tohu Magazine (Hebrew)
Publications: Under Dor Guez's Bed: Scenes from the Christian Palestinian ArchivePhotographies 9 no. 1 (spring 2016): 3-29.Abstract:Shortly after Israel declared independence in 1948, local Arab communities endured violent annexations, deportation and displacements.[i] Currently, local practitioners return to those silenced moments of catastrophe, of Nakba, to examine the systems that orchestrated these events. The impulse for Dor Guez’s on-going Christian Palestinian Archive project can be traced to the aftermath of the Nakba, and the devastation of social, geographical and personal identities.[ii] By analyzing Guez’s archival practices and the constant movement of photographs to and from the archive, this essay suggests his archive does not re-construct a lost national identity: it narrates and maintains the image of the individual disaster, and by so doing exposes the systems that aim to disregard these bodies, but fail to prevent their inevitable emergence.Notes:[i] Mitra Abbaspour, ‘Photographs, Like a Sort of Embodied, Physical Subconscious: Mitra Abbaspour in conversation with Dor Guez,’ in 40 Days, published in conjunction with the exhibition Dor Guez-40 Days, shown at the Mosaic Rooms, London, April12-May 31, 2013, London: A. M. Qattan Foundation, 2013.[ii] Susanne Pfeffer, ‘Susanne Pfeffer in Conversation with Dor Guez,’ in Dor Guez Al-Lydd, published in conjunction with the exhibition of the same name, KW Institute for Contemporary Art Berlin, September 12 – November 7, 2010, Berlin: Germany, 2010, 39-52.
Reviews: A Work within a Work: On Robert Irwin’s "Excursus: Homage to the Square3" at Dia BeaconEarly in the summer of 2015, Robert Irwin returned to Dia:Beacon to erect an installation he has created in 1998, in a location where he himself designed both the building and its surroundings. However, the new reincarnation of his installation, Excursus, reveals more than Irwin’s long history of visual exploration.Read more in Tohu Magazine
Publications: Pre-State Archive, Photolexic No. 2My analysis and conceptualization of the Pre-State Archive, in specific regard to photographic archives and governmental mechanisms.Photolexic No. 2, Winter 2018 (Hebrew).Click here to read the full text.
Interview: Sari Carel, Artforum.comSari Carel is a New York–based artist whose work utilizes a variety of media to explore a connection between extinct species and early audiovisual technologies. In this interview, she discussed her solo exhibition–featuring the multimedia installation Semaphore Island, shown at the Haifa Museum of Art in Israel from November 8, 2014 through March 7, 2015.Click here to read more.
Artist Book: Interviews, Santiago SierraThis interview initially appeared in PostScript, a now defunct online project I created for the Jerusalem Season of Culture. My conversation in Sierra was then featured and published in Interviews/Entrevistas. See the publication here.
Publications: The Camera and the Collecting GenePhilosophy of Photography vol. 3 no. 2 (December 2012): 349-357.Abstract The merging of the positions of photographer and collector defines the drive of a certain kind of photographic work, for which the camera becomes a collecting device, accumulating a collection that speaks the subjectivity of its author – the photographer. There are, however, two impulses at work here: the photographer-as-collector and the collector-as-photographer. Both are present in the work of Martin Parr, who has openly admitted that he has ‘the collecting gene’, but also, somewhat earlier, in the work of Walker Evans whose obsession with collectibles and whose mode of photographic collecting provide a striking historical precedent for Parr’s compulsive practice. My article explores the collecting impulse that motivates these photographers and, more particularly, shapes a new mode of making photographs and cataloguing social life that seem to escape established genre categories, including especially the category of documentary.
Artist Book: Uri Gershuni, Yesterday's SunYesterday’s Sun, Uri Gershuni, artist book, Sternthal Books, Canada. Published in conjunction with the exhibition of the same name, Chelouche Gallery, Tel Aviv, 2012.Click here for more info.See the book here. (Vimeo)
Reviews: Eyal Weizman, The Conflict Shoreline In Eyal Weizman’s new book, the reader joins the author as he hovers over contested territories in the Middle East, follows him as he traces the histories, ideologies, slippery borders, technologies, and narratives involved in the State-inflicted marginalization and displacement of the Bedouin inhabitants of the Negev desert, in Southern Israel. Read the review in Tohu Magazine.
Artforum: Zik Group at the Tel Aviv Museum
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