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      <image:title>Rotem Rozental, Ph.D - Solo Exhibition: Michal Heiman, Hearing</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1634789003239-OSUSLSZ7F6OHHHTFNGQD/Blacklisted_audio_guide_logo.jpg</image:loc>
      <image:title>Rotem Rozental, Ph.D - Virtual Exhibition: Blacklisted (A Planted Allegory), Audio Guide</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1649011258370-IS3OJE9G9YDUOSGSK1OO/image-asset.png</image:loc>
      <image:title>Rotem Rozental, Ph.D - A Legacy of Loss: There Were No Roses There, Jenny Yurshansky at American Jewish University</image:title>
      <image:caption>Deborah Vankin in conversation with Jenny Yurshansky, LA Times</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1634789098335-MIS6DEIB1LVZ2WIPQLCB/B+2.jpg</image:loc>
      <image:title>Rotem Rozental, Ph.D - Group Exhibition: Emotional Labor</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1538169092204-Q7QW0TOGYUWP1QLQMWW4/halfway.jpg</image:loc>
      <image:title>Rotem Rozental, Ph.D - Exhibitions: This is Not Halfway</image:title>
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      <image:title>Rotem Rozental, Ph.D - Exhibitions: Broken Cisterns</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1538169467124-1E44D7VWGM9B56LBJAH2/liverpool.jpg</image:loc>
      <image:title>Rotem Rozental, Ph.D - Curatorial Projects: Associate Artists Program, Liverpool Biennial</image:title>
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      <image:title>Rotem Rozental, Ph.D - Essay: Three Female Israeli Artists Use Buried Personal Histories to Counter Zionist Myths</image:title>
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  </url>
  <url>
    <loc>http://rotroz.com/publications-and-texts</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2021-10-21</lastmod>
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      <image:title>Publications and Texts - The Forward: At the Mediterranean Biennale, the art must go on</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1634789682354-NS8MHEQIJXQC7V1L3CLT/LA1.jpg</image:loc>
      <image:title>Publications and Texts - The Forward: At the Mediterranean Biennale, the art must go on</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1634789774555-7NP6USY0F3ERH1V23CP0/featured00_430x.jpeg</image:loc>
      <image:title>Publications and Texts - Artforum: Iddo Markus, Herzliya Museum</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1634789563374-1HHLMEMEHAE76N14WXQM/Zoya+Cherkassky%2C+At+The+Yard%2C+2018%2C+watercolor+on+paper%2C+31x47+cm_0.jpeg</image:loc>
      <image:title>Publications and Texts - Facing East, Tohu Magazine (Hebrew)</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1538167045786-RK3W2M49HG99Q0MB03LM/Figure%2B6%2BNurit%2BYarden%2C%2BSunset%2Bover%2BQalandiya%2BCheckpoint%2BPostcard%2C%2B2010.png</image:loc>
      <image:title>Publications and Texts - Publications: Under Dor Guez's Bed: Scenes from the Christian Palestinian Archive</image:title>
      <image:caption>Photographies 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.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1538167174987-4LMVI83CVN8UV3KH54KH/Irwin.jpg</image:loc>
      <image:title>Publications and Texts - Reviews: A Work within a Work: On Robert Irwin’s "Excursus: Homage to the Square3" at Dia Beacon</image:title>
      <image:caption>Early 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</image:caption>
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      <image:title>Publications and Texts - Publications: Pre-State Archive, Photolexic No. 2</image:title>
      <image:caption>My 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.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1538167547837-62FFNSORZFXL6FK97LBU/sari.jpg</image:loc>
      <image:title>Publications and Texts - Interview: Sari Carel, Artforum.com</image:title>
      <image:caption>Sari 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.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1538167547813-BFMZN7S9TEEK4T7AW5D5/sierra_560.png</image:loc>
      <image:title>Publications and Texts - Artist Book: Interviews, Santiago Sierra</image:title>
      <image:caption>This 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.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1634790368353-NBJFGKL6VPAR1KKQEQHG/Philosophies.gif</image:loc>
      <image:title>Publications and Texts - Publications: The Camera and the Collecting Gene</image:title>
      <image:caption>Philosophy 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.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1538167733254-TCRG6DKIWKGUYGU67I15/Screen+Shot+2018-09-28+at+1.48.20+PM.png</image:loc>
      <image:title>Publications and Texts - Artist Book: Uri Gershuni, Yesterday's Sun</image:title>
      <image:caption>Yesterday’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)</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1538168213916-FHMTSFMCY9HJ0EEAV8CM/Weizmann.jpg</image:loc>
      <image:title>Publications and Texts - Reviews: Eyal Weizman, The Conflict Shoreline</image:title>
      <image:caption>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.</image:caption>
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      <image:title>Publications and Texts - Artforum: Zik Group at the Tel Aviv Museum</image:title>
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  </url>
  <url>
    <loc>http://rotroz.com/about</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2024-11-24</lastmod>
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      <image:title>About</image:title>
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  </url>
  <url>
    <loc>http://rotroz.com/public</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2021-10-21</lastmod>
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      <image:title>Public - New Seminar: Archive Theory, Knowledge, Power and Photography</image:title>
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      <image:title>Public - Virtual Exhibition Launch, Eitan Buganim, Brandeis University</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1634791400339-CS5A6FV600O0I3U83BF3/640x360_v3-db-xp1.jpeg</image:loc>
      <image:title>Public - UCLA Center for Israel Studies: A Conversation with Artist Dor Guez: Archives, Narrative and Memory</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1634790836522-ZSP3MU0Q31ZDQTNLHT2A/Screen+Shot+2021-03-03+at+11.56.58+AM.png</image:loc>
      <image:title>Public - Spirited by AJU: Wisdom and Creativity for the World</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1538419910841-2OBYKEL6GXHSMY8CTWH4/12_CentralFeatures_VisitingCurator_5-18-18_RotemRozental-3992.jpg</image:loc>
      <image:title>Public - Forming a Space, Curatorial Talk, New Mexico, 2018</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1538419102544-OKU4XC48W1C87TTYWSVV/Screen+Shot+2018-10-01+at+11.30.03+AM.png</image:loc>
      <image:title>Public - We, Festi-Conference for Creative Collectives, 2013</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1538419109008-5ZGBBE0FOVPKXI0RKTZ9/Screen+Shot+2018-10-01+at+11.33.50+AM.png</image:loc>
      <image:title>Public - Launch Sites, Symposium, AJU, 2017</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1538420357357-FI0A6LSTGZVU7BEMJISO/Screen+Shot+2018-10-01+at+11.56.45+AM.png</image:loc>
      <image:title>Public - Dead Lands: a Talk With Josh T. Franco, ICI, NYC, 2018</image:title>
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      <image:title>Public</image:title>
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  </url>
  <url>
    <loc>http://rotroz.com/texts</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2018-09-28</lastmod>
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      <image:title>Words - New Book - Out Now!</image:title>
      <image:caption>How do institutional photographic archives shape the image of a nation, land and their relationship?</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1710609975663-CJFVAH2U92879JGJE8G7/1_Junger-Hase-Sitzend_2023_7f79c9961bc25cd6c87b496101c37916.jpg</image:loc>
      <image:title>Words - On Robert Russell's "Porzellan Manufaktur Allach"</image:title>
      <image:caption>From Jewish Currents: Russell’s recent exhibition exposes idyllic trinkets as sites of Nazi domination and imagination.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1649013058339-OAY0NVAMPO4WKY9060BV/Screen%2BShot%2B2022-04-03%2Bat%2B12.09.39%2BPM.jpg</image:loc>
      <image:title>Words - Jewish Currents: Post Soviet Realism</image:title>
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      <image:title>Words - Exhibition Text, The Orientalist, Eitan Buganim at Brandeis University</image:title>
      <image:caption>Brandeis</image:caption>
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      <image:title>Words - Exhibition Text, Contagious Truth, Tamar Nissim, Brandeis University</image:title>
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      <image:title>Words - Is/Was: On Phantoms and Internal Malfunctions</image:title>
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      <image:title>Words - Protocols Magazine: About Shasha Dothan's "I Love Germany"</image:title>
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      <image:title>Words - Reviews, Artforum.com</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1537819067088-VSBZW8ICCMQOUTKSO4YT/Maya+Zack+Counterlight+photo+elad+sarig.jpg</image:loc>
      <image:title>Words - Tablet Magazine: Three Female Israeli Artists Use Buried Personal Histories to Counter Zionist Myths</image:title>
      <image:caption>Michal Baror, Tamar Nissim, and Maya Zack go digging in archives</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1537824156728-PNE653QPDI48X3CT2XA6/GettyImages-94643072-1500x500.jpg</image:loc>
      <image:title>Words - Alaxon: Essays about Contemporary Art and Culture (Hebrew)</image:title>
      <image:caption>The intersections of power structures, their failures, preservation mechanisms, technologies and creative practices</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1537825040568-6LYQYB7MB7C4JU0ALPOA/_DSC0252.jpg</image:loc>
      <image:title>Words - Tohu Magazine: Essays about Contemporary Art</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1537826450737-KP4TP411R57JIO7SQ0S4/Robert-Bedroom.jpg</image:loc>
      <image:title>Words - Erev Rav: About We 2013 (Hebrew)</image:title>
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      <image:title>Words - The Forward: At the Mediterranean Biennale, the art must go on</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1634789774555-7NP6USY0F3ERH1V23CP0/featured00_430x.jpeg</image:loc>
      <image:title>Words - Artforum: Iddo Markus, Herzliya Museum</image:title>
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      <image:title>Words - Facing East, Tohu Magazine (Hebrew)</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1538167045786-RK3W2M49HG99Q0MB03LM/Figure%2B6%2BNurit%2BYarden%2C%2BSunset%2Bover%2BQalandiya%2BCheckpoint%2BPostcard%2C%2B2010.png</image:loc>
      <image:title>Words - Publications: Under Dor Guez's Bed: Scenes from the Christian Palestinian Archive</image:title>
      <image:caption>Photographies 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.</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1538167174987-4LMVI83CVN8UV3KH54KH/Irwin.jpg</image:loc>
      <image:title>Words - Reviews: A Work within a Work: On Robert Irwin’s "Excursus: Homage to the Square3" at Dia Beacon</image:title>
      <image:caption>Early 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</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1538168512312-XBH3Y9Q9M299HGUXZGUE/lexicon.png</image:loc>
      <image:title>Words - Publications: Pre-State Archive, Photolexic No. 2</image:title>
      <image:caption>My 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.</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1538167547837-62FFNSORZFXL6FK97LBU/sari.jpg</image:loc>
      <image:title>Words - Interview: Sari Carel, Artforum.com</image:title>
      <image:caption>Sari 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.</image:caption>
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      <image:title>Words - Artist Book: Interviews, Santiago Sierra</image:title>
      <image:caption>This 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.</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1634790368353-NBJFGKL6VPAR1KKQEQHG/Philosophies.gif</image:loc>
      <image:title>Words - Publications: The Camera and the Collecting Gene</image:title>
      <image:caption>Philosophy 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.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1538167733254-TCRG6DKIWKGUYGU67I15/Screen+Shot+2018-09-28+at+1.48.20+PM.png</image:loc>
      <image:title>Words - Artist Book: Uri Gershuni, Yesterday's Sun</image:title>
      <image:caption>Yesterday’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)</image:caption>
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      <image:title>Words - Reviews: Eyal Weizman, The Conflict Shoreline</image:title>
      <image:caption>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.</image:caption>
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      <image:title>Words - Artforum: Zik Group at the Tel Aviv Museum</image:title>
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      <image:title>Home - Curatorial Projects: Dead Lands, Karkaot Mawat</image:title>
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      <image:caption>About photographic landscapes and the peculiar sense of time of the institutional archive</image:caption>
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      <image:title>Home Page - Rotem Rozental's Mixtape: From Lenscratch</image:title>
      <image:caption>A deep dive into personal and cultural histories with the prominent photography magazine. Image by Melanie Chapman</image:caption>
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      <image:caption>A conversation about pivoting and creative risk taking</image:caption>
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      <image:title>Home Page - Curatorial Projects: Jenny Yurshansky, A Legacy of Loss: There Were No Roses There</image:title>
      <image:caption>Solo Exhibition, American Jewish University, through May 12, 2022</image:caption>
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      <image:title>Home Page - Daily Inspiration: Rotem Rozental in Voyage LA</image:title>
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      <image:title>Home Page - Virtual Exhibitions: The Zionist Phantom, Dana Arieli</image:title>
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      <image:title>Home Page - Solo Exhibition: Michal Heiman, Hearing</image:title>
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      <image:title>Home Page - Virtual Exhibition: Blacklisted (A Planted Allegory), Audio Guide</image:title>
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      <image:title>Home Page - Exhibitions: This is Not Halfway</image:title>
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      <image:title>Home Page - Exhibitions: Broken Cisterns</image:title>
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      <image:title>Home Page - Curatorial Projects: Associate Artists Program, Liverpool Biennial</image:title>
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      <image:title>Home Page - Essay: Three Female Israeli Artists Use Buried Personal Histories to Counter Zionist Myths</image:title>
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      <image:title>Home Page - The Forward: At the Mediterranean Biennale, the art must go on</image:title>
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      <image:title>Home Page - Artforum: Iddo Markus, Herzliya Museum</image:title>
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      <image:title>Home Page - Facing East, Tohu Magazine (Hebrew)</image:title>
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      <image:title>Home Page - Publications: Under Dor Guez's Bed: Scenes from the Christian Palestinian Archive</image:title>
      <image:caption>Photographies 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.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1538167174987-4LMVI83CVN8UV3KH54KH/Irwin.jpg</image:loc>
      <image:title>Home Page - Reviews: A Work within a Work: On Robert Irwin’s "Excursus: Homage to the Square3" at Dia Beacon</image:title>
      <image:caption>Early 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</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1538168512312-XBH3Y9Q9M299HGUXZGUE/lexicon.png</image:loc>
      <image:title>Home Page - Publications: Pre-State Archive, Photolexic No. 2</image:title>
      <image:caption>My 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.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1538167547837-62FFNSORZFXL6FK97LBU/sari.jpg</image:loc>
      <image:title>Home Page - Interview: Sari Carel, Artforum.com</image:title>
      <image:caption>Sari 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.</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1538167547813-BFMZN7S9TEEK4T7AW5D5/sierra_560.png</image:loc>
      <image:title>Home Page - Artist Book: Interviews, Santiago Sierra</image:title>
      <image:caption>This 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.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1634790368353-NBJFGKL6VPAR1KKQEQHG/Philosophies.gif</image:loc>
      <image:title>Home Page - Publications: The Camera and the Collecting Gene</image:title>
      <image:caption>Philosophy 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.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/56420ee6e4b0d07b31b23d0f/1538167733254-TCRG6DKIWKGUYGU67I15/Screen+Shot+2018-09-28+at+1.48.20+PM.png</image:loc>
      <image:title>Home Page - Artist Book: Uri Gershuni, Yesterday's Sun</image:title>
      <image:caption>Yesterday’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)</image:caption>
    </image:image>
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      <image:title>Home Page - Reviews: Eyal Weizman, The Conflict Shoreline</image:title>
      <image:caption>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.</image:caption>
    </image:image>
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      <image:title>Home Page - Artforum: Zik Group at the Tel Aviv Museum</image:title>
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