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Samir Salmi: the Sea Artist

Latifa Labsir writes about an enormous ecological installation by the Moroccan artist Samir Salmi, on the southern sea front, where his handiwork integrates with the seascape. Salmi has created, together with a group of children, a work dealing with the ecological hazard resulting from the increased amounts of plastic waste, which has become a threat to the marine environment.

Scrapyard Movements #1

Below Netai Halup's studio there is a scrapyard, an area of about 5000 m2 that functions as a stage for dozens of workers who slam, melt, grind, shred, and maneuver different kinds of metal. On his way to the studio, he constantly passes through this territory, through this stage of the workers, who have become characters for him. Every column features a visual mapping the artist made in response to the various scrapyard events . Every map is joined by a sound work by composer Sean Farage, using recordings of sounds emerging from this yard. Farage uses the drawn maps as a score to create...

#FreeAssange

Every visitor to States of Violence violates the American Espionage Act. Hagai Ulrich on the a/political and WikiLeaks joint project in London, and the "colossal participatory art" of Julian Assange.

Wor(l)ds: An Eclipse

Reading “Art and its Worlds” sent Michal B. Ron on a journey in time and space between anarchist art collectives, various languages, multidirectional cartographies, and strategies of creating publics for art.

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All the Mystery, and Fear, and Terror, that Love Can Hold: Part 3

Part lyrical essay, part pulp fiction, Noam Toran’s new column is a serial narrative annotated by images and GIFs, that speaks of the problematic imprinting of Western mythologies and imaginaries onto the desert landscape. Drawing from the cultural, ecological, and imperial conditions of the American Southwest where he was born, Toran intersects personal and family experiences with longer and larger histories, hopping across time periods and genres, from 16th century Spanish expeditions to the paranoid atmospheres of the 1970s, and from science fiction to horror-comedy.

Politics of Love: Long Distance Relationship

"Politics of Love: Long Distance Relationship" is Tohu Magazine's second special issue, guest edited by Turkish curator Tuce Erel. Its starting point is artist, writer and poet Etel Adnan's text "The Cost for Love We Are Not Willing to Pay." Erel invited the contributors to think about the political potential of love and the question of long term relationships in a time of social-distancing. The issue is made possible by the generous support of the Plumas Art Foundation.

Breathe In and Out

“Politics of Love: Long Distance Relationship” is a special issue for Tohu Magazine, using Etel Adnan’s text The Cost for Love We Are Not Willing to Pay as a compass in the troubled times of COVID-19.

Nafssiya: Mediating Emotional Distances

In an essay written for Tohu’s special issue, Saadi Nikro writes about souls and breathing, technology, migration, and long-distance relationships. He discusses the work of two Beirut natives – artist Etel Adnan and filmmaker Ahmad Ghossein, and writes about how technologies help us conduct relationships over distances in space and time.

Love Letters

Love Letters is an exchange of letters and poems between two collaborators, work partners but also good friends who used to share the same city but departed due to personal decisions. As the co-founders of Collective Çukurcuma, Mine Kaplangi and Naz Cuguoglu have been experimenting on collective writing in recent years. For this special issue they write Love Letters to one another.

Protective Spirits

"An ancient ritual for women", "a longing for true love", "a journey into a cave", Rula Khoury reflects on Saodat Ismailova's work Chilltan (2022), an immersive work in the basement of the Fridericianum, part of Documenta 15

Everybody Loves Somebody Sometime (the touching version)

Noa Giniger has turned her audio installation Everybody Loves Somebody Sometime (2008) into an interactive script, where the reader-viewer-listener can flutter from one line to another but never grasp the text completely. Written in her own handwriting and accompanied by the voice of Peggy Lee, the artist offers an intimate encounter with hope and despair, sameness and the personal, through the digital platform.

Corona Diary

In 2020, Zoya Cherkassky and her daughter entered self-isolation. This series of drawings describes their experience, which was new at the time.

What to do for the Sake of Love?

Michal B. Ron follows an archival treasure of Hannah Bruckmüller's. She starts with Marcel Broodthaers’ contribution to James Lee Byars’s World Question Center, where a question about love is calling from a distance of time, and creates a new questionnaire that asks for responses: what do you do for the sake of love?

All the Mystery, and Fear, and Terror, that Love Can Hold: Part 2

Part lyrical essay, part pulp fiction, Noam Toran’s new column is a serial narrative annotated by images and GIFs, that speaks of the problematic imprinting of Western mythologies and imaginaries onto the desert landscape. Drawing from the cultural, ecological, and imperial conditions of the American Southwest where he was born, Toran intersects personal and family experiences with longer and larger histories, hopping across time periods and genres, from 16th century Spanish expeditions to the paranoid atmospheres of the 1970s, and from science fiction to horror-comedy.

Raeda Saadeh Challenges the Masters

In Raeda Saadeh’s photography series “Great Masters,” the artist challenges four well-known Western paintings. Aida Nasrallah writes about the works of one of the most interesting Palestinian artists, delineating the way Saadeh makes space for herself as an artist and a Palestinian woman who voices her political protests.

Writing, Situated: On Constelação Clarice

In the group exhibition Constelação Clarice we can see, for the first time, Clarice Lispector’s writings situated within the art scene of her time. Hannah Bruckmüller reviews the exhibition that has taken place at IMS Paulista in São Paulo, where she finds the egg that is the beginning.

All the Mystery, and Fear, and Terror, that Love Can Hold: Part 1

Part lyrical essay, part pulp fiction, Noam Toran’s new column is a serial narrative annotated by images and GIFs, that speaks of the problematic imprinting of Western mythologies and imaginaries onto the desert landscape. Drawing from the cultural, ecological, and imperial conditions of the American Southwest where he was born, Toran intersects personal and family experiences with longer and larger histories, hopping across time periods and genres, from 16th century Spanish expeditions to the paranoid atmospheres of the 1970s, and from science fiction to horror-comedy.

Memory Pictures #8

Many questions arise when you think about memory, names, the absence of names, questions that essentially rest on senses and spontaneity, which determine our relation to love, hate, intimacy, abandonment, hunger, fear, memory.

 

Ищи Своих / Look for Your Own

The Ukrainian Telegram channel Ищи Своих began publishing difficult-to-watch images and information regarding dead Russian soldiers, as part of the effort to influence Russian troops not to participate in violent acts against Ukraine. Anushik draws after the channel's photographs, raising questions about anonymity and concealment and about the perception of war between Russia and Ukraine.

The World is Alright: an Interview with the Moroccan Artist Youssef Wahboun

In this interview, the artist Youssef Wahboun reveals the secret of his despairing view of the world: love of humanity, independent of identity - ideological, ethnic, or racial. Anything that happens, even in the remotest place, irritates and pains him, and yet he insists on dreaming that the future of humanity will be better. In his exhibition at The French Institute in Rabat, this belief is evident in the butterflies that pervade his works as a chromatic echo conferring glamor upon a dark reality.

A Tourist in Your Own Home: a Conversation with Shasha Dothan

The artist Shasha Dothan has recently curated a virtual show of works addressing the sense of alienation experienced by immigrants, of which she is one. Hagai Ulrich spoke with her about the show and her works, in which she rows a canoe across her living room, invites a male stripper to an apartment, and erects a tent-installation where she hosts works by immigrant women.

Jerusalem of Khara

"Jerusalem of Gold" is a misrepresentation, a deceptive fantasy of harmonious existence in a united city. It is a far cry from the city's reality. As in David Reeb's painting, behind the gilded holiness lurks a revolting mirror image.

Facing East

Rotem Rozental looks at the work of artists Zoya Cherkassky, Yevgeniy Fiks, Katia Grokhovsky, and Jenny Yurshansky, raising questions about the existence of a Soviet-Jewish narrative and offering new insights into the culture that has shaped daily life in the Soviet Union, the Soviet-Jewish narrative, and the possibility of the existence of such a narrative.

The Critic as a Poet: On the Art Writing of Peter Schjeldahl

A new essay in a series of reviews of books about art writing by Matt Hanson. This time, we delve into the writings of the New Yorker’s senior art critic, Peter Schjeldahl, who "thought of prehistoric cave paintings as contemporary an art as the latest politically-allied video installation in midtown Manhattan."

Chapter XI: The Cave And the Multiplication

The Travels of Reb Mendelovitch is an experimental comix strip in the form of a scroll, describing the imaginary adventures of reb Mendelovitch in a chaotic, politically unstable world. The protagonist is based on Schneur Zalman of Hebron, an orthodox artist and a HABAD rabbinical envoy who had traveled around the world, and the author’s great-great-grandfather.

In the final (!) installment Mendelovitch’s children accuse him of heresy, and he returns home to write the scrolls.

Memory Pictures #7

Hadeel Abu Johar offers a reductive view, fiercely poetic, of a surreal reality – the relationship of the colonialist with the concept of banality in the face of shame. Salma, the house, the memory, the universe, the reader, the ordinary viewer confronted with the colonialist, shameless to the point of banality. Surrealism is the name of the game here, and reality is ruled by countless questions that are no less surreal.

Zehra Doğan’s Hidden Drawings

In 2017, Zehra Doğan was sentenced to two years and 10 months in prison for “terrorist propaganda and inciting hatred.” An artist and journalist, it was Doğan’s painting of the city of Nusaybin in ruins, adorned by Turkish flags, that led to her arrest. Charlotte Bleicher writes about the artist’s prison works, Hidden Drawings, which have been introduced to the public in the last Berlin Biennial.

Chapter X: The Queen and the Glory

The Travels of Reb Mendelovitch is an experimental comix strip in the form of a scroll, describing the imaginary adventures of reb Mendelovitch in a chaotic, politically unstable world. The protagonist is based on Schneur Zalman, of Hebron, an orthodox artist, a HABAD rabbinical envoy who had traveled around the world, and was the author’s great-great-grandfather.

In the tenth installment, Mendelovitch arrives in London and meets the Queen.

Shared States Special Issue

People tend to think that emotions are felt and experienced in a unique, individual way. But what if emotions are first shared, and only then internalised? What if they arise out of our social and cultural worlds, and are then “borrowed” by us individually? This special issue explores the potentialities of shared emotional worlds, and asks: how do “inner states” bring us together and along what lines do they divide? What potential might such shared emotional economies entail in societies increasingly divided along political, economic and other lines?

Shared States is a special issue in collaboration with The Lithuanian Cultural Institute, edited by curator Juste Jonutyte. The theme for this special issue was developed in dialogue with anthropologist Kristina Jonutytė.

  • 25/06/21
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On the Economy of Disappointment

Why is there so much disappointment around us? How might one explain disappointment? What is the political nature of disappointment? Artūras Tereškinas writes for Tohu Magazine about the notion of disappointment, following ''Bjaurūs jausmai'', his recently-published book, a collaboration with Adomas Danusevičius about ugly/negative feelings.

Yellow Coal

How can the constant bombardment of shock and emergency and suffering in our world be harnessed as a source of power and collective strength? How do we act and unite in a world that constantly isolates and shocks us, destroying the very ecological and social systems in which we survive? Post Brothers examines how dissociated social interactions are translated into value and yellow coal channels emotions as a form of power.

Chapter IX: The Fright and the Golem

The Travels of Reb Mendelovitch is an experimental comix strip in the form of a scroll, describing the imaginary adventures of reb Mendelovitch in a chaotic, politically unstable world. The protagonist is based on Schneur Zalman, of Hebron, an orthodox artist, a HABAD rabbinical envoy who had traveled around the world, and the author’s great-great-grandfather.
In the ninth installment (the Fright and the Golem), Mendelovitch hides in the house of the Luviouvis in the devastated city of Herbon,* where they are working to build a Golem.

Chapter VIII: The Sack and the Wreckage

The Travels of Reb Mendelovitch is an experimental comix strip in the form of a scroll, describing the imaginary adventures of reb Mendelovitch in a chaotic, politically unstable world. The protagonist is based on Schneur Zalman, of Hebron, an orthodox artist, a HABAD rabbinical envoy who had traveled around the world, and the author’s great-great-grandfather.
In the eighth installment (the Sack and the Wreckage), Mendelovitch arrives at the conquered city Herbon,* to see it ransacked by the Queen’s armies.

On Knots, Connections, and Games of Chance

"Gambling, risk-taking, and games of chance are inherent in the way a structure, for instance, a body, can swing between activity and passivity, between control and submission to fate or to another entity." Hagai Ulrich on the sculptures of Daniel Oksenberg in the exhibition "Sweaty Grips."

M(B)R Visiting #1: Merav Maroody

The first installment of a new column on studio visits by Michal B. Ron, who lives in Berlin. As the coronavirus pandemic spreads, the column also develops and acquires new forms. At the center of each encounter is a discussion of works by different artists and their thoughts about the current conditions of art and life.

This Is Not a Gun

Why is black skin perceived as a threat in American public spaces? How come a 17-year-old boy is portrayed in the American media as a thug? And how do a sandwich, a bible, or a bunch of keys get identified wrongfully as weapons and lead to the shooting of innocent passersby? Rotem Rozental writes about artist Cara Levine's project "This Is Not a Gun," which reacts to dozens of incidents of police shooting at citizens – mostly black men – as a result of misidentification.

On the Corrupt in Art (a reading of Hannan Abu-Hussein's artworks)

The musician, artist, and poet Wisam Gibran suggests a socio-cultural reading of four works by the Palestinian artist Hannan Abu-Hussein's - Agina (Dough), Pouring the Oil, Bukjia (Bundle), In Between the Destruction of the Father - as representatives of inner worlds reflecting art's association with the cycle of life and death, movement and stillness, the sacred and the forbidden, the presence and the absence. 

The Lights of Migration: A Different Take on Old Paris

At the Stedelijk Museum in Amsterdam, the collection show “Chagall, Picasso, Mondrian, and Others: Migrant Artists in Paris” polished the art history of a century past with a gleaming, political immediacy. Matt Hanson reviews the show and its curatorial take on themes of increasing global concern.

John Berger: The Transformational Pulse Beats of Art

Following a number of recent books by and on John Berger, coinciding with the renowned critic’s passing away in 2017, Norman Saadi Nikro dives into some of Berger’s writings and drawings. He explores the transformational impulses driving Berger’s relational, molecular, and constellation-like approach, and its relevance to today’s world in crisis.

Optical Illusions

Hagai Ulrich talks with Oran Hoffmann about perception, photography, perspective, and optical illusions, about Cézanne, Albers, Vasarely, and about performativity in photography, following Hoffmann's exhibition "Love-Sick Heart," which had recently been shown at The Lobby - Art Space. 

Artists as a Public: A Conversation with Abraham Kritzman

Under the extreme political controversy surrounding the Barbur Gallery in Jerusalem, and in the shadow of the political decision to evict the gallery from its current space, Lonnie Monka talks with Abraham Kritzman, an artist and the gallery’s curator, about being an artist-led institution, curating and writing about art, and the concern that the political struggle will overshadow the attempt to make art.

Under the Restrictions #3

In the third chapter of her column, Goni Riskin takes advantage of the easing of the restrictions to make a series of portraits, with styling and makeup. As a precaution, she works on a rooftop, in natural light and open air. She uses a no-contact thermometer to take the temperature of her sitters, the makeup artist, and herself. She keeps the styling down to clothes from the sitters' closets, with outside loans of items when absolutely necessary.

Black Cottage

Meital Katz-Minerbo visited the Dublin retrospective exhibition of the work of Derek Jarman, a well-known queer filmmaker, visual artist, AIDS activist, and gardener, who had been marginalized for being openly gay and HIV positive. Following the stirring event, she recalls her first encounter with Jarman's work, five years ago, and her visit to the garden he has tended in his home in Dungeness, in the county of Kent, England.

Under the Restrictions #2

Goni Riskin joined a residency program at Arthura – a new center for art, design, and community in Emek Hefer (Hefer valley), in central Israel. She has chosen to take mostly pictures of the elderly population, in an attempt to understand how to create interaction while maintaining social distancing and wearing masks and gloves.

Art as a Retrospective Prediction

Painting, prediction, life drive and death drive, devastation, mourning, and creation. Psychoanalyst Dr. Merav Roth offers a succession of thoughts, insights, and personal associations following a series of meetings with artist Tsibi Geva, on the occasion of his exhibition "Where I'm Coming From," which has recently been presented at the Herzliya Museum of Contemporary Art.

Under the Restrictions #1

In her new column, Goni Riskin looks at how she might continue to photograph under the coronavirus restrictions. In the first installment she creates a series of portraits while trying to observe the rules, which are often not entirely clear: stay within a 100-meters range from home, and then it's 500 meters; maintain a distance of two meters from other people; avoid entertaining at home people who do not live there.

We R Viral

Wiki information, personal insights, spoken word poetry, rap, and video samples coalesce into this audiovisual essay by Yoav Ruda. Dealing with cultural and social evolution in light of the COVID-19 pandemic, the artist mixes all of these ingredients to portray the critical moment we live in, and to call for positive action.

Disappearing Cities: Beirut and Berlin

A one-night event in Berlin this February brought Charlotte Bleicher to ruminate about the relationship between two cities - Beirut and Berlin. She writes about processes of cultural loss taking place in both cities, and about artistic acts of defiance against this disappearance.

Boullata: Like a Fish Out of Water. Or, Art as a Visual Thesis

Palestinian visual artist Kamal Boullata (b. 1942, Jerusalem) departed this world on August 6, 2019, from his exile in Berlin at the age of seventy-seven. He leaves behind a formidable artistic legacy, which has made him stand out in the field of criticism and artistic production within the Palestinian and Arab art scene. In this article, Moroccan artist and poet Samir Salmi tries to present a comprehensive portrait of a multi-faceted artist, and reveals the strengths of his research, creative and critical work.

Available in Audio

Tohu Podcast: A conversation with Rafram Chaddad

David Duvshani talks with Rafram Chaddad, artist and connoisseur of cooking traditions of the Mediterranean, who lives in Tunisia. They discuss art and food, wandering, traditions and their preservation, artworks created by Chaddad in recent years, and the contemporary art scene in Tunisia.

A Call to Preserve Memory Through a Future Gaze

How is Palestine represented in contemporary art, and how do Palestinian artists deal with the notions of memory and the past? Larissa Sansour raises in her work many questions concerning ideas of sanctity, homeland, and memory, in a manner that helps turning them into an illusion. In an analytical review and an in-depth critical gaze, scholar Housni Alkhateeb Shehada presents a broad picture of the place, the dialogue, the memory, and the conflict the figures are experiencing in the work recently presented by Sansour, in the Danish Pavilion, at the 58th Venice Biennale.

Whose Land is It?

In her on-going multidisciplinary project, "The Road to Ein Harod," Efrat Galnoor tracks the journey undertaken by Raffi, the protagonist of Amos Kenan's novel with the same title. In a series of exhibitions and events, she raises political questions about borders and freedom of movement, and looks reflexively at the way space is constructed by way of stains – an act that questions not only what you look at, but how.

 

The Book as Agora

How should art institutions respond to the current political climate? Michal B. Ron reviews Paper Monument’s recent book, in which various art professionals offer their propositions to six perceptive questions.

Nuances of Belonging #13

The 13th video of this column is the final chapter in the series, which Hamody Gannam started more than 3 years ago. During these years, he has been spotting different nuances in the lives that unfolded in the village of Iqrith, as expelled residents and their family members and friends continued to maintain different forms of dwelling and community life in this allegedly vacant village.

Available in Audio

Tohu Podcast: A Conversation with Hakim Bishara

From researching and re-imagining a 1943 exhibition of modern Lebanese art in Jerusalem to writing for a leading independent arts magazine, to being part of an artist-run gallery in Brooklyn, Hakim Bishara has been experimenting with various practices in the past few years. David Duvshani recently met the Palestinian writer, curator, and artist in New York for a conversation about these multiple ventures and about the New York cultural scene in the Trump era.

 

Local Photography

Why wasn't the work of local photographers being taught at Bezalel Academy's photography department, in its various iterations over the years? Did local photography, dealing with the connection between people and place, exist? Hagai Ulrich examines the history of local photography following the publication of Noa Sadka's book, Photographic Truth is a Natural Truth – a Chronicle of a Photography Department.

Drawing Reaction #16

From the life of animals in Japanese art to the gradations of slow release: Revital Lessick creates a series of drawing reactions to her gallery tour in Washington and Berlin

Available in Audio

Tohu Podcast: A Conversation with Mierle Laderman Ukeles

In this Tohu Podcast, David Duvshani meets performance and social practice art pioneer Mierle Laderman Ukeles in Jerusalem for a conversation following her move to Jerusalem and her latest retrospective exhibition at the Queens Museum in New York. They talk about manifestos, authenticity, collaboration, art education, women artists, labor organization, life in Jerusalem, and the state of the political Left in the US and in Israel/Palestine.

A Conversation With Jonas Mekas

“If you live in the past, if you can’t escape, then you cannot build a new house, a new future.” Christos Paridis talks with Jonas Mekas about memory, trauma, and the afterlife, about the war years in Lithuania and the 1960’s in New York, and about cinema.

Available in Audio

The Art of Art Writing

What it Means to Write About Art features conversations with writers who average three decades of experience turning phrases that go to press with a bold, uninhibited passion for art.” Matt Hanson reviews Jarrett Earnest’s recent book, a collection of interviews with prominent art writers such as Jerry Saltz, Roberta Smith, Lucy Lippard, Rosalind Krauss, and Yve Alain Bois.

 

 

Resurrection After All: Russian Cosmism as an Intellectual History Project

Russian Cosmism is the subject of the widely-exhibited film trilogy by Anton Vidokle, which traces, or better, resurrects the presence of Cosmist ideas in post-Soviet art, engineering, and architecture. Alma Mikulinsky reviews the films' installment in an artist-run space in Toronto, as well as the theoretical corpus that has been developed around the subject in the last four years.

Drawing Reaction #15

Gvul (Border) Gallery in Kibbutz Hanita, Hansen House in Jerusalem, Art Gallery at the Memorial Center Tivon, and Beit Hankin Museum in Kfar Yehushua: Revital Lessick in another round of drawing reactions.

The Need for a New Revolution

The 6th Athens Biennale expressed the need for an urgent new self-identification of the confused contemporary community, either in local or in international terms - an urgent need of a new “revolution” that would define the 21st century. Christos Paridis writes about the exhibition, which he describes as an adult playground for those who are seeking questions or answers to present and future nightmares.

Freeing the Child Soldiers of Salva Kiir

Among many tragic examples, the murder of South Sudanese national, Lost Boy and Canadian citizen Richard Lokeya, and the abduction of journalist Clement Lochio Lomornana (whose whereabouts are still unknown) by state actors, testify to the life-threatening risks implied in refugee justice work in South Sudan today.

How to Explain Hare Hunting to a Dead German Artist

Joseph Sassoon Semah, a Baghdad-born artist who now lives and works in Amsterdam, is about to embark on an extensive multi-site project, in Amsterdam, Jerusalem, and Baghdad. Berlin-based poet and author Mati Shemoelof talks with him about his years living as an artist in Israel versus being a Babylonian Jew and an artist in Europe. They discuss Judaism, diaspora, exclusion, and acts of concealment and building.

Other than Whom?

“There is no curatorial passivism, any more than there is a passivist war.” Michal B. Ron reviews Maura Reilly’s book Curatorial Activism: Towards an Ethics of Curating and adds a note about the heroless politeness of the recent Berlin Biennial.

 

AnArchic Archive: Phenomenal Photographs and Multiple Exposures

In what ways can an archive be regarded as an anarchic practice of collection and circulation? Following his visit to the exhibition Unboxing Photographs: Arbeiten im Fotoarchiv, Saadi Nikro raises some thoughts about the way interventionist archivists, artists, and photographic practitioners work with photographic archives.

 

Drawing Reaction #14

A concrete beach at Gate 3 gallery in Haifa, Code vs. Code and Hiroshi Sugimoto at the Tel Aviv Museum, and Jonathan Hirschfeld at Givon Galley. Revital Lessick returns from another gallery tour with a new series of reaction drawings.

Klipot Nogah #1

A new podcast from Tohu (in Hebrew). Listen to Eitan Ben Moshe conversing in each installment with a different interesting personality on matters spiritual and cultural.

“Life is a reflection of a very unruly creator” - in the first installment’ Eitan ben Moshe talks with Shai Tubali - writer, thinker, spiritual teacher, lecturer, and director. His teachings and his books combine popular psychology with Eastern and Western philosophies. Since 2012 he has been living and teaching in Berlin, where he founded a learning and treatment center dedicated to his methods.

 

Nuances of Belonging #12

Since the winter of 2012 Hamody Gannam has been visiting the village of Iqrith once a month, sometime staying for a few days, capturing the place and the people living there on video and still photography.

 

The Middle East Film Initiative: A Conversation with Ruth Priscilla Kirstein

“It’s often Terrorist 1, Terrorist 2, Terrorist 3, and for women it’s even worse.” Matt Hanson talks to Dr. Ruth Priscilla Kirstein, the founder of The Middle East Film Initiative in NYC, about discriminatory practices towards and lack of representation of Middle Eastern cultural practitioners, and about some new community-based methods offered by MEFI for addressing them.

This Story is Far from Over

“In Esperia, a portrait of a forgotten artist and a former secret service agent is interlaced with a personal narrative depicting the filmmaker’s relationship with her fading grandfather.” Hakim Bishara reviews Haidi Motola’s new film revealing her grandfather Jacques Motola’s double identity as an Israeli painter and secret service agent in Egypt.

Home Goods

A carpet made of concrete, a ripped duvet, and toy soldiers scattered across a single bed. East of Elsewhere's “While You Were Sleeping” housed a collection of domestic furnishings distorted and deconstructed to reflect the consequences of conflict seeping into everyday life.

 

On Magic, Illusions, and Tabletop Tricks

Karam Natour's solo show "Repeat After Me," on view now at the Umm el-Fahem Gallery, is a sort of birthday song for a newly-born magician. Bar Yerushalmi has viewed the show, and he brings back thoughts on the difference between trickery and true magic.

 

Returning to Accra: Between Nina Simone, Ama Ata Aidoo, Fassbinder, and the Cockettes

Moving across New York and San Francisco, Paris and Munich, Accra and Lagos, artist and scholar Malik Gaines’s Black Performance on the Outskirts of the Left: A History of the Impossible offers a lively and affirmative account of stage, dress, film and television, and music performance. Saadi Nikro reviews Gaines’s recently published book, discussing its many intersections of race, theatricality, subjectivity, and sexuality.

 

That Man in That Box

Can we talk about gentrification in the context of colonialism and deprived lands? What does it mean to own the land? Rana Asali raises questions after visiting “That Man in That Box”, a performance piece by Palestinian artist Rabia Salfiti.

Nuances of Belonging #11

Since the winter of 2012 Hamody Gannam has been visiting the village of Iqrith once a month, sometime staying for a few days, capturing the place and the people living there on video and still photography.

Drawing Reaction #13

From North America to the north of Israel, Revital Lessick presents another series of reaction drawings following a gallery tour in New York, Toronto and Haifa.

How Testo Junkie Transforms You

“An author who had taken testosterone as a drug in a philosophical self-experiment that she documented in a book - it shook me up so much that it wouldn't leave my mind." Michal B. Ron and Hannah M. Bruckmüller discuss naming, sexuality, fables, giving birth and giving death, in response to Paul B. Preciado’s Testo Junkie.

Editorial

The show "Stolen Arab Art" that recently opened in Tel Aviv is tainted by exploitation, ignorance, incoherence, and impersonation. The organizers blatantly disregard the will of the chosen artists not to show their work in Israel. The members of Tohu's editorial board object to the patronizing act perpetrated under the guise of enlightenment and dialogue.

Emergency Takeoff: on Halil Altindere’s Köfte Airlines

"Köfte Airlines retraced a trail uncannily similar to that of its subject, from Germany to Turkey and back along a zigzag of uprooted expectations." Matt Hanson writes about Halil Altindere's work in the context of the refugee crisis, as well as the effects of the current oppressive political climate in Turkey on artists and cultural practitioners.

Memory Pictures

Hadeel Abu Johar travels roads and lanes of near memory, hinting at what is beyond, asking questions about the tension between the image and the event and about the human search for a place and its meaning.

Nuances of Belonging #10

Since the winter of 2012 Hamody Gannam has been visiting the village of Iqrith once a month, sometime staying for a few days, capturing the place and the people living there on video and still photography.

Relinquishing Freedom (Willingly) to the White Man

A mother screams as her baby is wrenched from her arms; a sex fest featuring Canada's founding fathers and various forest animals; and Miss Chief – a powerful, sexy, transgender indigenous figure in traditional attire, beads, and feathers. Liora Belford visits "Shame and Prejudice: A Story of Resilience," the travelling exhibition of the work of artist Kent Monkman, who wonders where are the painters who have documented the hunger, the poverty, the pain, and the annihilation of a whole culture.

Drawing Reaction #12

Avner Ben Gal at Givon Gallery, Ron Arad at Gordon Gallery and Neta Cohen at Artspace Tel-Aviv. Revital Lessick presents another series of reaction drawings following a gallery tour in Tel Aviv

First Daughter of the Confederacy

Efrat Vital's show, Winnie (Real Daughter), presented recently at the Herzliya Artists' Residence, brings to the fore the denial and suppression of the problematic history of racism, slavery, and Colonialism in the southern part of the United States. Hagai Ulrich has visited the show, and he suggests thinking about it from a local point of view as well.

Obvious Artifice

"Pre-Israeli Orientalism: A Photographic Portrait", written by Dor Guez, focuses on a photographic genre from the early decades of the twentieth century as a local, unique, and complex case of visual Orientalism. Hagai Ulrich reviews the book and suggests broadening the conversation through the values and characteristics of performance art.

"Hēliotropion" - Shattering or Healing

In anticipation of "Hēliotropion," Tamar Getter's exhibition recently on display at the Mishkan Museum of Art, Ein Harod, H.S.L.R. talked with her about horses and other matters that preoccupy her in her work: painting stoppages, idealization, and painting as a "machine," immobile.

Organized Choreographies

Dana Yahalomi talks with Elinor Salomon about the work of Public Movement in the public sphere, about the political role of the museum and its collections, and about the technology of knowledge transfer. This is a second conversation in the framework of cooperation between Tohu and Kadist.

Gender and Senses: The Art of Anisa Ashkar

Anisa Ashkar's work uses the different senses to problematize the intersection of categories that compose together her multi-layered identity. Tal Dekel visits her recent solo show and writes about Ashkar's use of the whole sensorium to blend categories, destabilize and dismantle them.

Kings of Arabia

Visiting the Ameen Rihani Museum in Freike, Lebanon has started Matt Hanson on a path to trace the Hebrew translation of the well-known author’s Kings of Arabia, which came out only two years after the first Arabic edition. What were the motivations behind this translation and how did its impact evolve over the years?

Looking for Neighbors

"From a local perspective, 'A Good Neighbour' brought hope to an art scene wrapped in a dark curtain." Hou Rf reviews the 15th Istanbul Biennial, curated by artist duo Elmgreen & Dragset.

Nuances of Belonging #9

Since the winter of 2012 Hamody Gannam has been visiting the village of Iqrith once a month, sometime staying for a few days, capturing the place and the people living there on video and still photography.
The current column was shot using a DIY drone, built in Iqrith by Ghassan Toumie.

Drawing Reaction #11

Ido Bar-El in Kibbutz Baram, Israel Kabala in Tel Aviv, Niv Tishbi in Jaffa, and Tamar Sheaffer in Haifa. Revital Lessick wanders and reacts through drawings

A House is not a Home

In an age of great geopolitical stress, heightened nationalist sentiments and ethnic strife, and forced migrations, Christos Paridis visits the 6th Thessaloniki Biennale of Contemporary Art and returns with thoughts about the search for a new home.

Fricative Consonants

Bar Yerushalmi visits the exhibition of the artists' collective Slavs and Tatars at the Contemporary Art Centre in Vilnius and joins them on a magic carpet ride through the demographic, linguistic, religious, and social realms of the kingdom of Eurasia.

A Cloud of Philosophy

Can it be that Ludwig Wittgenstein's Philosophical Investigations is not a book, but a restless musical album? Michal Sapir outlines a path for reading and interpreting the writings of Ludwig Wittgenstein that meanders through music, literature, wooly clouds, crossroads, sea horses and ethics.

Stories in Reverse

Following his current solo exhibition, “Stories in Reverse”, at Piartworks in Istanbul, Huo Rf talks with Merve Akar Akgün about memories, commonality, queer culture, and artist’s privacy.

Metaphoric Sites

In the midst of the general lack of commitment of the central exhibition of the Venice Biennale this year, Avi Lubin visits three significant and interesting projects that offer metaphoric sites and spaces for experimentation and cooperation.

Portrait of an Artist as an Old-Young Man

As the art schools' graduation exhibition season is winding down, Tali Tamir revisits the work of two veteran artists – Dov Or-Ner and Dov Heller – and wonders why the radicalism that has bound the avant-garde to social values, crossed various lines, and melted away conceptual and geographical borders found no place in the major museums.

Drawing Reaction #10

Revital Lessick visits Pinchas Cohen Gan’s studio, Avital Geva’s Ecological Greenhouse in Kibbutz Ein-Shemer and the exhibitions of Louise Bourgeois and Atalia Shachar in Tel Aviv

An Illusion about Understanding

In Richard Deacon's comprehensive solo show at the Prague Municipal Gallery, to see the large-scale sculptures viewers must get close, bend down, crane their necks upward, focus on the small details, and then again step back and look at the whole work. These exploratory actions that the viewers perform with their bodies and their movement through space have led Hagai Ulrich to try to understand how Deacon manages to physically express ideas, symbols, and signs that cannot be realized in time and space.

Blood Spatter

Crop Marks, Sharif Waked’s latest work, is a life-size photographic self-portrait of the artist with his head cut off. Alma Mikulinsky writes about this beheading drama and tries to understand our fascination with images of head amputations, such as Henri Regnault’s painting of the brutal execution in Granada and Ned Stark’s decapitation in Game of Thrones.

Absence, Speculation, Text

"I must build a 20-meter-long bridge, made of words, to the mystery works by Amos Groswagel, assuming they are where they should be." Shai-lee Horodi writes from a distance about Amos Groswagel's show at Livluv 24 Gallery in Tel Aviv.

Drawing Reaction #9

Dreamers Awake, Giacometti, The Trickle-Down Syndrome and The Most Popular Art Exhibition Ever! Revital Lessick offers quick drawings in reaction to a gallery tour in London.

In Search of Critical Curating

In light of the recent criticism of documenta 14 and the Venice Biennial, Noah Simblist returns to the book/magazine issue “Curating Critique,” to comment on whether and where curating and criticality might meet today.

Beloved Country

Orit Ishay's comprehensive show at the Prague City Gallery includes images of bomb shelters, military uniforms, mourning rituals, woman soldiers, and a scrapbook of local dried flowers that had been given to General Allenby. It seems that the entirety of activities Ishay engages in creates an interesting critical course in which information loses its content and reality sheds its substance.

Nuances of Belonging #8

Since the winter of 2012 Hamody Gannam has been visiting the village of Iqrith once a month, sometime staying for a few days, capturing the place and the people living there on video and still photography.
The current column was shot using a DIY drone, built in Ikrit by Ghassan Toumie.

A Memory Gap

As part of a new joint initiative of Kadist and Tohu Magazine to publish video interviews, Elinor Salomon talks with Elham Rokni about reconstruction and memory, biography and history, Orientalism and men with a Middle Eastern appearance.

The Art of Struggle

The exhibition "The Color Line: African-American Artists and Segregation" has gone a long way to illustrate the struggle for the civil rights of blacks in the USA, but at the same time, it traps the art on display in a conceptual prison. Revital Madar writes about the recent exhibition at the Musée du Quai Branly in Paris.

 

Athens before Kassel

A message from Europe’s past that resonates in Europe’s present makes a powerful opening political statement of documenta 14. Christos Paridis visits the world-famous exhibition and finds the decision to open it this year in Athens before Kassel more than just a colonial project of the German art scene.

Black Swan, White Swan

"Slowland," Bianca Eshel Gershuni's and Oree Holban's joint exhibition, opened at Barbur Gallery in Jerusalem in the wake of the highly visible dispute between the gallery and the municipality, and the latter's attempts at censorship. Hagai Ulrich visited the show and returned with some thoughts about the political prospects suggested by the space the two have built.

Security Check for Heaven

With a rich display of over 200 artifacts, the Metropolitan Museum exhibition “Jerusalem, 1000-1400,” subtitled “Every People Under Heaven,” intended to introduce the viewers to a peaceful, spiritual, culturally and religiously diverse place, which they imagine the city of Jerusalem to be. Rula Khoury visited the exhibition and came back with some thought-provoking questions.

Mobilizing Stills

 “The work of the photojournalists’ collective Activestills does not settle for reflecting the grim reality by providing representations of it, but offers a more active mode of photography that joins the protests of the struggling communities being photographed.” Nadeem Karkabi reviews the recently published book that covers a decade of Activestills’ collective photo-activism.

Nuances of Belonging #7

Since the winter of 2012 Hamody Gannam has been visiting the village of Iqrith once a month, sometime staying for a few days, capturing the place and the people living there on video and still photography

Crimes and Misdemeanors

Do the works of Michal Makaresco represent cheap fetishism and dubious situations? Were they made casually, easily, or on a whim? Hagai Ulrich visited the show at Hamidrasha Gallery in Tel Aviv and came back with thoughts about good taste, honesty, as well as questions about weight and scale.

Playing Spirits

Between 1918 and 1924, the German missionary and anthropologist Martin Gusinde traveled to Tierra del Fuego and West Patagonia, the southernmost point in Chile and therefore the globe. Alma Mikulinsky writes about the traveling exhibition of Gusinde’s photographs, documenting his encounter with the indigenous people of the Selk’nam, the Yamanas and the Kawésquar.

General Land of Vision

Thirty-eight technologically complex projects, a century of experiences of the moving image, 18,000-square-foot of installations, drawings, 3-D environments, sculptures, performances, paintings, and online spaces: an immersive experiment or sensory overload? Rula Khoury visits the impressive exhibition Dreamlands: Immersive Cinema and Art, 1905-2016 at The Whitney Museum of American Art in New York.

Internal Interactions

Contemporary painting as the wreckage pile of Modernism or genuine Modernist painting? Focusing on composition or the subjects? Hagai Ulrich writes for Tohu on "Take Painting," showing at the Petach Tikva Museum of Art.

Nuances of Belonging #6

Since the winter of 2012 Hamody Gannam has been visiting the village of Iqrith once a month, sometime staying for a few days, capturing the place and the people living there on video and still photography

Chapter I: The Dream and the Fire

Reb Schneur Zalman Mendelovitch was a member of HABAD, an illustrator and miniaturist, who lived in Hebron in the middle of the 19th century; he has traveled all over the world. He is also associated with many surreal and anarchistic Hassidic stories. We follow his imaginary travels from chapter to chapter in the comics strip, as he wanders through countries and ages, from the Great Indian Rebellion to Akre during Napoleon’s siege and Victorian London. In the first chapter, Reb Mendelovitch leaves his home after seeing a vision, and ventures out into the world.

Two Point Perspective (part III): Forms of Refusal

 The third and final part of the essay by Noah Simblist focuses on Akram Zaatari’s use of dialogical exchange as an artistic strategy. While completely different in their dynamics and outcomes, Zaatari’s conversations with both Hagai Tamir and Avi Mograbi, he argues, reveal different degrees of both personal and political engagement and, at the same time, various forms of antagonism and refusal.

Temporary Structures

Many emotionally and politically charged places appear in Nir Evron's work, among them  Rawabi, the new Palestinian city, the Seven Arches Hotel on Mount Olive, in Jerusalem, and the Jamestown Settlement in Virginia, USA. What happens to the concreteness of the locations and the specific political stories when the works separate content and form? Hagai Ulrich reviews Evron's show, "Masad (Foundation)."

Haus Atlantis

Following Karen Russo’s recent video work “Haus Atlantis,” which blends the genres of documentary, historical essay, and science fiction, the artist readdresses her work’s visual and textual elements in the form of a visual essay.

Built in 1931, Haus Atlantis in Bremen is a combination of patron Ludwig Roselius’ vision to restore the German racial identity by resuming the glory of ancient times, and Bernhard Hoetger’s expressionist, symbolist, and monumental architecture.

In Tlilli, in Tlapalli

Writing about Josh T. Franco’s work “In Tlilli, In Tlapalli: Three Tejanos in Red and Black,” Rotem Rozental follows the migration and reincarnation of individuals, colors, ideas, and legacies between New York City and Marfa, TX.

Two Point Perspective (part II): the Dialogical Exchange

In the second part of his essay analysing Akram Zaatari’s 2013 work “Letter to a Refusing Pilot,” Noah Simblist addresses a previous work by the artist that involved a conversation with filmmaker Avi Mograbi. Simblist is reading this work through the prism of dialogical exchange, referencing Grant Kester’s definition of “dialogical art,” as well as Ella Shohat’s observations on the identity politics of Mizrachi or Arab Jews.

Nuances of Belonging #5

Since the winter of 2012 Hamody Gannam has been visiting the village of Iqrith once a month, sometime staying for a few days, capturing the place and the people living there on video and still photography

Pleasures of the other flesh

A painter who has internalized the Western Orientalist gaze, a minor artist given recognition as lip service to the British Indian community, or one who offers a sharp, complex, subversive outlook on identity, society, and sexuality? Bar Yerushalmi writes for Tohu about Indian-born painter Bhupen Khakhar's retrospective at the Tate Modern.

Homonyms

Hagai Ulrich on the homonyms in Yossi Breger's last show, on the relations between single words and the continuum, and on the idea of the abstract whole.

Two Point Perspective (part I): Letter to a Refusing Pilot

In the summer of 1982, during Israel’s incursion into Southern Lebanon, a story swirled around the port town of Saida that acquired mythological flourishes: One of the Israeli fighter jets that were sent to the nearby Palestinian refugee camp of Ain El-Helweh, aborted its mission to bomb a school building, its pilot dropping the bombs into the sea instead. In a text for Tohu Magazine, that will be published in 3 parts, Noah Simblist dives into Lebanese artist Akram Zaatari’s work, Letter to a Refusing Pilot, instigated by this true story.

Nuances of Belonging #4

Since the winter of 2012 Hamody Gannam has been visiting the village of Iqrith once a month, sometime staying for a few days, capturing the place and the people living there on video and still photography

The Censored Chapter

What is it about a book that makes it a metaphor for the subject? Why do we want to identify with a book, to become a book? Liran Razinsky writes for Tohu about the fetishistic aspect of books and the relationship of books to the subject and the human body, as represented in “Bi-bli-o-logia: The Book as Body,” an exhibition at the Petach Tikva Museum of Art.

You are not Nervous, but You Should Be

In a tale full of suspense, surveillence, interrogation, secret meetings, and covert conversations, artist Tea Tupajić describes the 2-year process of devising a new performance work in Tel Aviv, which involved Mossad and Shin Bet officers. A new essay in Tohu Magazine: we recommend reading it in one sitting.

Upon Emergent Occasions

Using 21st Century representational technologies, Brooklyn-based artist Carla Gannis tells stories through a “digital looking glass”, where reflections on power, sexuality, marginalization, and agency emerge. She is fascinated by digital semiotics and the situation of identity in the blurring contexts of the real and the virtual.

Nuances of Belonging #3

Since the winter of 2012 Hamody Gannam has been visiting the village of Iqrith once a month, sometime staying for a few days, capturing the place and the people living there on video and still photography

Bio-Bibliography

Can one bypass the fact that Roee Rosen, through his writing, manufactures his art as a closed system? Can one approach his art from different perspectives? Alma Mikulinsky writes about Rosen’s mid-career retrospective at the Tel Aviv Museum of Art

Con-Temporary Art

What does the "con" in con-temporary art suggest? Saadi Nikro discusses the theme of con-temporaneity through the works of Christo and Jeanne-Claude, MUVART and Walid Raad

 

An Expert Testimony

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. Rotem Rozental reviews “The Conflict Shoreline,” as well as Weizman’s methodology of forensic visual culture research.

Nuances of Belonging #2

Since the winter of 2012 Hamody Gannam has been visiting the village of Iqrith once a month, sometime staying for a few days, capturing the place and the people living there on video and still photography

Playing dead

“The ability to study the world through empirical observations and to reach conclusions regarding the nature of reality has completely changed the way we experience the world around us.” Bar Yerushalmi on art and the science of consciousness at the exhibition “States of mind: Tracing the edge of consciousness,” showing now at the Wellcome Collection in London.

When the Angel of History Plays with Fire

Producing some of the wittiest artistic pranks in sculptures, installations, photography, and video works, in an ever more pompous art world, Fischli/Weiss have always advocated wild thinking. Michal B. Ron writes about the duo's major retrospective exhibition at the Guggenheim.

Apocalypse Yesterday

The Dome of the Rock – that golden, volatile rock of contention – is at the center of an exhibition at the Bezalel Photography Gallery. Noa Hazan writes for Tohu about the exhibition and about the visual research that has preceded it, which involved studying hundreds of photographs of the site from the last 150 years, and suggested new terms for looking at its visual representations.  

Capitalist Realism: Then and Now?

In the current post-Occupy disillusionment, where the art world is dominated by commercial interests, could the term “Capitalist Realism” offer new strategy for change? Alma Mikulinsky reviews ARTMargins’s special issue on Capitalist Realism.

A Particular Shade of Red

A play of accuracy and doubt, Walid Raad’s MoMA retrospective manifests the artist’s distinctive way of relating the affects of war. Naomi Lev visited and took the walkthrough

Nuances of Belonging #1

Since the winter of 2012 Hamody Gannam has been visiting the village of Iqrith once a month, sometime staying for a few days, capturing the place and the people living there on video and still photography

Under Construction

How should the Athens Biennale be shaped when everything in Greece is in flux? Christos Paridis on the  fifth and the sixth Athens Biennales - a 2-year artistic-political-social project.

Glimpses of an Interview

Having found out that the renowned art historian and philosopher, Georges Didi-Huberman, was coming to Tel Aviv University to give a keynote lecture, we asked Michal Sapir, the translator of his recently published book in Hebrew, to invite him to give an interview for Tohu Magazine.

Stealing from a Thief

What did Michal BarOr do with the Pandora’s Box A. has left on her doorstep? Yair Barak describes the circles of guilt engendered by BarOr’s work, A Non-Private Collection, about a stolen suitcase full of photographs, with hope at the bottom.

Black Box

Ferry, terminal, the beach, a hotel room, a border crossing – each one of these bureaucratic instances is exposed as an illusion. Danny Yahav reviews Ohad Meromi’s show, Resort.

 

The Chosen People - a Small Guide to a Big Revolution

"The resolution of the occupation is obviously not going to happen right now, but there are a lot of things that might happen very soon. The question is where to start.” The Yes Men’s Jacques Servin (aka Andy Bichlbaum) in conversation with Maayan Sheleff, following his recent visit to Jerusalem.

 

Fireflies

Inside and outside, secular and sacred, blindness and sight; ideas which emerge from analytical, non-seductive painting. Danny Yahav Brown writes about windows and stained-glass in Maya Gold’s show.

ManApparatus*

How does the tool, the instrument, change from an object to a work of art? How does it cancel itself (as an industrial object) and acquire new identity and meaning? Aim Deuelle Luski on the idea of ManApparatus and on the digi-image, following Matan Mittwoch’s show at the Dvir Gallery.

Tales of the Dead

Emily Jacir’s and Jumana Manna’s shows, both now on view in London, invite viewers to an encounter with opposing strategies for dealing with the limitations of archived memory. Bar Yerushalmi on the two shows.

 

Large format, small text (for Hilla Becher)

In a long overdue encounter with Hilla and Bernd Becher’s photographic grid Yair Barak discovered that his intellectual, rigorous experience as a viewer of the works has become spiritual experience. Why has that happened, and is the genomic map of Israeli typological photography indeed close to its German counterpart, or rather the American one? Reflections and insights following the departure of Hilla Becher.

Great Crescent: Art and Agitation in the 1960s – Japan, South Korea, and Taiwan

 “We are art terrorists,” announced Katō Yasuhiro, who headed the Zero Dimension group in the 1960s. The declaration accurately represented the Zeitgeist and the volatile atmosphere opposite the political establishment, as well as the art establishment, which has pervaded Japan in the 1960s. Ayelet Zohar on an exhibition surveying the avant-garde in Japan, Korea, and Taiwan during that period.

The Gardener, the Farmer, and the Urban Vegetable Grower

The Agro-Art exhibition, curated by Tali Tamir at the Petach Tikva Museum of Art earlier this year, explored local agriculture’s representation in contemporary art. This essay expands the discussion on the difference between gardening and agriculture and focuses on the relationships between agriculture, territory, and biography.

 

The Land of Widows

Doris Salcedo addresses the collective trauma related to totalitarian regime in Colombia. Gabriela Vainsencher writes about the artist’s first American retrospective at the Guggenheim Museum in New York City

Boy with a Camera

In 2008-2009 David Reeb documented Ni'lin's struggle against the construction of the Separation Fence. In this short text he focuses on one of his paintings that came out of this activity

On Color and Other Spaces

Color space is a specific way of organizing colors which facilitates the display and presentation of color through analog and digital media. This visual essay will not discuss color theory but rather how color is transformed into an object or, more precisely, into a form.

Tohu is an independent online art magazine based in Tel Aviv-Jaffa and published in Hebrew, Arabic and English

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