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.
A single artwork
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.
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.
How many artists today set a goal for themselves to live by their ideal of Art in the face of eternity rather than the community? Tamar Getter returns to Malewicz's Black Square
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.
Thomas Hirschhorn with afterthoughts on the “Gramsci Monument”, an installation at a city housing project in the South Bronx from 2013. This was the fourth and last in Hirschhorn’s series of “monuments” dedicated to major writers and thinkers
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