Between the years 2017 - 2020 the kurdish artist Fatoş İrwen from Diyarbakır was imprisoned for demonstrating against state violence and gender inequality. In the darkness of her prison cell, once vanished from public sight, she worked with the material that gives form to her artistic practice, her own hair.
Despite the nausea she felt at the thought of the war economy, Michal B. Ron writes from this perspective about the summer exhibitions in Berlin. The exhibitions by Yoko Ono and Lygia Clark offered opposite ways of participating in art, one of which is no different from marking a 'like.' So, can marking a like end a war? Or does the like actually feed off it?
In this article, the Palestinian body is studied not only as a physical entity, but also as a symbolic surface through which practices of control are transmitted and systems of conflict are rewritten. From the field to the image, from oppression to resistance, the article traces how the body is persecuted, consumed, and re-represented, while exploring the possibility of restoring its meaning and sovereignty from within the visual space itself.
With precise lines and minimalistic visual language, Samah Shehadeh presents the Palestinian female body as a charged space of memory, rupture, and contemplation. Drawing with charcoal, a black and raw material, embodies an artistic act that exists on the seamline between erasure and exposure. The body in her work is not a closed representation but a continuous movement, silent yet present, exposing questions that representation cannot resolve.
In a very personal writing style, Liz Rosenfeld writes about relationships, memorials, illness, love, the queer body and the experience of transitions.
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.
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.
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.
Before it arrived to the Tel Aviv Museum of Art, Yayoi Kusama's retrospective was shown at Gropius Bau in Berlin. Michal B. Ron visited the Berlin show and shares her thoughts on reflection, reconstruction, art history, and letters against apartheid.
The colors jostled on the clothes line, and she was glad she had taken down the black.
