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.
"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.
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.
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.
"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.
"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.