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.
Wisam Gibran offers a broad reading of the life work of the late Palestinian artist Ayman Safiah. He examines how the body becomes a site speaking the language of freedom, and dance disrupts all that is familiar with its courageous details; he delves into the issue of freedom, gauging the boundaries of the self and its collapse.
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.
“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.
"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.
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