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.
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.
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