Anisa Ashkar's work uses the different senses to problematize the intersection of categories that compose together her multi-layered identity. Tal Dekel visits her recent solo show and writes about Ashkar's use of the whole sensorium to blend categories, destabilize and dismantle them.
Bar Yerushalmi visits the exhibition of the artists' collective Slavs and Tatars at the Contemporary Art Centre in Vilnius and joins them on a magic carpet ride through the demographic, linguistic, religious, and social realms of the kingdom of Eurasia.
Can it be that Ludwig Wittgenstein's Philosophical Investigations is not a book, but a restless musical album? Michal Sapir outlines a path for reading and interpreting the writings of Ludwig Wittgenstein that meanders through music, literature, wooly clouds, crossroads, sea horses and ethics.
Gilda Williams, author of How to Write about Contemporary Art, talks to Bar Yerushalmi about the problems, dilemmas, and possibilities of writing about art today.
Hagai Ulrich on the homonyms in Yossi Breger's last show, on the relations between single words and the continuum, and on the idea of the abstract whole.
Merhav Yeshoron writes about the words in Yossi Breger's last solo show, and those absent from it.
“If, as William Burroughs has written, language is a virus from outer space, then Portnoy might come from a planet where dyspraxia is the common, acceptable mode of being.” Noam Toran attended Michael Portnoy’s performance at the Witte de With, and spoke with WdW’s director, Defne Ayas. He shares his insights on Tohu Magazine.
Having found out that the renowned art historian and philosopher, Georges Didi-Huberman, was coming to Tel Aviv University to give a keynote lecture, we asked Michal Sapir, the translator of his recently published book in Hebrew, to invite him to give an interview for Tohu Magazine.