The government's decision to remove telephone booths from the public sphere in Israel has led Hagai Ulrich to think about new possibilities for freedom offered by Sophie Calle in the wake of Edward Snowden’s revelations.
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.
In the summer of 1982, during Israel’s incursion into Southern Lebanon, a story swirled around the port town of Saida that acquired mythological flourishes: One of the Israeli fighter jets that were sent to the nearby Palestinian refugee camp of Ain El-Helweh, aborted its mission to bomb a school building, its pilot dropping the bombs into the sea instead. In a text for Tohu Magazine, that will be published in 3 parts, Noah Simblist dives into Lebanese artist Akram Zaatari’s work, Letter to a Refusing Pilot, instigated by this true story.
In a tale full of suspense, surveillence, interrogation, secret meetings, and covert conversations, artist Tea Tupajić describes the 2-year process of devising a new performance work in Tel Aviv, which involved Mossad and Shin Bet officers. A new essay in Tohu Magazine: we recommend reading it in one sitting.