The musician, artist, and poet Wisam Gibran suggests a socio-cultural reading of four works by the Palestinian artist Hannan Abu-Hussein's - Agina (Dough), Pouring the Oil, Bukjia (Bundle), In Between the Destruction of the Father - as representatives of inner worlds reflecting art's association with the cycle of life and death, movement and stillness, the sacred and the forbidden, the presence and the absence.
Palestinian visual artist Kamal Boullata (b. 1942, Jerusalem) departed this world on August 6, 2019, from his exile in Berlin at the age of seventy-seven. He leaves behind a formidable artistic legacy, which has made him stand out in the field of criticism and artistic production within the Palestinian and Arab art scene. In this article, Moroccan artist and poet Samir Salmi tries to present a comprehensive portrait of a multi-faceted artist, and reveals the strengths of his research, creative and critical work.
David Duvshani talks with Rafram Chaddad, artist and connoisseur of cooking traditions of the Mediterranean, who lives in Tunisia. They discuss art and food, wandering, traditions and their preservation, artworks created by Chaddad in recent years, and the contemporary art scene in Tunisia.
How is Palestine represented in contemporary art, and how do Palestinian artists deal with the notions of memory and the past? Larissa Sansour raises in her work many questions concerning ideas of sanctity, homeland, and memory, in a manner that helps turning them into an illusion. In an analytical review and an in-depth critical gaze, scholar Housni Alkhateeb Shehada presents a broad picture of the place, the dialogue, the memory, and the conflict the figures are experiencing in the work recently presented by Sansour, in the Danish Pavilion, at the 58th Venice Biennale.
In her on-going multidisciplinary project, "The Road to Ein Harod," Efrat Galnoor tracks the journey undertaken by Raffi, the protagonist of Amos Kenan's novel with the same title. In a series of exhibitions and events, she raises political questions about borders and freedom of movement, and looks reflexively at the way space is constructed by way of stains – an act that questions not only what you look at, but how.
“In Esperia, a portrait of a forgotten artist and a former secret service agent is interlaced with a personal narrative depicting the filmmaker’s relationship with her fading grandfather.” Hakim Bishara reviews Haidi Motola’s new film revealing her grandfather Jacques Motola’s double identity as an Israeli painter and secret service agent in Egypt.
Can we talk about gentrification in the context of colonialism and deprived lands? What does it mean to own the land? Rana Asali raises questions after visiting “That Man in That Box”, a performance piece by Palestinian artist Rabia Salfiti.
"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.
Dana Yahalomi talks with Elinor Salomon about the work of Public Movement in the public sphere, about the political role of the museum and its collections, and about the technology of knowledge transfer. This is a second conversation in the framework of cooperation between Tohu and Kadist.
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.