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.
Hagai Ulrich converses with Nadav Bin-Nun about music and art, improvisation, violence, and narcissism, following the release of his Spiritual Album.
"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.
In the midst of the general lack of commitment of the central exhibition of the Venice Biennale this year, Avi Lubin visits three significant and interesting projects that offer metaphoric sites and spaces for experimentation and cooperation.
As the art schools' graduation exhibition season is winding down, Tali Tamir revisits the work of two veteran artists – Dov Or-Ner and Dov Heller – and wonders why the radicalism that has bound the avant-garde to social values, crossed various lines, and melted away conceptual and geographical borders found no place in the major museums.
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 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.
“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.