The first installment of a new column on studio visits by Michal B. Ron, who lives in Berlin. As the coronavirus pandemic spreads, the column also develops and acquires new forms. At the center of each encounter is a discussion of works by different artists and their thoughts about the current conditions of art and life.
Can artistic strategies of re-appropriation and remediation perform a de-orientalization of an imperialist image? Margherita Foresti writes about Heba Y. Amin’s rendering of a 19th-century photograph of an Egyptian harem in tapestry.
Following a number of recent books by and on John Berger, coinciding with the renowned critic’s passing away in 2017, Norman Saadi Nikro dives into some of Berger’s writings and drawings. He explores the transformational impulses driving Berger’s relational, molecular, and constellation-like approach, and its relevance to today’s world in crisis.
Hagai Ulrich talks with Oran Hoffmann about perception, photography, perspective, and optical illusions, about Cézanne, Albers, Vasarely, and about performativity in photography, following Hoffmann's exhibition "Love-Sick Heart," which had recently been shown at The Lobby - Art Space.
In the third chapter of her column, Goni Riskin takes advantage of the easing of the restrictions to make a series of portraits, with styling and makeup. As a precaution, she works on a rooftop, in natural light and open air. She uses a no-contact thermometer to take the temperature of her sitters, the makeup artist, and herself. She keeps the styling down to clothes from the sitters' closets, with outside loans of items when absolutely necessary.
Goni Riskin joined a residency program at Arthura – a new center for art, design, and community in Emek Hefer (Hefer valley), in central Israel. She has chosen to take mostly pictures of the elderly population, in an attempt to understand how to create interaction while maintaining social distancing and wearing masks and gloves.
In her new column, Goni Riskin looks at how she might continue to photograph under the coronavirus restrictions. In the first installment she creates a series of portraits while trying to observe the rules, which are often not entirely clear: stay within a 100-meters range from home, and then it's 500 meters; maintain a distance of two meters from other people; avoid entertaining at home people who do not live there.
Why wasn't the work of local photographers being taught at Bezalel Academy's photography department, in its various iterations over the years? Did local photography, dealing with the connection between people and place, exist? Hagai Ulrich examines the history of local photography following the publication of Noa Sadka's book, Photographic Truth is a Natural Truth – a Chronicle of a Photography Department.
In what ways can an archive be regarded as an anarchic practice of collection and circulation? Following his visit to the exhibition Unboxing Photographs: Arbeiten im Fotoarchiv, Saadi Nikro raises some thoughts about the way interventionist archivists, artists, and photographic practitioners work with photographic archives.