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.
"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.
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.
Orit Ishay's comprehensive show at the Prague City Gallery includes images of bomb shelters, military uniforms, mourning rituals, woman soldiers, and a scrapbook of local dried flowers that had been given to General Allenby. It seems that the entirety of activities Ishay engages in creates an interesting critical course in which information loses its content and reality sheds its substance.