photography

Mobilizing Stills

 “The work of the photojournalists’ collective Activestills does not settle for reflecting the grim reality by providing representations of it, but offers a more active mode of photography that joins the protests of the struggling communities being photographed.” Nadeem Karkabi reviews the recently published book that covers a decade of Activestills’ collective photo-activism.

Crimes and Misdemeanors

Do the works of Michal Makaresco represent cheap fetishism and dubious situations? Were they made casually, easily, or on a whim? Hagai Ulrich visited the show at Hamidrasha Gallery in Tel Aviv and came back with thoughts about good taste, honesty, as well as questions about weight and scale.

Playing Spirits

Between 1918 and 1924, the German missionary and anthropologist Martin Gusinde traveled to Tierra del Fuego and West Patagonia, the southernmost point in Chile and therefore the globe. Alma Mikulinsky writes about the traveling exhibition of Gusinde’s photographs, documenting his encounter with the indigenous people of the Selk’nam, the Yamanas and the Kawésquar.

Two Point Perspective (part III): Forms of Refusal

 The third and final part of the essay by Noah Simblist focuses on Akram Zaatari’s use of dialogical exchange as an artistic strategy. While completely different in their dynamics and outcomes, Zaatari’s conversations with both Hagai Tamir and Avi Mograbi, he argues, reveal different degrees of both personal and political engagement and, at the same time, various forms of antagonism and refusal.

Temporary Structures

Many emotionally and politically charged places appear in Nir Evron's work, among them  Rawabi, the new Palestinian city, the Seven Arches Hotel on Mount Olive, in Jerusalem, and the Jamestown Settlement in Virginia, USA. What happens to the concreteness of the locations and the specific political stories when the works separate content and form? Hagai Ulrich reviews Evron's show, "Masad (Foundation)."

Two Point Perspective (part II): the Dialogical Exchange

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.

Homonyms

Hagai Ulrich on the homonyms in Yossi Breger's last show, on the relations between single words and the continuum, and on the idea of the abstract whole.

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