video

Nuances of Belonging #9

Since the winter of 2012 Hamody Gannam has been visiting the village of Iqrith once a month, sometime staying for a few days, capturing the place and the people living there on video and still photography.
The current column was shot using a DIY drone, built in Iqrith by Ghassan Toumie.

Metaphoric Sites

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.

Beloved Country

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.

Nuances of Belonging #8

Since the winter of 2012 Hamody Gannam has been visiting the village of Iqrith once a month, sometime staying for a few days, capturing the place and the people living there on video and still photography.
The current column was shot using a DIY drone, built in Ikrit by Ghassan Toumie.

A Memory Gap

As part of a new joint initiative of Kadist and Tohu Magazine to publish video interviews, Elinor Salomon talks with Elham Rokni about reconstruction and memory, biography and history, Orientalism and men with a Middle Eastern appearance.

Black Swan, White Swan

"Slowland," Bianca Eshel Gershuni's and Oree Holban's joint exhibition, opened at Barbur Gallery in Jerusalem in the wake of the highly visible dispute between the gallery and the municipality, and the latter's attempts at censorship. Hagai Ulrich visited the show and returned with some thoughts about the political prospects suggested by the space the two have built.

Nuances of Belonging #7

Since the winter of 2012 Hamody Gannam has been visiting the village of Iqrith once a month, sometime staying for a few days, capturing the place and the people living there on video and still photography

General Land of Vision

Thirty-eight technologically complex projects, a century of experiences of the moving image, 18,000-square-foot of installations, drawings, 3-D environments, sculptures, performances, paintings, and online spaces: an immersive experiment or sensory overload? Rula Khoury visits the impressive exhibition Dreamlands: Immersive Cinema and Art, 1905-2016 at The Whitney Museum of American Art in New York.

Nuances of Belonging #6

Since the winter of 2012 Hamody Gannam has been visiting the village of Iqrith once a month, sometime staying for a few days, capturing the place and the people living there on video and still photography

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.

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