We've just published Tohu's new issue, "Limbs," edited by Reem Ghanayem. At its heart—the disintegrated and commodified body in times of war. In her foreword, Reem elaborates on this issue as broadening the contemporary discussion of the body through its parts.
A conversation with Roee Rosen about the body as a political space, art in the shadow of violence, and the possibility of bearing an image when reality is unbearable.
In this article, the Palestinian body is studied not only as a physical entity, but also as a symbolic surface through which practices of control are transmitted and systems of conflict are rewritten. From the field to the image, from oppression to resistance, the article traces how the body is persecuted, consumed, and re-represented, while exploring the possibility of restoring its meaning and sovereignty from within the visual space itself.
Despite the nausea she felt at the thought of the war economy, Michal B. Ron writes from this perspective about the summer exhibitions in Berlin. The exhibitions by Yoko Ono and Lygia Clark offered opposite ways of participating in art, one of which is no different from marking a 'like.' So, can marking a like end a war? Or does the like actually feed off it?
How do we respond to suffering in the present without the benefit of historical distance? Amir Nassar suggests we reconsider how we engage with images of suffering.
Between the years 2017 - 2020 the kurdish artist Fatoş İrwen from Diyarbakır was imprisoned for demonstrating against state violence and gender inequality. In the darkness of her prison cell, once vanished from public sight, she worked with the material that gives form to her artistic practice, her own hair.
With precise lines and minimalistic visual language, Samah Shehadeh presents the Palestinian female body as a charged space of memory, rupture, and contemplation. Drawing with charcoal, a black and raw material, embodies an artistic act that exists on the seamline between erasure and exposure. The body in her work is not a closed representation but a continuous movement, silent yet present, exposing questions that representation cannot resolve.
A digital exhibition of the works of Samah Shehadeh, placing the feminine Palestinian body in a fraught realm of memory, rupture, and reflection. Shehadeh works from within history and opposite it, with a precise line and a reductive visual language. The body in her work is a continuous movement that exposes the issues representation cannot resolve.
