Dor Guez Iissrraaeellii Iiddeennttiittyy
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Since 2017 Bezalel Academy for Art and Design, MFA
Hadas Maor Curiculum Vitae Professional Experience: Since 2017 Bezalel Academy for Art and Design, MFA Program, lecturer 2017 Bait LeOmanut Israelit, lecturer 2017 French Institute Focus Program 2016 Sculpture Quadrennial Riga 2016 Invited guest Lecture: Conservatism and Liberalism, appearances in contemporary culture 2015 Curator of the Israeli Pavilion, the 56th International Art Exhibition – la Biennale di Venezia 2014 Artist Mentor Artport, Tel Aviv 2012 The 2nd Ural Industrial Biennial of Contemporary Art Intellectual platform, invited guest Lecture: Contemplating the possibility of criticality within the field of visual art 2012 Lecturer of curatorial studies, School of Arts, Kibbutzim College of Education, Tel Aviv 2011 ARCOmadrid 2011, Professional Meetings, invited guest 2010 Professional visit to LA, organized by the LA-TLV partnership and The Jewish Federation of Los Angeles 2009 Study visit to Poland, organized by Adam Mickiewicz Institute, Warsaw 2007 Art Basel 2007, 7db platform for art professionals, invited guest Since 2006 Consultant to Bank Hapoalim Collection of Israeli Art 2006-2009 Consultant to the Angel Collection of Contemporary Art Since 2001 Curator of the Geny and Hanina Brandes Art Collection, Tel Aviv Since 1998 Independent contemporary art curator (The Tel Aviv Museum of Art, The Haifa Museum of Art, The Herzliya Museum of Contemporary Art, The Petach Tikva Museum of Art, The Ramat Gan Museum of Israeli Art, The Ein Harod Museum of Art, The Tel Aviv University Gallery and more) 1997 - 2005 Senior Lecturer -
Bringing Dance to Life
Home THEMARKER Economy & Finance Published 06:08 14.12.11 Latest update 06:08 14.12.11 Bringing dance to life Noa Eshkol, daughter of a prime minister and inventor of movement notation, lives on through the work of the American artist Sharon Lockhart in two new exhibitions. By Elad Samorzik Get Haaretz on iPhone Get Haaretz on Android When Sharon Lockhart was 22 and backpacking in Israel, in the early 80s, she spent two months tomato-picking in a Moshav in southern Israel, saving up for her next destination – India. Back then, one could hardly guess that decades later she would return, a successful artist, studying Noa Eshkol’s work and translating it into two exhibits: one in the Israel Museum in Jerusalem, which opened on Tuesday, and one in Tel Aviv’s Museum of Modern Art , which opens on Thursday. In fact, Lockhart had never even heard of Noa Eshkol until a few years ago. In 2008 she came to Israel for a short visit, part of a joint venture between the cities of Tel Aviv and Los Angeles, in order to examine ideas that might inform her work as an artist. Among them were museum preservation, anthropology, Bauhaus, textiles and post-modern dance. She rummaged in the textile division of the Israel Museum's storeroom for an entire day. It was great, she says, but Lockhart didn't really know what she was looking for. On her way back to Tel Aviv, Diana Shoef of the Center for Contemporary Art, who accompanied Lockhart on her visit, told her about Eshkol, who, along with the revolutionary movement notation she developed in the 1950s with Abraham Wachman, created dances and amazing wall carpets. -
Christian Palestinian Archive: a Project by Dor Guez Exhibition and Programs
Christian Palestinian Archive: A Project by Dor Guez Exhibition and Programs Christian Palestinian Archive: The James Gallery A Project by Dor Guez The Graduate Center, CUNY 365 Fifth Avenue at 35th Street The Graduate Center centerforthehumanities.org/james-gallery Apr 8–Jun 4, 2016 Exhibition and Programs Introduction landscape into a sea of shadows. While Guez fixes his camera to produce a static “post- A golden sunset against a beach in present- card” image of the beach as a site of day Jaffa serves as a deceptively idyllic recreation and leisure, this image is simulta- backdrop for Dor Guez’s film Sabir (2010). neously reframed by Samira’s story, not For about twenty minutes, we see shadows only as a site from her past but from where of individuals partaking in everyday acti- she is estranged in the present. vities against the slowly setting sun: children The story of Samira Monayer is central run home for dinner, couples hold hands to this presentation in the James Gallery, on a romantic stroll, and joggers venture out where it serves as an entry point to Guez’s for evening exercise while surfers ride the artistic practice and the inspiration for the last waves before the sun’s rays drop below Christian Palestinian Archive. This digital the horizon. These shadows are more archive was founded by Guez in 2009 after significant than the charming vignettes they he discovered a suitcase under his grand- appear to be at first glance. Their peace- parents’ bed filled with old photographs ful appearances belie a turbulent history and other personal documents. -
Dor Guez [email protected], +972 (0) 523478442
Dor Guez [email protected], +972 (0) 523478442 Education 2009-2011 PhD Scholar affiliated with Tel Aviv University Faculty of the Arts 2008-2009 Museology Studies (Curatorship) Program, Tel Aviv University 2007-2008 MA, The Interdisciplinary Program in the Arts, Tel Aviv University 2002-2006 BFA, Department of Photography and Video, Bezalel Academy of Arts and Design, Jerusalem Solo exhibitions (selected) 2012 Upcoming: “Dor Guez: Against the Grain”, The Rose Art Museum, Boston 2012 Upcoming: “40 Days”, Artpace, San Antonio, Texas 2011 “SABIR: The Archive” (part B), Dvir Gallery, Tel Aviv 2011 “The Nation's Groves”, Carlier | Gebauer Gallery, Berlin 2011 “SABIR” (part A), Dvir Gallery, Jaffa 2011 “The Nation's Groves”, Tel Aviv Museum of Art , Tel Aviv 2011 “Dor Guez: Against the Grain”, Beursschouwburg, Brussels 2010 “Watermelons Under the Bed”, The Center for Contemporary Art, Tel Aviv 2010 “Al-Lydd”, KW, Institute for Contemporary Art, Berlin 2010 “Lydd Ruins”, The Van Leer Institute, Jerusalem 2010 “The Monayer Family”, The Jewish Museum New York, New York City 2009 “Georgiopolis”, Petach Tikva Museum of Art, Petach Tikva 2009 XIV Biennial of Young Artists from Europe and the Mediterranean, Macedonia 2008 “George”, Kav 16, Community Gallery For Contemporary Art, Tel Aviv 2006 “Zalame' Zalame',” Bezalel Academy of Art, Jerusalem Selected group exhibitions 2012 Upcoming: Under A Tinsel Sun, The 3rd Moscow International Biennale Promise-land, Caixaforum, Barcelona Promise-land, Caixaforum, Palma de Mallorca Promise-land, Caixaforum, -
7.10 Nov 2019 Grand Palais
PRESS KIT COURTESY OF THE ARTIST, YANCEY RICHARDSON, NEW YORK, AND STEVENSON CAPE TOWN/JOHANNESBURG CAPE AND STEVENSON NEW YORK, RICHARDSON, YANCEY OF THE ARTIST, COURTESY © ZANELE MUHOLI. © ZANELE 7.10 NOV 2019 GRAND PALAIS Official Partners With the patronage of the Ministry of Culture Under the High Patronage of Mr Emmanuel MACRON President of the French Republic [email protected] - London: Katie Campbell +44 (0) 7392 871272 - Paris: Pierre-Édouard MOUTIN +33 (0)6 26 25 51 57 Marina DAVID +33 (0)6 86 72 24 21 Andréa AZÉMA +33 (0)7 76 80 75 03 Reed Expositions France 52-54 quai de Dion-Bouton 92806 Puteaux cedex [email protected] / www.parisphoto.com - Tel. +33 (0)1 47 56 64 69 www.parisphoto.com Press information of images available to the press are regularly updated at press.parisphoto.com Press kit – Paris Photo 2019 – 31.10.2019 INTRODUCTION - FAIR DIRECTORS FLORENCE BOURGEOIS, DIRECTOR CHRISTOPH WIESNER, ARTISTIC DIRECTOR - OFFICIAL FAIR IMAGE EXHIBITORS - GALERIES (SECTORS PRINCIPAL/PRISMES/CURIOSA/FILM) - PUBLISHERS/ART BOOK DEALERS (BOOK SECTOR) - KEY FIGURES EXHIBITOR PROJECTS - PRINCIPAL SECTOR - SOLO & DUO SHOWS - GROUP SHOWS - PRISMES SECTOR - CURIOSA SECTOR - FILM SECTEUR - BOOK SECTOR : BOOK SIGNING PROGRAM PUBLIC PROGRAMMING – EXHIBITIONS / AWARDS FONDATION A STICHTING – BRUSSELS – PRIVATE COLLECTION EXHIBITION PARIS PHOTO – APERTURE FOUNDATION PHOTOBOOKS AWARDS CARTE BLANCHE STUDENTS 2019 – A PLATFORM FOR EMERGING PHOTOGRAPHY IN EUROPE ROBERT FRANK TRIBUTE JPMORGAN CHASE ART COLLECTION - COLLECTIVE IDENTITY -
Press Information Dor Guez
carlier | gebauer Press information Dor Guez | 40 DAYS September 21 - October 12, 2013 Opening: Friday, September 20, 6 - 9 p.m. carlier | gebauer is pleased to present Dor Guez‘s recent project 40 DAYS for the first time to the German audience. The exhibition premiered at ArtPace, San Antonio, Texas and then travelled to The Mosaic Rooms, Al- Qattan Foundation, London. Guez’s heritage is deeply routed in the history of the Middle East, he was born to a Christian Palestinian and Jewish Tunisian family. His work focuses on depicting the history and experiences of the Christian Palestinian minority, a dispersed community whose voices and experiences have been marginalized by the prevailing narratives of the region. Guez’s work explores contemporary art roles in provoking questions about history, nationality, ethnicity, and personal identity. Guez‘s practice includes photographic and video techniques, scanned archival images, which he calls “scanograms”, and video installations, which are at once documentary, testimonial and experimental films. 40 DAYS is a multi-channel video piece and photographic series about the destroyed gravesites in the Christian Palestinian cemetery in the city of Lod (previously known by its Arabic name of Al-Lydd). The images originate from Guez’s ongoing project: The C.P.A. (Christian-Palestinian Archive), a growing collection of archival documents from the Palestinian diaspora. In a publication devoted to the project Guez describes the project during a conversation with Mitra Abbaspour, associate curator of photography at Moma: 40 DAYS deals with the position of the Chrisian Palestinian minority in the post “Arab Spring” reality of the Middle East. -
Avi Feldman After the Law: Towards Judicial-Visual Activism
Avi Feldman After the Law: Towards Judicial-Visual Activism Avi Feldman After the Law: Towards Judicial-Visual Activism O N CURATING.org Acknowledgment I would like to begin by sincerely thanking my supervisors and advisers, Prof. Dr. Dorothee Richter (main advisor), Zurich University of the Arts, Prof. Alun Rowlands, and Prof. Susanne Clausen, University of Reading, Department of Art, for their consistent support, guidance, and kindness. I also wish to thank Dr. Rachel Susan Garfield, University of Reading, Department of Art, and Ronald Kolb, Zurich University of the Arts, for their help and assistance from day one. My thanks to Ernst Ludwig Ehrlich Studienwerk (ELES) for generously funding and supporting my PhD, and to PD Dr. Eva Lezzi from ELES, who showed a keen interest in my ideas from the very beginning of our encounter. Vardit Gross, Director of Artport Tel-Aviv, has followed the development of my curatorial practice closely, and her ideas, our conversations, and collaboration have been invaluable to me. I also wish to thank Artport’s dedicated staff – Renana Neuman and Yael Moshe. This publication would not even be possible to imagine without Christoph Willmitzer. I dedicate it to our daughter Anna Sophia Shalom, who joined us in the final segment of my writing efforts and bestowed upon me a sense of energy and hope I never imagined existed. Avi Feldman After the Law: Towards Judicial-Visual Activism O N CURATING.org The present study was accepted as a dissertation at the Department of Fine Arts of the University of Reading. Prof. Dr. Dorothee Richter advised the dissertation. -
True Stories
Fikret Atay Tracey Emin Doug Fishbone Amy Grappell Dor Guez Karl Haendel and True Stories Petter Ringbom Curated by Lilly Wei Fahed Halabi and Ala Farhat Ragnar Kjartansson Simon Leung Jan Tichy Stefanos Tsivopoulos Wang Qingsong True Stories Lilly Wei Documentaries have become increasingly popular. Once considered to be primarily reportage and factual in a newsreel tradition, they now, more often than not, blur the divide between the objective and subjective, the historical and the interpretive, the aesthetic and the journalistic, the form in constant evolution in our age of raucous, in- sistent, unmediated revelation. Inevitably, the idea of factuality has been complicated, the ratio of truth to invention fluctuating, as video artists and filmmakers redefine the genre, layering and expanding the documentary’s formats, altering its nature, finding new and powerful ways to tell their countless stories to an increasingly receptive and sophisticated audience. What, then, constitute documentaries now? Where is the boundary between documentary and fiction? How can the real be made to look convincing and in do- ing so, does it lose its reality or become more so? Since the artists come from several countries and cultures, what kinds of specific narratives are presented, how are they received and what is their impact? The exhibition is framed by a work that investigates how perception can be ma- nipulated and one that is a live feed, the ultimate document in real time, to play in the gallery continuously for the duration of True Stories. The others all have some basis in the biographical and autobiographical, although many are also pegged to the social, political and historical. -
Abstract Booklet 03.04.06
JUNE 03-04/16 Birkbeck University of London University of Nicosia, Cyprus | Fine Arts Programme 1 2 Troubled Contemporary Art Practices in the Middle East: Post-colonial conflicts, Pedagogies of art history, and Precarious artistic mobilization June 03-04, 2016 Birkbeck University of London University of Nicosia, Cyprus 1 2 Conference Description The contemporary art historical and cultural practices circulating in Cyprus, the Middle East and on a wider global scale can often seem imported from a Western art historical tradition. As the influence of Western European patterns of exhibition making and art historical models is becoming increasingly addressed across the global art market, the professional shifts that are being adopted in the research and practice of art history in Cyprus and the Middle East are also becoming obvious. The past, the present and the future of how art history is practiced, studied and developed comes into question, particularly where such narratives have only recently been developed. In areas of conflict, of ethno-national division and of long term patterns of segregation, the narratives of art history have often taken the role of reinforcing cultural and ethnic identity, and at other instances of bringing conflicted communities together in processes of creative dialogue. This conference is itself a dialogue between two institutions, one in the UK and one in Cyprus; countries which were connected through their past colonial relationship and which are still connected through their post-colonial condition. Current art historical debates which include issues relating to social engagement, conflict, virtual life, networks and how we connect to our past, allow the influence of Marxist, post-colonial and post-modern narratives to be discerned. -
Dor Guez: the Sick Man of Europe 3 February – 12 April 2015
ICA Press release: 13 January 2015 Dor Guez: The Sick Man of Europe 3 February – 12 April 2015 Dor Guez, The Sick Man of Europe: The Painter, 2015. Video still, colour, sound, 20 min. Courtesy the artist In February 2015, ICA will present the first UK institutional solo exhibition of artist Dor Guez in collaboration with The Mosaic Rooms. As an artist of Christian Palestinian and Jewish Tunisian descent, living in Jaffa, he is considered a leading and critical voice from the Middle East whose practice questions contemporary art’s role in narrating unwritten histories. Entitled ‘The Painter’ this new installation is the first of five from a new body of work, The Sick Man of Europe. Guez's most ambitious project to date, it reflects on the military history and current political climate of the Middle East through the creative practices of individual soldiers from the region. The installation presents the story of a painter-turned-soldier, a Jewish Tunisian who immigrated to Israel. The ’painter’ was conscripted to the Yom Kippur War as a reservist soldier in 1973 and, in recent years, has undergone psychiatric treatment for post-traumatic stress disorder, part of which consists of repeatedly recording his memories of the war. These recordings are central to Guez’s new work, and relate directly to his artistic strategy of repetition and storytelling in re-evaluating accounts of the past. Dor Guez (b.1983 Jerusalem) is an artist, scholar, and founder of the Christian Palestinian Archive (CPA). In March 2014, Bezalel Academy of Arts and Design Jerusalem appointed Guez as Head of the Photography Department, making Guez the youngest department head in the history of the academy. -
The Center for Contemporary Art Newsletter
The Center for Contemporary Art 5 Kalisher st., Tel Aviv 65257 Opening hours: www.cca.org.il T: +972-3-5106111 Mon-Thu: 14:00-19:00 [email protected] F: +972-3-5106112 Fri-Sat: 10:00-14:00 Newsletter - April 2010 Screening Students' Films from Avni Institute A festive evening of the students films that has been done in the Wednesday, 7.4 at 20:00 past year at Avni Institute of Art, during the video art calss, with the - supervision of Ruti sela. Ori Nir, Imagine, 1:17 min. Ori Nir, Noise, 3:00 min. The evening will conclude with a collaborative work that has been done Ori Nir, The Babylon Play, 2:12 min. during the class hours. Eran Sasson, Soldier, 3:00 min. Eran Sasson, Um Kul Tum at Binyaney The films deals with authoritarianism, power games, education and Ha Uma, 3:30 min. morality, following a visit to the exhibition "Evil to the Core" at the Israeli Shani Zilberman, Untitled 1, 5:00 min. Digital Art Center in Holon. Shani Zilberman, Untitled 2, 5:00 min. Shani Zilberman, Untitled 3, 5:00 min. The film was photographed and edited by Ori Nir, Tal Peisik, Eran Sasson, Moriah Sharet, Untitled, 4:00 min Moriah Sharet, Essie Baroz, Shani Zilberman and Ruti Sela. Tal Peisik, Nothing But The Truth # 5, 3:55 min. Tal Peisik, Why The Sea is Salty, 2:54 min. Essie Baroz, INTERCOURSE, 7:31 min. Collaborative work, People Will Comply, 12:42 min. - Total: 60 min. - Admission: 10 NIS Screening OFF Series – Part II Masters of Video Art Funded by the Ostrovsky Family Fund Monday, 12.4 at 20:00 Curators: Sergio Edelsztein and Sala-Manca - Production: the Center for Contemporary Art Vertical Roll, 1972, 19:37 min. -
Lieven De Boeck Elaine Byrne John
Lieven De Boeck Elaine Byrne John Byrne Tony Cokes Chto Delat Dor Guez Lawrence Abu Hamdan Dragana Juriši´c Ari Marcopoulos Raqs Media Collective Dermot Seymour Mark Wallinger 4 Director’s Foreword barbara dawson 8 Dweller on the Threshold Michael deMpsey 22 Mark Wallinger 24 Ari Marcopoulos 26 Lawrence Abu Hamdan 30 Dragana Juriši´c 35 Dermot Seymour 37 John Byrne 41 Border, She Wrote sara reisMan 56 Dor Guez 58 Lieven De Boeck 59 Chto Delat 60 Elaine Byrne 64 Tony Cokes 69 Raqs Media Collective 72 Undoing Walls rehan ansari 79 Homework: borders within and without hugh caMpbell 86 List of Exhibited Works 88 Biographies 2 “In the year 2000 there was a total of fifteen fortified border walls and fences between sovereign nations. Today, physical barriers at sixty-three borders divide nations across four continents.” — Lawrence Abu Hamdan, 2018 Director’s Foreword barbara dawson Historically, borders tend to be the location of international trouble spots. Prior to the global lockdown, there was a utopian vision of open borders, alongside the reality of a populist push towards border fortification. This dichotomy has now been eclipsed by a pandemic that doesn’t respect borders. Politicisation of the pandemic, displacement of people, and contagion, as well as the drive towards an ever-increasing economic globalisation, have created further complex contradictions. The curatorial idea for the exhibition Worlds Without End (WWE) was first conceived a year ago as a research-based collaboration between Sara Reisman, Executive and Artistic Director of the Shelley & Donald Rubin Foundation, New York and Michael Dempsey, Head of Exhibitions, Hugh Lane Gallery, who are the co-curators of WWE.