˙¯ÂÁ¯Á˘„ÈÁȆ˙ÂίÚ˙†‰¯˘Ú≠˘˘ Sixteen Solo Exhibitions Brunette ˙¯ÂÁ¯Á˘ Sixteen Solo Exhibitions „ÈÁȆ˙ÂίÚ˙†‰¯˘Ú–˘˘ 2000-2001 ≤∞∞±≠≤∞∞∞

Heinrich Böll Foundation, Tel Aviv ·È·‡†Ï˙†¨Ï·†ÍȯÈȉ†Ô¯˜

Curator: Tal Ben Zvi È·ˆ†Ô·†Ïˆ∫˙¯ˆÂ‡

Editors: Tal Ben Zvi, Moran Shoub ·Â˘†Ô¯ÂÓ†¨È·ˆ†Ô·†Ïˆ∫‰ÎÈ¯Ú Design & Production: Dina Shoham Studio ̉˘†‰È„†ÂÈ„ÂËÒ†∫‰˜Ù‰Â†·ÂˆÈÚ

English Translation: Daria Kassovsky ȘҷÂÒ˜†‰È¯„†∫˙ÈÏ‚‡Ï†Ì‚¯˙ Arabic Translation: Nawaf Athamna ‰Ó‡˙Ú†Û‡ÂÂ†∫˙È·¯ÚφÌ‚¯˙

Prepress: Kal Press Ϙ†ÒÂÙ„†∫ÒÂÙ„†Ì„˜ Printing: Kal Press Ϙ†ÒÂÙ„†∫‰ÒÙ„‰ Binding: Sabag ‚·Ò†∫‰ÎȯÎ

The curator wishes to thank: Shelly Cohen, ¨ÔÈʯ†Èψ¨Ô‰Î†ÈÏ˘Ï†˙„‰φ˙˘˜·Ó†˙¯ˆÂ‡‰ Tali Rosin, Hadas Maor and Asaf Zippor ¯ÂÙȈ†Û҇†¯Â‡Ó†Ò„‰ Special Thanks to The Heinrich Böll Foundation: ∫·È·‡†Ï˙†¨Ï·†ÍȯÈȉ†Ô¯˜Ï†˙„ÁÂÈÓ†‰„Â˙ Julia Scherf, Ayana Segal-Cohen, Ulrike ¨ËÏ·„Ï‚†‰˜È¯Ï‡†¨Ï‚Ò†‰ÈÈÚ†¨Û¯˘†‰ÈÏÂÈ Goldenblatt, Ravit Aizenberg, Cloude Weinber ®¯·Ú˘Ï†‚Ȉ©†¯·Ȇ„ÂϘ†‚¯·ÊÈȇ†˙ȯ (former representative)

Danacode: 462-137 462-137 ¥∂≤≠±≥∑†∫„˜‡„ ISBN 965-512044-9 ISBN 965-512044-9 ISBN 965-512044-9 All rights reserved to Tal Ben Zvi È·ˆ†Ô·†ÏËφ˙¯ÂÓ˘†˙ÂÈÂÎʉ†ÏÎ and Babel Publishers © © ©†Ï··†˙‡ˆÂ‰ÏÂ

No part of this publication may be reproduced, ÔÒÁ‡Ï†¨ËÈϘ‰Ï†¨Ìψφ¨ÏÙÎ˘Ï†¨˜È˙ډφÔȇ stored in a retrieval system, photocopied or ÂÓÓ†ÌÈÚ˘†Â‡†‰Ê†¯ÙÒ†ıÈىφ‡†Ú„ÈÓ†¯‚‡Ó· transmitted in any form or by any means, ‡†ÈËÙ‡†¨È¯˘χ†¨ÈÚˆÓ‡†Ì¢·Â†‰¯Âˆ†Ì¢· electronic, mechanical or otherwise, without prior ·˙η†¯Â˘È‡†‡Ïφ®‰ËϘ‰Â†ÌÂÏȈ†˙·¯Ï©†È‡ÎÈÓ permission from Babel Publishers Ư‡φÌȇȈÂÓ‰Ó

“Brunette” is published in conjunction ¯‚‰†˙˙ÂÓÚ†ÛÂ˙È˘·†¯Â‡Ï†‡ˆÂȆ¢˙¯ÂÁ¯Á˘¢ with Hagar Association. www.hagar-gallery.com Printed in Israel 2003 ≤∞∞≥†Ï‡¯˘È·†ÒÙ„ Epilogue ¯·„†˙ȯÁ‡ ¥

Joshua Simon ÔÂÓÈÒ†Ú˘Â‰È ±∞ Maria Pomiansky ȘÒ‡ÈÓÂÙ†‰È¯Ó ±∂ Eliav Lilty ÈËÏÈφ·‡Èχ ≤¥ Zamir Shatz ı˘†¯ÈÓÊ ≤∏ Ayelet Zohar ¯‰Ê†˙Ïȇ ≥¥ Efrat Shalem ÌÏ˘†˙¯Ù‡ ¥∞ Ahlam Shibli ÈÏ·È˘†Ì‡ÏÁ‡ ¥∂ Andrea Peschel Ï˘Ù†‰‡È¯„‡ µ≤ Eyal Ben Zvi È·ˆ†Ô·†Ïȇ µ∏ Neta Harari Navon Ô·†È¯¯‰†ÚË ∂¥ Samira Wahbi È·‰Â†‰¯ÈÓÒ ∑∞ Ronit Shalev ÂÏ˘†˙È¯ ∑∂ Alice Klingman ÔÓ‚ÈϘ†ÒÈχ ∏≤ Jumana Emil ‘Abboud „·چÏÈÓ‡†‰‡ÓÂß‚ ∏∏ Sigal Eshed „˘‡†Ï‚ÈÒ π¥ Shula Keshet ˙˘˜†‰Ï¢ ±∞≤

CVs ÌÈÈÁ†˙¯˜ ±∞π List of works ˙„·چ˙ÓÈ˘¯ ±≤µ

All the exhibitions were curated by Tal Ben Zvi ˙¯ˆÂ‡‰†È„ȆÏچ¯ˆ‡†˙ÂίÚ˙‰†ÏÎ except for the exhibition “13 Live Bullets” Ìȯ„Ά±≥¢†‰Î¯Ú˙φ˯نȷˆ†Ô·†ÏË curated by artist & curator Shula Keshet. Æ˙˘˜†‰Ï¢†˙¯ˆÂ‡‰Â†˙ÈÓ‡‰†Ï˘†¢ÌÈÈÁ All texts in the catalogue were written by Ô·†ÏˆȄȆÏچ·˙Î†‚ÂÏ˘·†ÌÈËҘˉ†ÏÎ Tal Ben Zvi except the texts of: Sigal Eshed, ¨„˘‡†Ï‚ÈÒ†∫Ï˘†‰Î¯Ú˙†ËÒ˜Ëφ˯نȷˆ Ayelet Zohar, Yehoshua Simon, Shula Keshet. Æ˙˘˜†‰Ï¢†¨ÔÂÓÈÒ†Ú˘Â‰È†¨¯‰Ê†˙ÏÈȇ ¯·„†˙ȯÁ‡

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È·ˆ†Ô·†ÏË 7 6 allows them a concurrent gaze both from Notes Museum of Art, Ein Harod and at Hagar Art the “margins” and from the “center,” while Gallery in May 2002. The exhibition revolved moving between different spaces, 1. The Heinrich Böll Foundation (named after around the Mizrahi (Sephardi) identity of 22 the German writer Heinrich Böll) is accredited Jewish artists, most of them native Israelis, languages, religions, cultures, and nations. by the German Green Movement. The whose parents’ (one or both) immigration Other artists allude to the way in which Foundation supports the promotion and experiences from Arab countries form a crucial the “place” itself defines their identities, in empowerment of NGOs such as organizations element in the definition of their identities. The fact “positioning” them. Yet others for human rights, women’s rights, minority artists who exhibited at the Heinrich Böll position neither themselves nor others, but rights, the environment, etc. As part of this Foundation and took part in Mother Tongue rather commodities, plants and other support, the Foundation’s Meeting Hall were Sigal Eshed who was also the editor of the representations of culture in the Israeli/ (adjacent to the gallery space) hosts workshops film festival and conference “Mother Tongue Palestinian space. for these organizations daily. The meeting hall Cinema and Culture between East and as a diversified ideological-political gathering Arabness”, Jumana Emil ‘Abboud, Ahlam place projects onto the gallery space, and the Shibli, Alice Klingman, Zamir Shatz, Tal The act of “positioning” within the presentation of art in the gallery is experienced Matzliah, Tal Shoshan, and Neta Harari Navon. Israeli/Palestinian living space, under the as part of a list of human rights. It attests to 4. Andrea Peschel was born in Hamburg. She current state of violence,5 delineates the artists right to express their opinion and present is a graduate of art academies in Berlin and boundaries of that space as wounding and their point of view in a public space. In the Barcelona. Maria Pomiansky was born in bleeding. The space introduces the subject meeting place between the public and the Moscow. She is a graduate of the Bezalel private, the gallery was delineated as a political as a “subject in transition” in-between Academy of Art and Design, Jerusalem. national, ethnic, class and gender site. 5. Fatalities in the al-Aqsa Intifada, 29 Sept. boundaries. The act of “positioning” in 2. The first 11 exhibitions staged in the gallery 2000 - 29 Nov. 2002, according to B’tselem are: this “bleeding” situation cannot disregard during 1998-99 were documented in the In the Occupied Territories: 1,485 catalogue A New Middle East. The present the personal price paid by each and every Palestinians were killed by Israeli security catalogue documents the gallery’s activities subject for his/her positioning as a forces’ gunfire; 162 Israeli civilians and 126 during 2000-2001: 13 exhibitions were held in persistent, metaphorical and actual members of the Israeli security forces were the gallery, two exhibitions were featured as “transition charge.” killed by Palestinians. street projects, and a final exhibition by Jumana Within Israel: 36 Palestinians, residents of the Emil ‘Abboud, marked the end of the gallery’s Occupied Territories, were killed by Israeli “Personal prices” are not the exclusive operation in the Heinrich Böll Foundation security forces gunfire; 249 Israeli civilians were product of states of violence, but rather a offices and the inauguration of the Hagar Art killed by Palestinians, residents of the Occupied routine consequence of a postcolonial Gallery in Jaffa. All the exhibitions were Territories; 63 members of the Israeli security presented from the critical-commentary point space that still illustrates power relations, forces were killed by Palestinians, residents of of view of a Jewish, Ashkenazi (my mother was racism, gaps and hierarchies. Different acts the Occupied Territories; 12 Palestinian, born in Argentina, my father was born in Israel, of positioning define the “self” in relation citizens of Israel, were killed by the Israeli and his parents – in Moldavia), middle class Police. (As of 31 March 2002, the information to the “other,” but this affinity is multi- curator, who is a woman and a mother. faceted and cannot be reduced in such a provided concerning casualties in the Occupied way that eliminates the power relations 3. The Mother Tongue project began with a Territories is only partial, and does not include series of one-person exhibitions of Palestinian approximately 130 Palestinians who have been and the bloody price entailed. artists at the Hagar Art Gallery, Jaffa and the Art killed by Israeli security forces during the Center in Bethlehem. It culminated with the invasion of Jenin and Nablus in operation Tal Ben Zvi exhibition Mother Tongue that opened in the “Defensive Wall”.) 9 8 Epilogue

he Heinrich Böll Foundation Gallery Shefa-Amer and spent most of her mother was born in Yemen, his father – in operated in the Foundation’s offices on childhood and adolescence in Canada. Her Israel, his father’s parents – in Latvia. Nachlat Benyamin Street in south central parents were born in Palestine. Sigal Eshed Tel Aviv for three years (1998-2001).1 The was born in Tel Aviv. Her father was born These biographical facts were not sixteen one-person exhibitions featured in in Turkey, her mother – in Israel, and her presented in any of the exhibitions, nor in this catalogue were staged during 2000- mother’s parents – in Greece. Eyal Ben Zvi the accompanying resumes. Nevertheless, 2001,2 a period that began during the days was born in Kibbutz Alumot and grew up in-between these biographical notes and of the Oslo Peace Accords, and ended in in Pardes Hanna. His mother was born in the rest of the artists’ CVs lies a space October 2001, the first anniversary of the Argentina, his father – in Israel, and his reflecting the life circumstances of the al-Aqsa Intifada. father’s parents – in Moldavia. Neta Harari artists, their parents and families. Navon was born in Yahud. Her mother In 2001 the gallery at the Heinrich Böll was born in Poland, her father – in Israel, This extended reading links the act of Foundation offices in Tel Aviv was closed, her father’s parents in Yemen. Samira “positioning” with a critical, postcolonial and in December that same year the Hagar Wahbi was born in Daliat al-Carmel. Her consciousness that extracts geographical, Art Gallery was opened in Jaffa’s al-‘Ajami parents were born in Palestine. Ayelet historical, social and cultural space and neighborhood, hosting the Mother Tongue Zohar was born in Tel Aviv. Her father was identity from a (collective and project.3 In the wake of Mother Tongue and born in Poland, her mother – in Israel, her biographical) colonialist past and present the insights it provided, I would like to mother’s parents – in Poland and formulated and based on class and power propose yet another point of view on the Germany. Eliav Lilti was born in Be’er relations. works reviewed in this catalogue, beyond Sheva. His mother was born in Morocco, the reading that accompanied them at the his father – in Algiers. Joshua Simon was In this respect, the critical postcolonial time of their presentation. born in Tel Aviv. His mother was born in consciousness sustains dialectical Hungary, his father – in Israel, his father’s interrelations (of awareness / resistance / The “politics of identity” is a common parents – in Israel. Maria Pomiansky was usage / and resistance once again) with axis shared by all the works. It is born in Moscow. Her parents were born colonialist rhetoric and discourse that are manifested by the way in which the artists in Russia. Andrea Peschel was born in founded on notions of hegemony and position themselves with regard to issues Hamburg. Her parents were born in subordination, “First world”/“Third world” of migration and immigration, refugeeism, Germany. Alice Klingman was born in relations, and dichotomous categories such foreignness, citizenship, nationality, and Be’er Sheva. Her parents were born in as East/West, black/white, marginalized otherness, on one hand, and with regard Morocco. Shula Keshet was born in Tel minorities/powerful majorities, as well as to the Israeli/Palestinian space, on the Aviv. Her parents were born in Iran. Ahlam native born, immigrants and second other. Shibli was born in the village Shibli. Her generation immigrants. parents were born in Palestine. Ronit All the artists exhibiting in this Shalev was born in Moshav Devora. Her Some of the artists refer directly to the catalogue, excluding two,4 were born and parents were born in Morocco. Efrat act of “positioning” as a critical, artistic, attended art schools in Israel. Shalem was born in Tel Aviv. Her parents cultural and even political strategy. As part were born in the Soviet Union. Zamir of that strategy, they represent themselves Jumana Emil ‘Abboud was born in Shatz was born in Kibbutz Kineret. His as having a “double consciousness” which ÔÂÓÈÒ†Ú˘Â‰È††Úˆ˜Ó†ÈÏÚ·

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The the foreignnessandintricacyofthatsame childhood memoriesfromMoscowwith juxtaposing, viatheimageofpig,her explores statesoftransitionandotherness, as ifitwereapig’s snout.Pomiansky portrayed wearingabuttonontheirnose Russian immigrants,allofthemare Pomiansky’s friends,allofthemare Alongside thephotographs,Pomiansky Maria Pomiansky ‡†Ï†¯˙Î Èȯ†Ì˘†ÌÓÂÓ ÏÎ ¨‰ÈÒÂ¯Ó ÌÏÂΆ ÌÈÓψӆ ̉˘Î† ÌÈ·Èίӆ ¯Â˙ÙΆ ÏÚ† Û‡‰† ÌÈÏÂÚ†ÌÏÂΆ¨È˜Ò‡ÈÓÂÙ†‰È¯Ó†Ï˘†‰È¯·Á†Ì‰†ÌÈÓψӉ†ÏÎ them are portrayedwearingabuttonontheirnose friends, allofthemare Russianimmigrants,andallof All thephotographedsubjectsare MariaPomiansky’s Pomiansky’s groupoffriendsinclude the painting.Thebiographiesof way oflifeintherealitythoseviewing and theactuallanguage,cultureeven the realitydocumentedinpainting, continuity, namelyacontinuumbetween consciousness.” blindness andestablishinga“false reality whileembracingacertaindegreeof Realist paintings,thatpurporttoreflect continue thecritiquewagedatSocial reality. Theseriesofnosephotographs sculptural-figurative paintingidealizes healthy-looking farmerinthetraditionof farmer holdingtwopiglets.Paintingthe of SocialRealism.ItdepictsaRussian features alargeoilpaintinginthetradition The practiceofreflectionassumes portrait photographyasamirrorofthesoul. them, ridiculesthelongtraditionofself- rootless. Theironicpiggishimagederiding eternal migrants,whetherhomelessor from oneplacetoanother, butrather becomes universal.Theyarenotemigrants other knownplace.Theirdetachment neither fromhere,nor, infact,fromany the Israeliartworld. is ultimatelyexhibitedattheveryheartof of foreignnessevidentinthephotographs culture oforigin.However, the autonomy iconography hailingfromtheartist’s possessing aprivate-biographical-cultural multi-cultural readings.Itatteststo between different,evencontradictory, signs. Theworkgeneratesadistance into asystemthatisunabletoreadhis be appropriated,categorizedorencultured the canonicallocalcultureandrefusesto immigrant whodirectsa(greenish)gazeat source ofpower. Thisisthepowerof transforming thatveryevasivenessintoa evasiveness ofidentityandtheself-portrait, Most ofall,thisworkalludestothe The friendsphotographedasaliensare alluding todaysofgrandideologies. tradition, thepaintingobservespast, From theviewpointofSocialistRealist language, culture,family, community. emigration, namelyariftintermsof

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ÏΆ˙‡†‰˘Ó‰†¨˙Á‡†¯Â˙ÙΆ¢˙ˆÈÁÏ¢†˙ÂÚˆÓ‡· ‚˘ÂÓ†ÈÂÈ˘‰†Æ˙¢ÙÁ˙‰†Ï˘†‰˜È˘¯Ù·†˙˘Â ˙ÈÓ‡‰†Æȯ˘Ù‡†Âȇ†¨‰¯Â‡Îφ¨Èχ¯˘È†ÌÊÈχȯ single “push”ofabutton,whichchanges transformation isobtainedbymeansofa impossible. Theartistemploysapractice implies apositionthatnullifiestheuseof The greenishlightfallingonthefigures representation conventions.Apparently, Ï˘†‚Â҆̂†Æ‚ˆÈȆ˙ÂÓÎÒÂÓ·†˘ÂÓÈ˘†˙ÏË·Ó‰

21 20 ‰„ÓÚ†ÏÚ†ÚÈ·ˆÓ†˙ÂÈÂÓ„‰†ÏÚ†˜¯˜¯È‰†¯Â‡‰ an Israelirealismofsortsislikewise of masqueradinganddisguise.The the entireimageofface. ÆÌÈÙ‰†ÈÂÓÈ„ ÈËÏÈφ·‡Èχ††˙ÂϘ†¯˙È·†ËÏ˘†„ÎÂÏÓ†‡Ï†ÔÂÓ‰

Ï˘† ‰ÈÏ˘‡† ÂÏ˘† ÔÚÓφ ˜ÈÚÓ† ¢øÍÈÈÁ ¨‰Ù˘Ï†ıÂÁÓ†‡ˆÓ†¨È˙ÂÏ˙†¨˜¯ÂÙÓ†¨˙ȯÂËÂÓ ˙Á˙ÂÙ†ÈËÏÈφ·‡Èχ†Ï˘†Ë¯‡–‡Ȅȉ†˙„·† ƉËÈÏ˘Â†˙ÂÈχ„ȷȄȇ†¨˙Â‡ÓˆÚ ¯·Â‡–Òȉ†Ï˘†ËҘˉ†Æ‰¯·Áφ˜ÂÁφıÂÁÓ ÌÈ„˜¯†Ï˘†˙‚ÂʆÆÌÈÈÂÏÒ†ÌȄ˜ȯ†˙·Á¯· ÈËÏÈφ·‡Èχ†Ï˘†Ë¯‡–‡Ȅȉ†˙„Â·Ú ¯˙ÂȆ ¯Á‡Ӣ† ¨˙È·È˘ÈÙ‰† ‰ÈÙ¯‚ÂÈ·‰Â ̉ Ɖ·Á¯‰†ÏÚ†˙ÂÈË‚χ·†ÌÈÚ†ÌÈ··ÂÁ Èί„†˙ÂÈ˙¯·Á‰†„ÂÒȉ†˙ÂÁ‰†˙„‡†ÏÚ†‡È‰ ÌÈ˘Ó˘Ó†˙‡˘ÈϘ†ÏÂÁÓ†˙‡¯Â‰†‰Ï†ÌÈÂÂÏ ˙È˘ÙÂÁ†‰¯ÈÁ·†‡È‰†Ì˙‚‰˙‰˘†ÌÈÈÓ‡Ó ÔÂχ˘‰†ÆÔÂÓ‰‰†ÏÚ†˯ى†ÏÚ†Ô‰Ï˘†Á˜ÈÙ‰ ¨˙‰ʆÒÏÓ‰φ‰˜ÈÚÓ‰†¨˙È˙¯·Á†˙ίÚÓÎ Ï˘†‰˙ÏÂÎȆ˙‡†˙‡Ë·Ó†Ì‰Ï˘†‰ÚÂ˙‰˘Â Íȯ„Ó‰†¨ÌÈÒÂÓÈ‰†Íȯ„Ó†¨˙ÈÓˆÚ†‰˜È„·Ï Æ‰Ù˘†¨‰ÈÙ¯‚ÂÈ· È˙ˆÂ·˜‰†ÏÂÁÓ‰†Ú˜¯†ÏچƯ¯Á˘Ï†˙ÂÓ‡‰ ˙·¯˙‰†¨ÏÂÁÓ‰†ÌÏÂÚ†¨ÌÈÈÂÏÒ†ÌÈ„Â˜È¯Ï Ï‡ÈˆËÂÙ† ÏÚ† „ÓÂÚ† ÈËÏÈφ ·‡Èχ ˙ÂÚ‚Â‰† ˙¯„‚‰Â† ÏÂÁÓ† ˙‡¯Â‰† ˙ÂÚÈÙÂÓ Ì„‡‰† ˙‡† ÌÈÂÎÓ† ‰Ï‡† ÏΆ ¨˙ÂÓ‡‰Â ÒÁÈ·†ÔÂÓ‰†Ï˘†˙Âω˙‰·†Í¯Ή†˙ÂÓÈχ‰ ÏΆ ͢ӷ† Æ·Á¯Ó·† Ì„‡† È·† ˙‚‰˙‰Ï ÌÈ„ÈÓÚÓ† ̉˘† ÍÂ˙† ¨È˙¯·Á† ˘ÈÈ·ÂÒÎ ÈÙ–ÏÚ†˙ÂÈ·Â˙ÎΆÌÈÙˆ˘†ÌÈËҘˆƷÁ¯ÓÏ ˙ÈÈ·‰† ÔÈ·† Á˙Ó‰† ¯Ó˘† ‡Ȅȉ† ˙„Â·Ú Ï˘†˙ίÚÓ·†˙Â·ÂÓ‰†˙Âȯ‚˘††ÌÊίӷ ˙ÈÓˆÚ†‰Î¯„‰†È¯ÙÒÓ†ÌÈÁ˜ω†ÌÈÈÂÓÈ„†Ûˆ¯ „‚Ά¨È˘ÙÂÁΆÂÓˆÚ†˙‡†Â˙ÒÈÙ˙†˘ÈÈ·ÂÒ‰ ˙‡† Ì˙ÂÁ‰† ¯·Â‡–Òȉ† ȯ·„Ά ÆÁÂΆ ÈÒÁÈ ÔÂÓ‰‰˘†ÏÎ΢†∫ÈΆÌÈڷ˜†¨ÏÂÁÓ†„ÂÓÈÏÏ ÆÈ˙¯·Á†¯ÂˆÈΆÂ˙‡†˙ÂÂÎÓ‰†‰Ù˘‰†˙ÂίÚÓ You never say please, you never†∫‰„·ډ ˙ÂȉφÈ¢چ‡Â‰†ÍΆ„ÎÏ˙Ó†ÛÙÂˈÓ†τ‚ ÔÂί‰†¨ÒÏÓ‰†Ï˘†Â˙ÂÓ„††‰ÚÈÙÂӆ͢Ӊ· say thank you. ¯˙È·†ËÏ˘†„ÎÂÏÓ†‡Ï†ÔÂÓ‰†ÈΆ¨¯˙ÂȆÔÎÂÒÓ ≠Òȉ†Æ·ÂÁ¯·†˙È·†˙‚¯„Ó†ÏÚ†ÌÈ‡†¯ÒÁ - Don’t be an idiot, thank you… ¢°˙ÂϘ ËÓ¢†‰˙‡†¨„ȉ†˙ÚÂ˙†˙‡†‰ÂÂÏÓ‰†¯·Â‡ ‰ˆÂ·˜‰Â†‰ˆÂ·˜Ï†ÍÙ‰‰†Ë¯Ù‰†¨Í˘Ó‰· È„¢† ∫¯ÙÒÓ† ¨·Â˘Â† ·Â˘† ÔÂÈÙ¯·† ÒÏÓ‰‰ ÔÂχ˘‰† Ï˘† ÌÈÚÓ‰† ̉† ÔÂӉφ ˙ÎÙ‰‰ ÌȯÙÒÓ†Âȯ‰†ÆÆÆÏÂÁÓ‰†ÌÏÂÚ·†„ÏÂ†ÈχÂÓ˘ ¯·Â‡–ÒÈÂÂΆÚÈÙÂÓ‰†ÔÂχ˘‰†Æ˙ÈÓˆÚ†‰˜È„·Ï ˙¯ÂÓÊ˙·†Ô‚È†‡Â‰†ÆÆÆÒχ†„˜¯†µ†ÏÈ‚Ó†¯·Î˘ Æ„ÈÁȆ¯ÎʆÔÂ˘Ï·†ÌÈ·˘Â†Ìȯ·ÂÚ‰†Ï‡†‰ÙÂÓ ÌȄ˜ȯφÂÈ„ÂËÒ†Á˙Ù†¯˙ÂȆ¯Á‡ӆ¨Ï¢‰ˆ ÏÚ†‰ËÈÏ˘†‰ˆÂ¯†‰˙‡†Ì‡‰¢†ÔÁ·Ó‰†Ï˘†ÂÓ˘ ‰ÈˆÈ„¯Â‡Â˜†¯ÒÁ†ÒÏÓ‰‰†¢ÆÆÆÔ‚†˙Ó¯·†ÌÈÈÂÏÒ

You never say please, you never say thank you. - Don’t be an idiot, thank you… 23 22 A Divided Crowd is Dominated More Easily EliavÈËÏÈφ·‡Èχ Lilti ††˙ÂϘ†¯˙È·†ËÏ˘†„ÎÂÏÓ†‡Ï†ÔÂÓ‰ 7.6.01-30.6.01 liav Lilti’s videoartworkbeginswithamateur of dance…Hisparentssaythatat theage “Danny Shmueliwasbornintotheworld man dropsloosely, time andagain,reports: gesture ofthehand,whichhomeless street. Thevoiceoveraccompanyingthe stairs ofanapartmentbuildingonthe person appears,helplesslyleaningonthe being. systems thatconstitutehimasasocial perception asfree,vis-à-visthelingual the subject’s constructionandhisself- the video,tensionismaintainedbetween in thepublicsphereemerge.Throughout definitions pertainingtohumanbehavior group dancing,danceinstructionsand set onefree.Againstthebackdropof their movementexpressesart’s capacityto their conductisafreechoice,andthat ballroom dancefloor. Theybelievethat dance partnersmovingelegantlyacrossa A DividedCrowd isDominatedMore Easily Subsequently thefigureofahomeless crowd isdominatedmore easily! more dangerous itcanbe.Adivided squeezes togetherandunites,the The largerthecrowd andthemore it ‡Â‰ È¢چ ˙Âȉφ ÔÎÂÒÓ† Ư˙ÂȆ ÔÂÓ‰† ‡Ï† ÍΆ„ÎÏ˙Ó†ÛÙÂˈÓ†τ‚†ÔÂÓ‰‰˘†ÏÎÎ °˙ÂϘ†¯˙È·†ËÏ˘†„ÎÂÏÓ easily!” be –adividedcrowdisdominatedmore and unites,themoredangerousitcan crowd andthemoreitsqueezestogether books, maintainthat:“Thelargerthe extracted fromdanceself-instruction subtitles atopasequenceofimages crowd withinaspace.Texts thatfloatlike violence inherentinthemovementofa a language. cliches, lendhimanidentity, abiography, accompanied bydanceinstructionsand and thefictivebiography, whichislater the Lawandsociety. Thevoiceovertext dependent, outsideoflanguage, lacks motorskills;heisdeconstructed, in RamatGan…”.Thehomelessperson on openedastudioforballroomdancing He playedintheIDFOrchestra,andlater of fivehehadalreadydancedthewaltz… Subsequently, theindividualwho Lilti delvesintothepotentialof Eliav Lilti you.” say thankyou./Don’t beanidiot, thank asserts: “You neversayplease,you As thevoiceoverconcludingwork underlying thesystemofpowerrelations. while focusingonthecategories these constitutemanasasocialsubject, the worldofdance,cultureandart–all etiquette, theguideforballroomdancing, self-test questionnaire,therulesof govern theindividualandcrowd.The premises andthewaysinwhichthey individuality andcontrol. with anillusionofindependence, over yourlife?,furnishingtheaddressee masculine: Doyouwanttohavecontrol the passersbyinthirdpersonsingular introduced asavoice-overisdirectedat self-test questionnaire.Thequestionnaire becomes acrowdaretheaddresseesof becomes agroupandthethat Lilti’s videopieceaddressessocial expressions, asiftheirshiphadsunk atsea.These are thosewhodancegracefully, beautifully, wishing observe thefacesofpeopleondancefloor. grumble undertheirbreath.Therearethosewho the musicwouldneverstop.There are alsothose stop sotheycangobacktotheirseats,andthere move likebears,prayingforthemusictofinally Many smilecontentedly. Otherslooksourand “My friend,eversinceIwasachild,usedto who arenailedtotheirchairswithgloomy are theoneswhocannotdanceatall.” Æ¢ÏÏΆ„˜¯Ï†ÌÈÚ„ÂȆÌȇ†‰Ï‡†ÆÌÈ·†Ì‰È˙ÂÈÙÒ†ÏΆÂÚ·Ë ‰Ï‡Î†˘È†Æ˘˘·†ÌÈÏϘÓ†ÌÈÙ†ÌȈÈÓÁÓ†ÌȯÁ‡†ÆÔˆ¯ ˙ÂÚÈ·˘·†ÌÈÎÈÈÁÓ†ÌÈ·¯†ÆÌȄ˜ȯ‰†˙·Á¯Ï†Ìȇ·‰†‰Ï‡ ÈÙ·†ÏÎ˙҉φ‚‰Ó†ÈφÈ˙ ‰Ï‡Î†Ì‚†˘È†ÆÌÏÂÚφτÁ˙†‡Ï†‰˜ÈÊÂÓ‰˘†ÌȘ˜Â˙˘Ó ÂÓΆ¨˙ÂÓ‚چ̉ÈÙ†̉È˙‡ÒÈÎφÌȯÓÒÓ·†ÌÈ„ÂÓˆ‰ “A DividedCrowdisDominatedMoreEasily” ÛÂÒ–ÛÂÒ†˜ÒÙÈ˙†‰˜ÈÊÂÓ‰˘†ÌÈÏÏÙ˙Ó†¨Ìȷ„ΆÌÈÚ‰ ¨ÈÙÂÈ·†¨ÔÁ·†ÌÈ„˜Â¯‰†˘È†ÌÓ˜Óφ¯ÂÊÁφÂÏÎÂÈ ¢˙ÂϘ†¯˙È·†ËÏ˘†„ÎÂÏÓ†‡Ï†ÔÂÓ‰¢ ‡Ȅȉ†˙„·چÍÂ˙Ó†ÌÈÈÂÓÈ„ È˘Ú†È˙„ÏȆ˙ÂÓȆʇӆ¨È„È„È¢ Images fromthevideo

25 24 The question “Are you in control of your life?” is ‰ˆÒ·†˙„‰„‰Ó†¢øÍÈÈÁ†ÏÚ†‰ËÈÏ˘·†‰˙‡†Ì‡‰¢†‰Ï‡˘‰ echoed in a Wild West scene, a setting ostensibly ‡Â‰˘†‰Ê†¨Ú¯ى†·¯ÚÓ‰†Ï˘†ÌÈÓÂÏȈ†¯˙‡†ÚÈÙÂÓ†‰·˘ devoid of rules, a no-man’s-land outside of culture. Êίӷ†Æ˙·¯˙φıÂÁÓ†¯ÙÒ†¯ÂÊȇ†¨ÌȘÂÁ†‡Ïφ‰¯Â‡ÎÏ The set is centered around the town’s clown who Good Guy ˙‡ȯ˜·†Ï·˜Ï†ÌÈÙˆ‰Ó†˘˜·Ó‰†‰¯ÈÈÚ‰†ÔˆÈφ¯˙‡‰ asks the viewers to applaud the Good Guy and boo ÆBad Guy≠‰†˙‡†Ê·†˙‡ȯ˜·Â†Good Guy≠‰†˙‡†„„ÈÚ the Bad Guy. The question directed at the viewers Bad Guy ¨ÌȄȘÙ˙‰†˜Á˘Ó†˙¯‚ÒÓ·†ÌÈÙˆ‰†Ï‡†˙ÈÙÂÓ‰†‰Ï‡˘‰ is part of the role playing game – like the self-test ˙‡˘ÈϘ‰†ÂÓΆ˙ÈÓˆÚ‰†‰ÈÁ·‰†ÔÂχ˘·†˙Âχ˘‰†ÂÓÎ questionnaire and the clichés that appeared in the previous section of the work – transforming the ˯ى†˙‡†ÌÈÎÙ‰†¨‰„·ډ†Ï˘†Ì„˜‰†‰˜ÏÁ·†ÂÚÈÙ‰˘ individual into a group, and the group into a crowd Æȯ·Ȉ‰†·Á¯Ó·†ÔÂӉφ‰ˆÂ·˜‰†˙‡Â†¨‰ˆÂ·˜Ï in the public sphere. perception asautonomousandthereproductionof cars asrepresentationsofacapitalistconsumerist culture. LiltirefersheretotheAlthusserianlink Sharon Stone,departmentstoresandmassesof between thereproductionofsubject’s self- capitalism. Accordingtothatperception,the promote themisconceptionthatwearefree, fundamental taskofcapitalistideologyisto autonomous agents. ‰˙ÓÈ˘Ó†¨Âʆ‰ÒÈÙ˙† ÆÌÈÈÓÂ¡†ÌÈÈ˘ÙÂÁ†ÌÈÎÂÒ†ÂÁ‡˘†˙ÈÚËÂÓ‰†‰ÒÈÙ˙‰ ˙·¯˙†Ï˘†ÌȂˆÈÈΆ¨˙ÂÈÂÎÓ†˙ÂÓȯÚ†˙ÂÈÂÁ†¨ÔÂËÒ†Ô¯˘ ˙‡†Ì„˜Ï†‡È‰†˙ÈËÒÈÏËÈÙ˜‰†‰È‚Âχ„ȇ‰†Ï˘†˙È„ÂÒȉ ¯˘˜Ï†Ô‡Î†ÒÁÈÈ˙Ó†ÈËÏÈφ·‡Èχ†Æ˙ÈËÒÈÏËÈÙ˜†‰Îȯˆ ÂÓˆÚ†˙‡†Ë˜ÈÈ·ÂÒ‰†˙ÒÈÙ˙†˜Â˙Ú˘†ÔÈ·˘†È¯ÊÂ˙χ‰ ÈÙ–ÏÚ†ÆÌÊÈÏËÈÙ˜‰†˜Â˙ڢ†ÈÓÂ¡Î

27 26 The figure of the homeless man, as someone who ·Á¯Ó‰†˙‡†˙ÎÙ‰†¨·ÂÁ¯·†¯‚˘†‰ÊÎΆ¨ÒÏÓ‰‰†Ï˘†Â˙ÂÓ„ lives on the street, transforms the public sphere Â˙ÒÈΆ˙‡†‰ÂÂÏÓ‰†˙¯˙ÂΉ†ÆÏ„‚†„Á‡†˙ȷφȯ·Ȉ‰ into one big home. The inscription Í˙È··†„˜¯Ï†„ÓÏ¢†∫˙¯Ó‡†Ë¯‡–‡ȄÈÂÂφÒÏÓ‰‰†Ï˘ accompanying his entry into the video piece Æ˙ÈÓÈÙ†‰¯È˙҆ƢÌÈÈ˙¯·Á†ÌȄ˜ȯ reads: “Learn social dances in the privacy of your home” – an oxymoron. ı˘†¯ÈÓʆ†„ÈȈ†˙ÂÓÂÏÁ†˙ˆÂ·˜

Ìȯ·Á†˘Â¯È‚·†ÔÂȄ†¨˙¯ÈΆı·Ș·†˙¯·Á ‰Ï‚˙Ó†¨˙ÈÂȈ‰†¨˙Ȉ·Ș‰†‰È¯ÂËȯˉ ‰È¯ÂËȯËΆ„˜Ù˙Ó†ı˘†¯ÈÓÊ†Ï˘†Â‡È„ȉ†·ˆÈ† ÆÔÓ‡‰†Ï˘†Â·ˆÓΆ̷ˆÓ˘ „ÒÂÓ† ·˘† ¨ÈËÈÏ‡ÂÎÈÒÙ† ‰ÏÂÚÙ† ‰„˘Î ı·Ș†—†Â˙„ÏȆÊÂÁÓφ‰Ë¯„‡Î†¨˙ÈÏ·ÓÈÒ Æ¯„Ú‰† Ï˘† Â˙ÂȈ† ˙‡† ÌÈÚ·Â˙† ˙„ÒÂÓ‰ ‰È¯ÂËȯˉ† ÏÚ† ÌÈ˘ÏÂÁ† ̇‰† ˙Âӄ† ·‡‰ ‡ˆÓ†®A†Â‡È„È©††‰„·ډ†Êίӷ†Æ˙¯ÈÎ ¨„Á‡·†Æ˙ÂÂÏÁ†È˘Ï†ÍÒÓ‰†˜ÏÂÁÓ†Âʆ‰„·ڷ ÔÂȂȉφ ÛÂÙΆ ¨„ÈȈ‰† Ɖ˙‡† ÌÈÓÒÓ ȯ·‚‰† „ÒÂÓ‰† —† ÈÏί‡È¯ËÙ‰† ·‡‰† „ÒÂÓ ÏÎφÈÓÈن‡ȄȆı¯ڷ†‰¯„¢˘†ÈÙΆ‰ÙÈÒ‡‰ Ï熨·‡·†¨Ì‡·†˘Ó˙˘Ó†¨˙ÂÈχÂȈ˜ÂÙ‰ ÂÈÈÁ†˙‡†ÛÈÙÎÓ†¯Ë˘ÓÓ†¨„ÒÓÓ†¨Ô‚¯‡Ó˘ Ï·‡†Æ¯Ó‡φÔÓ‡‰†˙·Â‚˙†È˘·Â†¨ı·˜‰†È¯·Á ÒҷφȄΆÂÏ˘†Áˢ‰†ÈÙ–ÏÚ†‡ˆÓ˘†¯·„ ‡Â‰† ·˘† ȯ·Ȉ‰† ·Á¯Ó‰† ˙‡Â† ÔÓ‡‰† Ï˘ ˙ÓÈȘ˙Ó† ‰ÙÈÒ‡‰† ÆÌÈ˘¯Á† Ï˘† ÁÈ˘–„† Â‰Ê „Ȉ‰†Ï·‡†¨ÂÈÓÈÒ†˙‡†„ÂÓÏφÂÓÂȘ†˙‡ Ï˘† „ÂÚÈ˙·† ‚ˆÂÈÓ† ‡Â‰˘† ÈÙΆ ¨ÌÈȘ˙Ó „ÂÚ·†¨ÔÓ‡†È˙È·†Ï‰˜Ï†¯Â‚Ò†¨ÈÓÈÙ†ÌÏÂÚ· Ú‚¯Ó†‡ˆÂÓ†Âȇ†‡Â‰Â†¨ÂȯÎÂÚ·†È˘Ϙ‡‰ ˙ÒÙËÓ†¨·‡‰†„ÒÂÓφ„‚Ó†Æı·Ș‰†˙ÙÈÒ‡ ÛȈ‰Ï†ÚȯΉφ˙ÂÒÓ‰†¨ÔÓ‡‰†Ï˘†ÂÈ˙·‚˙˘ ÆÂÓˆÚÏ Æ®B†Â‡È„È©†ÌȈچÏÚ†®ÔÓ‡‰†Ï˘†ÂÓ‡©†Ì‡‰ ıÂÁÓ†¨‰Ê‰†ËÒ˜ËφıÂÁÓ†˙¯‡˘†¨ÍÒÓ‰†˙‡ ÔÈÈهӆ‡Ȅȉ†ÈÎÒÓ†˙Ùˆ¯·†ı¯˘†ËҘ˷ ƉÈÁ†‡È‰†Â·˘†·Á¯Ó·†˙ÈÏÎ˙†˙¯ÒÁ†‰ÏÂÚ٠ƉÚÙ˘‰†˙„ÓÚφıÂÁÓ†¨‰È¯ÂËȯËÏ ÂÓˆÚ†˙‡Â†‰¯ÂÁ˘†‰ÈÈÓÈ˙ΆÂÓ‡†˙‡†ÔÓ‡‰ Ï˘†ÌÈ˘†˙‡ÒÈΆÌȯ„ÂÒÓ†ÍÒÓ‰†ÏÂÓ ¯ÂÊÁφ ‰ˆÂ¯‰† ˜Â˙Ó† ÛÈÙ˜† ÆÆÆÌÂÁ˘† „Ó‚¢Î ÂÎÂ˙·†ÏÈÎÓ†‰ÈˆÊÈχȈÂÒ‰†ÍÈω˙†ÆÔ‚‰†È„ÏÈ ¨‡Ó‡†ÍÏ˘†È˙ÁÙ˘Ó‰†Ô˜·†ÌÓÁ˙‰Ï†¨˜ÂÈÏ „ÂÚ·†¨‰ÙÈÒ‡‰†ÈÎ¯Ú†Ï˘†˙ÈËÓ¡†‰Ï·˜ ‰‰ÂÊÓ‰†¨˙ÈÊÈÙ‰†˙¯Á‡‰†¢ÆÆƯ·„Ó·†Â‡†ıÚ†ÏÚ ÆÌÈ„·ÂÚ†Ìȇ˘†ÌÈÂÚ˘†˙¯˘Ú†Û˜ÂÓ†ÏÏÁ‰ ˙ËÏ˘‰†‰È¯ÂËȯˉӆÂ˙‡†‰˜ÈÁ¯Ó†¨Ì‡‰†ÌÚ ‰Ú˘‰†ÏÚ†ÌȯÂÓ†ÌÂڷȘ†˙¯ÓÏ˘†ÌÈÂÚ˘ ˙ÙÈÒ‡·†‚ˆÂÈÓ†‡Â‰˘†ÈÙΆ¨·‡‰†„ÒÂÓ†„ÂÚ· ¯‡˘˘†‰Ó†ÏΆÈχ†¨ÌÂÈ·†ÌÈÈÓÚÙ†‰ÂÎ‰ Æ˙ÈË·˘†˙ÂÓ‡†ÏÚ†‰ËÏÁ‰†˘¯Â„†¨ı·Ș‰ ƉÙÈÒ‡·† ‰ÚÈÙÂÓ‰† ˙ÈËÂÏÂÒ·‡‰† ˙Ó‡‰Ó ˙ÚȘٷ†ÔÂÈ„†ÌÈȘ˙Ó†‰ÙÈÒ‡‰†Â‡È„È·

A

B 29 28 29 Dream Group and a Hunter Zamir Shatzı˘†¯ÈÓʆ†„ÈȈ†˙ÂÓÂÏÁ†˙ˆÂ·˜ 12.9.00-20.10.00 ‰ˆÂ¯†‡Ï†‡Â‰˘†Â‡†Ô‡Î†˙Âȉφ‰ˆÂ¯†‡Â‰˘ Â˘È¢ ‡†¨ËÈÏÁ‰Ï†Íȯˆ††ÆÆÆ·ˆÓ†¯È„‚Ó˘†ÏÂÏÒÓ ÏÂÏÒÓ† ¨ÌÈ·† ÏÂÏÒÓ† ¨ÌȯÈÚˆ† He can’t goonfloating” whether hewantstobehere ornot. circumstances… onehastodecide, route definingone’s conditionand membership, ayoungsters’route, a “There isasons’route toward ¢ÛˆφÍÈ˘ÓȆ‡Ï˘†ÆԇΆ˙ÂÈ‰Ï amir Shatz’s videoinstallationfunctionsasa mother, drawshimawayfromthe physical otherness,identifiedwith the mother, onatreeorinthedesert…”. The feeding, towarmupinyourfamilialnest, monkey whowantstoresumebreast- a “dark-skinneddwarf,…sweetlittle mother asablackYemenite, andhimselfas video monitors,theartistcharacterizeshis an obstacleandhebecomesrestless. signs; however, hiseclecticismbecomes to establishhispresenceandlearnits anything elsefoundonhisturfinorder hunter usesthemother, thefather, and Bound bythelogicoffunctionality, the figure dominateandmarktheterritory. the paternalinstitutionandmother revealed asapsychoanalyticalarenawhere performing afutileactinherlivingspace. mother isseenclimbingtrees(videoB), to thepaternalinstitution,(artist’s) ation ofthekibbutzassembly. Asopposed he exists,asrepresentedbythedocument- artist’s lifeandthepublicsphereinwhich nalizes, disciplinesandsubordinatesthe male institutionthatorganizes,institutio- institution ofthepatriarchalfather– work (videoA)revolvesaroundthe childhood realm–KibbutzKineret.The symbolic territory, amonumenttohis Dream Group andaHunter In thetextrunningonbottomof The Zionist,kibbutzterritoryis remained oftheassembly’s absolute truth. day –whichisperhapsallthat has standstill, theytelltherighttimetwicea working clocks,andyet,despitetheir space issurroundedwithscoresofnon- of theassembly’s fundamentalvalues;the socialization entailsautomaticacceptance in frontofthescreen.Theprocess bounds, outsideofanyinfluentialposition. screen, remainoutsidethistext,outof which strivetooverpowerandfloodthe audience, whiletheartist’s responses, world, openonlytoaloyalhome assembly isheldinaclosedinsiders’ dialogue thatfallsondeafears.The things saidthere.However, thisisa other showstheartist’s responsetothe channel toallkibbutzmembers,andthe as broadcastontheclosed-circuitvideo two windows;onefeaturestheassembly obedience oftheinconclusiveabsentee. the artist.Theestablishmentdemands members whosesituationislikethatof in KibbutzKineretandtheexpulsionof discussion aboutmembershipexpiration Little kindergartenchairsarearranged In thiswork,thescreenisdividedinto The assemblyvideodocumentsa tribal loyalty. assembly, requiresadecisionconcerning institution, representedbythekibbutz dominant territory, whilethefatherly Zamir Shatz mythological KibbutzKineretform The Basaltstonesbroughtfromthe ÌȘ¯Ù˙Ó†‰ÎÂ˙·†˙¯‚ÒÓ‰†Ô‰†¨È‚ÂÏÂ˙ÈÓ‰ institutions aredeconstructedinto biographical, familialandkibbutz ˙¯ÈΆı·Șӆ‡·Â‰˘†˙ÏÊ·‰†È·‡ ÌÈÈ˙ÁÙ˘Ó‰†¨ÌÈÈÙ¯‚ÂÈ·‰†˙„ÒÂÓ‰ the frameworkinwhich their constituentelements. Æ̉ȷÈίӆÍÒφÌÈȈ·Ș‰Â Installation view ÏÏÁ†‰‡¯Ó

31 30 “Red Something”†Â‡È„ȉ†˙„·چÍÂ˙Ó†ÌÈÈÂÓÈ„

Images from the video “Red Something” “My MotherisaMonkey” Images fromthevideo“MyMotheris aMonkey” †Â‡È„ȉ†˙„·چÍÂ˙Ó†ÌÈÈÂÓÈ„ Images fromthevideo“RedSomething” “Red Something” †Â‡È„ȉ†˙„·چÍÂ˙Ó†ÌÈÈÂÓÈ„

33 32

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¨ÌÈÎÈ¢Ó† ÌÈÓ˜ÂÓÓ† ÌÈ˘Èȷ‡† χΠ¨¯‚ÒŒ‰†¯Âʇ†‡Â‰†¨È˘ÙÂÁ†Ì‚¯˙·†¨‰ÈË‡¯‡˜ ÌÈÓÂÒÓ† ÌÈ‚Ï˘ӆ ¨˙ÈÚ„Ó† ÌÈÈÂÓÓ ÌÈÁÓˆ‰†˙‡†ÌȘ„·†Â·†¨¯·ÚÓ†ÈÏÓ·†ÌÈȘ‰ ‰‡Ó‰†Ï˘†˙ÈÚ„Ó‰†˙¯ÂÒÓ‰†·ËÈÓφ̇˙‰· ȄΆ —† ˜Â˘·† Ì˙ˆÙ‰† ÈÙφ ÌÈÈÁ‰† ÈÏÚ·Â ÌÈ‚ÂÒ† ˙‡ӆ ÌÈÓÈȘ† ¨‡ÒÈ‚† ̈́ȇӆ Ʊπ≠‰ ¯‚Ò‰‰† ¯Á‡Ï† Æ˙ÂÏÁÓ† ˆÈÙȆ ‡Ï˘† ‡„ÂÂÏ ¢Ì¯˘˜‰Ó†Â‡ˆÂ‰¢†¯˘‡†‰ÈÈÁÓˆ†Ï˘†ÌÈÊ ÍÈω˙† ‰¯·„‰† ¨ÈÂËÈÁ† ÌÈÁÓˆ‰† Ìȯ·ÂÚ ÍÂ˙† ¨¢ÌÈ˘„Á† Ìȯ˘˜‰¢† ÍÂ˙† χ† ÂÒÎÂ Ìȯ‚‰Ó†Ìچ̂†ÍΆ‚‰†¯·Ú·†Æ˙ÂÓϘ‡˙‰ ̂† ¨Á¯ʇ† ¨‰Èˆ˜ÈËÒÓ„† ˙ÂÈÚ·† Ô¯˙Ù ˙ÒÈΆ ÚÂÓφ ȄΆ ¨‰˘„Á† ı¯‡Ï† ÌÚÈ‚‰· ˙ÂÚˆÓ‡·†¨ıÂÏÁÙ†‰‡Ù˜‰†¨˘Â·ÈȆ¨¯ÂÓÈ˘ Ì‚†Æ˙ÈÓ˜Ӊ†‰ÈÈÒÂÏ·‰†˙˜·„‰Â†ÌÈÈÏÂÁ Æ˙ÂÈË‚† ˙ÂÈ·¯Ú˙‰Â† ¨˙‡ÏΉ† ¨˙·ί‰ χ¯˘È†˙È„Ó·†Ìȯ‚‰Ó†Ï˘†‰ËÈϘ‰†ÈÎÈω˙ È·ȯ† Ï˘† ‰‡È¯˜† ‰ÏÈ·ÂÓ† ‰Î¯Ú˙‰ Ï˘† ÔÈÚ† ˙ȇ¯Ó† ȯÂÁ‡Ó† ¨ÌÎÂ˙·† ÌÈÓÂË ‰ÈÈÁÓˆ‰†Ï˘†ÌÈȯ˘Ù‡†ÌÈÂÈӆ‡†˙ÂȯÂËÒȉ Æ˙¯ÁʜӆÌÈȇӘ†ÌÈ„ÁÙ†¨˙ÂÈ¯„ÂÓ†‰ÈȂȉ ¨Ï‡¯˘È–ı¯‡† ÈÁÓˆ† Ï˘† ‰È¯ÂËÒȉ† ∫ı¯‡· ˙ÈÏ·ÂÏ‚†Ø†˙ÈÓ‡φ؆˙ÈÓ˜Ӊ†˙·¯˙· Ï˘† ‰È¯ÂËÒȉ‰† ¨Ò¯·Ò‰† Ï˘† ‰È¯ÂËÒȉ‰ ¨˙ÂȈÈÊÂÙÒÈ„†¨˙˜˙‰†¨˙ÂÏ‚†¨‰¯È‚‰†¨ÌÂȉ ¯„‰‰† Ï˘† ‰È¯ÂËÒȉ‰† ¨ÒÂËÙÈϘ‡‰ ¨˙ÂȄȯ·Èœ‰† ¨˙ÂÈ˙·¯˙È·† ¨‰¯Ê† ‰„Â·Ú ÆÌÈÈËÂʘ‡‰† ‰È‚‰† ÈÁÓˆ† Ï˘† ‰È¯ÂËÒȉ‰Â ƘÁ˘Ó‰†Ì˘†Ì‰†—†in-between≠†¨‰‡ÏΉ ˙ÈÓ‡‰†‰‚Ȉӆԉ·˘†˙ÂȯÂËÒȉ†Ï˘†È·ȯ ‰¯Á·† ¯‰Ê† ˙Ïȇ† ¨¢‰ÈË‡¯‡˜¢† ·ˆÈÓ· ÌÈÈÊÈÙ† ÌÈ¯Â˘È˜Â† ˙‡ÏΉ† ¨˙ÂȈÏÂÙÈÓ ÚÒÓφ‰ÈÓÈÂËÓΆÌÈÁÓˆ‰†ÌÏÂÚ†˙‡†‚Ȉ‰Ï ¯Èˆ† ˙‡† ˜ÂÁÓφ ÔÂÈÒÈ·† ¨ÌÈÁÓˆ·† ¢Ú˘ Æ¢ÌÈÈÚ·Ë¢†ÌȯˆÂÓ†˙¯ÂÁÒ†Ï˘ ƯÁ‡‰†ÈÙ–ÏÚ†„Á‡†ÔÊ†Ï˘†‰ÈÈί¯È‰‰†Â‡†ÔÓʉ ‡Â‰†¨ÌÈÁÓˆ‰†Ï‡†·¯ÚÓ‰†˙·¯˙†Ï˘†‰ÒÁÈ

ÌÈ¯Â˘È˜Â† ˙‡ÏΉ† ¨˙ÂȈÏÂÙÈÓ ÔÂÈÒÈ†Ì‰†¨ÌÈÁÓˆ·†Â˘Ú˘†ÌÈÈÊÈÙ ‰ÈÈί¯È‰‰†Â‡†ÔÓʉ†¯Èˆ†˙‡†˜ÂÁÓÏ ¯Á‡‰†ÈÙ†ÏÚ†„Á‡†ÔÊ†Ï˘

in-between 35 34 Quarantine Ayelet Zohar ¯‰Ê†˙Ïȇ††‰ÈË‡¯˜ 3.11.00-23.11.00 uarantine isanisolatedareainairports(and products andgoodsintoculture. metonymy forthejourneyof“Natural” Zohar introducestheworldoffloraasa In theinstallation betweenness -arethenameofgame. culturalism, hybridity, crossingandIn- dislocations, foreignlabor, inter- today, immigration,exile,dispositions, Otherness. primordial fearsfromstrangersand the veilofhygieneandmodernity, Quarantine - absorption in population. Theprocessesofimmigrant of diseaseandinfectingthelocal country, inordertopreventthespread immigrants upontheirarrivalinanew past, thesameprocesswasappliedto well asaprocessofacclimatization.Inthe undergo fumigationanddisinfection,as diseases. Afterthequarantineperiod,plants prevent theintroductionofpestsand inspected beforetheyaremarketed,to seaports), whereplantsandanimalsare In thelocal/national/globalcultureof Israel tooconceal,behind Quarantine a videoinstallation superiority ofonespeciesoveranother temporal axisorthehierarchical plants are anattempttoeliminatethe physical combinationsperformedin Manipulations, hybridizationsand , Ayelet one speciesoveranother. precedence orhierarchicalsuperiorityof attempt toeliminatethetemporalaxis, combinations performedinplantsan manipulations, hybridizationsandphysical histories wherebytheartistpresents exotic gardenplants;amultiplicityof history ofCitrustrees,andthe pear), thehistoryofEucalyptus, plants, thehistoryofSabra(prickly local flora:thehistoryofEretz-Israel possible historiesorclassificationsofthe and geneticintervention. and theactsofgrafting,cross-breeding preservation, drying,freezing,taxidermy domestication, naturalizationbymeansof contexts,” whileresolvingtheproblemof dislocated andappropriatedinto“new and speciesofplantswhichhavebeen the otherhand,therearehundredstypes scientific traditionofthe19thcentury. On categorized andmarkedaccordingtothe plants isreified,astosortedobjects, The exhibitionintroducesseveral The attitudeofwesternculturetowards

Ayelet Zohar Israel, takenwhilewalking A documentaryfilmabout the laborofThaiworkers through arosethicket. ˙„·چÏچȯËÓ˜„†Ë¯Ò in rosegreenhouses Ï„Ȃφ˙ÂȇϘÁ†˙ÂÓÓÁ· Greenhouse ≤∞∞±†¨ß˜„†≤∞†¨¢‰ÓÓÁ¢ ÍÂ˙†¨Ï‡¯˘È·†ÌÈ„¯Â ÆÌÈ„¯Â†Í·Ò·†‰ÎÈω ÌÈ„Ïȇ˙†ÌÈÏÚÂÙ , 20’,2001

22 23 ≤∞∞±†¨ß˜„†∂†¨†Naturaliser (v.) [f] ÆıÏÁÙφ̂†Í‡†¨Á¯Ê‡Ï†Â˘Â¯ÈÙ†—†˙È˙Ù¯ˆ·†‰ÊÈχ¯ÂË†‚˘ÂÓ‰ ÈÂ˘Ú†Ë¯Ò‰†Æ„ȯËӆ„˜Ù˙†ÔÙ‡†¢Ú·Ë¢†Ì˘‰†ÔÓ†¯ÂÊ‚†‚˘ÂÓ‰ ˙ÂÈÏψ††¨˜¯ÂȆÂÈ·†¢Ú·ËφÔ‡ÈÊÂÓ¢·†Â˘Ú˘†ÌÂÏȈ†ÈÚË˜Ó ¨Ìȯ‚ӆ˙¯È„·†˙È·†˙ÂÈÁ†ÈˆÏÁÂÙ†ÁÂÙȈ¨˙ÂÈÁ†Ï˘†ÌÈÈ„È ¢Ô‡Î†‰ÏÂΆ‰ÈÈÙÂΉ¢†ÈϘ¯·†È·Ê·†Ï˘†Â˯҆ÍÂ˙Ó†ÌÈÚ˘ Ƣ˙ÈÙ¯ˆ˙ˆÈÏÚ¢†˙¯È‡†¯ˆÈÈÓ‰†®±π¥≥©

Naturaliser (v.) [f] “Nature”, yetitsoperationisdisturbing.Thefilm The termnaturalisermeanstonaturalizebutalso edited fromvideoexcerptstakenattheNewYork portrayal ofthetreatmentstuffedanimalsina Museum ofNaturalHistory, animalsilhouettes, residential apartment,andexcerptsfromBusby Berkley’s film stuff (ananimal).Itisderivedfromtheword constrains a“joyfultropicalatmosphere”. The Gang’s AllHere Naturaliser (v.) [f] (1943)which , 6’,2001

39 38 ˙¯„‚†Í¯Â‡Ï†—†¢‰ÎÈω†Ë¯Ò†—†Ò¯·Ò¢ ≤∞∞±†¨ß˜„†±≥†¨„ÂÏ–‰ÏÓ¯†¯Âʇ·†Ò¯·Ò

Sabras: A Walking Film, 13’, 2001 A walk along the remains of sabra hedges (that used to mark the border line of Palestinian villages and cultivating plots) in the Ramlah-Lod area.

Tarzan, the Ape Man (1932) and Tarzan and His ¢Â‚Âʆ˙·Â†Ôʯˢ†®±π≥≤©†¢ÌÈÙ˜‰†ÍÏÓ†Ôʯˢ Mate (1934) – a sequential screening of the two ÌÈÈ҇Ϙ‰†ÌÈ˯҉†È˘†Ï˘†Ûˆ¯·†‰¯˜‰†—†®±π≥¥© classical movies starring Johnny Weissmuller. ƯÏÈÓÒÈȆÈÂß‚†Ï˘†Â·ÂÎÈη ÌÏ˘†˙¯Ù‡††¯ˆÁ†Ô‚ ≤†·ÂÁ¯†Ë˜È¯Ù

ÁÂÚÙφ˙˙È†ÌÈÁÓˆ‰†˙ÓÈ˘¯†®ÌÈ‚†¨ÛÂ ÔÈ·† ¨·È·‡† Ï˙·† ËËÂ˘Ï† ‰Óʉ† ÌÏ˘† ˙¯Ù ‡È‰† ÏÈ‚¯† ‰Ùˆ† ¯Â·Ú˘† ȯ‰† ¨‰‡È¯˜Ï ¨·Â·Â„†¨‰‡Ó†¨Ï¯ȷ‚†Ô·‡†˙·ÂÁ¯·†¯‡˘‰ Æ¢˜Â¯È¢Î†˙ÓÂÒÓ ¨È‡ÈÏÈ„ÂÓ† ¨ÍÏÓ‰† „„† ˙¯„˘† ¨ÔÈÏËÈȈ ‰ÈÈÁÓˆ‰† Ô‚ӷ† ˙ÓÏ‚Ӊ† ‰È¯ÂËÒȉ‰ ÒÂÙ„†˙„·ڷ†Â‚ˆÂ‰†˙¯ˆÁ‰†ÈÓÂÏȈ†ÆÌψÏ ¨Ì‰Ï˘†‡ˆÂÓ‰†˙ˆ¯‡Â†ÌÓ˘†¨ÌÏÈ‚†¨‰ÈÈÙ‡·Â ÆÔÂ˙ÈÚ†¯ÈÈ†˙¯·ÂÁ†— Ï˘† ̈Óˆӆ ¯ÙÒÓφ ‰Èˆ˜Â„¯† Ìȯ·ÂÚ ÁÚÙφ¨‰ÈÈÁÓ‰†·Á¯Ó†˙‡†··Â„φ˙ÏÂÎȉ —†‡˘„†¨Á¯Ù†¨ÁÈ˘†¨ıÚ†¨˜Â¯È†—†ÌÈÓÒÓ ˙Ï΢‰†Ï˘†‡ˆÂȆÏÚÂÙ†‡È‰†¨ÂÈ˯ÙφÂ˙‡ ÆÛÂ†∫Ï„‚†„Á‡†ÔÓÒÓÏ Ƈ¯Â˜‰†Â‡†˙ËË¢Ӊ ˙ȯÂÁ‡‰†‰È‚‰†Áˢ†˙ÈÓ„˜‰†‰È‚‰†Áˢ ‰ÓÚ† ¨ÌÈÓÂψ˙·† ˙·˙Ó† ‡È‰˘† ÍÂ˙ Ï˘†Ë·Ó‰†˙„˜†Æ˜ÂÁ†ÈÙ–ÏÚ†È˯نÁˢ†Ì‰ ¨Ì˜Ӊ† ˙·˘Â˙† ÛÂ† ˙ÈÏÎȯ„‡† ¨¯˘ÈÓ ÆÈ¯ÈÚ†·Á¯Ó·†Ï·‚†˙„˜†˙ÓÒÓ†˙ÈÓ‡‰ ¯‡˘‰†ÔÈ·†∫ÌÈÁÓˆ‰†˙ÂÓ˘†˙‡†Âφ‰˘¯ÈÙ ‰Ó† Ôȇ† ¨‰¯Â‡Îφ ¨‰Ï˘† Ë·Ó‰† ȇ˘ÂÓÏ ‰Ï‡†¨‰Èˆӆ˙ί„Êȇ†¨È¯˜†Ô¯Â‡†Ì˘†ÌÈÁÓˆ Ë·Ó‰† Ï˘† ¢Â˙ÂȘÂÁ–ȇ¢† Ï·‡† ƯÈ˙Ò‰Ï ‰È‰Â·†¨ÌÈÏÚ†·Á¯†Ô‚ÂÓχ†¨˙Èχ¯˘È†ı¯‡ ˙Â˘È‚†ÔÈ·†Á˙Ó‰†˙‡†„„ÁÓ†ÌÂÏȈ·†Â„ÂÚÈ˙ ¨È¯ÂÒ†Ò˜Òȷȉ†¨‰ÈÂËÒÂÂÈφϘ„†¨˙ÂÂ‚Ó Æ‰˙ÂÈ˯Ùφ¯ˆÁ‰ ¨·Â¯Á†¨È„‰†ÌÒÈÒ†¨ÌȈȈÓÁ†¨ÌÈÏÁ‰†Û„¯‰ ˙ÂÓÏÚ˙‰†Ï˘†‰˜È˘¯Ù†˙Ù˘Á†ÌÈÓÂÏȈ· Ɖ‡†ÔÂÓÈËÒÈϘ†¨Ô„Ú†Ô‚†¯ÂÙȈ ‰ÓÈχ†˙ÂÓÏÚ˙‰†ÆÌÈȘ†È˯ٖȯ·Ȉ†·Á¯ÓÓ Ìȇ† ÌÏÂΆ ÌȈډ† Æ˙„·ÂÎÓ† ‰ÓÈ˘¯ Ԙ¯Ӊ† Áˢ† Ï˘† ˘Â·ÈΆ ÔÂÈÒÈ† ¨‰˜Á„‰Â ‡ˆÂÓ†ÆÌÈ˙È·ӖÌÈÓϘ‡ӆ‡Ï‡†¨ÌÈÈÓÂ˜Ó ˙‡† ÌÈ˘È‚„Ó† ÌÈÓÂÏȈ‰† ÆÌÈÈÁ† ÈÓÈÒÓ ‰˜È¯Ó‡† ÔÂو† ̯„Ó† ¨‰ÈÒ‡Ó† ÌȈډ –ȯ·Ȉ‰†·Á¯Ó·†˙ÏÎÂÓ‰†¨‰˘Â·Î‰†˙ÂÓÈχ‰ ‰Ù¯ȇ† ˙ˆ¯‡Ó† ‡Ï† ËÏÁ‰·† Ɖ˜È¯Ù‡Ó ÌÈÏÚÓ†¨ÌÏ˘†˙¯Ù‡†˙ÓψӆÂ˙‡˘†È˯ى ‰Â΢‰†È·˘Â˙†·Â¯†Ï˘†Ì‡ˆÂÓ†˙ˆ¯‡†Ô‰˘ ·Á¯Ó‰†˙‡†ÂÏ˘†‰‡È¯˜‰†˙ÏÂÎȆȷ‚φ‰Ï‡˘ Ɖ˙Ó˜‰†˙Ú· ÆÌÈÈÁ†Â‡†Â· ÈÏÎȯ„‡©† ڄȆ ÈÏÚ·† ¯Â·Ú˘† „ÂÚ·† Ï·‡ 41 40 Garden Yard EfratShalem ÌÏ˘†˙¯Ù‡††¯ˆÁ†Ô‚ 7.6.01-30.6.01 frat ShalemwasinvitedtowanderaboutinTel neighborhood’s inhabitantshailed. the countriesfromwhich Certainly notfromEuropeancountries– Asia, southandnorthAmerica,Africa. domesticated. Theyareoriginallyfrom not alllocal,butratherlocalized- Showy Bottlebrush. Dalbergia Sissoo,Carub,BirdofParadise, Althaea, NeriumOleander, Wood Sorrels, Orchid tree,LivistonaPalm,Shrubby Terebinth, ErythrinaCorallodendron, them: CanaryIslandPine,Chinaberry, names oftheplantsgrowingthere,among Naama Meisharprovideduswiththe landscape architectandlocalinhabitant reader. Observingthephotographs, on theeducationofwandereror to converse,decipheritsdetails,depends Garden Yard Street Project2 a printwork–newsprintpamphlet. photographs werepresentedintheformof Modigliani, etc.,andtakepictures.The Mane, Dubnov, Tzeitlin,KingDavidBlvd., Aviv, toroamthestreetsofIbnGabirol, However, whilefortheexperts(e.g., Quite animpressivelist!Thetreesare The abilitytopromptthelivingspace Efrat Shalem space inwhichwelive. Shalem, questioningourabilitytoreadthe private-public spacephotographedby the latentviolencecontainedin signs oflife.Thephotographsreinforce an attempttoconquerareaemptiedof space. Aflagrantdisregardandrepression, disregard toanexistingprivate-public accessibility anditsprivatecharacter. the tensionbetweenyard’s public photographic documentationaccentuate the “illegal”natureofgazeandits ostensibly havenothingtohide.However, urban sphere.Theobjectsofhergaze viewpoint markedaborderpointinthe are privateterritorybylaw. Theartist’s overall signifier:landscape. tree, bush,flower, grass,andasingle into asmallnumberofsignifiers–green, names andcountriesoforiginarereduced nature ofthegreenery, theplants’ages, The historyembodiedbythediversityand average vieweritismarkedas“greenery”. plants isinterpretableandreadable,forthe landscape architects,gardeners)thelistof The photographsexposeapracticeof The areasofthefrontandbackyards and itsprivatecharacter yard’s publicaccessibility the tensionbetween documentation accentuate gaze anditsphotographic The “illegal”nature ofthe ¯ˆÁ‰†˙Â˘È‚†ÔÈ·†Á˙Ó‰†˙‡ „ÂÚÈ˙ ¨ÌÂÏȈ·† ÌÈ„„ÁÓ† ȇ¢ ¢Â˙ÂȘÂÁ† Ï˘† Ë·Ó‰† ‰˙ÂÈ˯ÙÏ 43 42 ËÓχ‰†‡È‰†‰ÈÁ‰†¯„‚‰ Ô‰†¨‰Â΢·†¯˙ÂÈ·†ÈËËÒ‰ ÔÓʉ†„ÓÈÓ·†‰˙„ÈÓÚ†Ô·ÂÓ· ‰¯Âˆ˙‰†Ô·ÂÓ·†Ô‰Â Æ‰Ï˘†˙È‡ÈÊ˯˜–˙ȯËÓ‡Ȃ‰ ıÈÁ‰†˙‡†¯ˆÂȉ†ËÓχ‰†Â‰Ê ¨È¯Â·Èˆ‰†·Á¯Ó‰†ÔÈ·†ÁÈ˘˜‰ ·Á¯Ó‰†Ôȷφ¨·ÂÁ¯‰†˙ί„Ó ˙È·‰†¯ˆÁ†Ï˘†È˯ٖȈÁ‰ ÆÛ˙¢Ӊ

The hedge is the most static element in the neighborhood, both in terms of its durability and in terms of its Cartesian geometrical shape. It is an element that creates the solid partition between the public sphere – the sidewalk, and the semi- private sphere of an apartment building’s courtyard.

45 44 green dumpstersonthesidewalks,bin In thepast,peopleusedtothrowgarbage of thegreenhuesstandsincontradiction sequence ofbrightgreen.Therichness greenery, generatingcarpetsofradiant treats thegardenskindly:greenweeds heat sproutingin-betweenthegreens. path toohasbeencoveredwithweeds. to the“unmanicured”areas,local The woodsorrelscovertheareawith the backyard.Nowadays,ineraof bags inthebinsthatwerelocated green, painfullytemporary. Winter transforming thegardensintoa cover theuntendedareastoo, ÈÁÙ·†‰Ù˘‡‰†˙ÂȘ˘†˙‡†ÌÈÎÈÏ˘Ó†Âȉ†¯·Ú· ÈÁÙ†ÏÈ·˘†Ì‚†¨‰Î¯„Ó‰†ÏÚ†ÌȘ¯ȉ†ÌÈÁÙ‰ ˜Â¯È†Ï˘†Ûˆ¯Ï†˙ÂÈ‚‰†˙‡†ÌÈÎÙ‰†ÌÈÏÙÂËÓ Æ·‡Î†„Ú†ÌÈÈÓʆ¨˜‰Â·†˜Â¯È†È„·¯Ó†ÌȯˆÈÈÓ Ô„ÈÚ·†¨ÌÂÈΆÆ˙ȯÂÁ‡‰†¯ˆÁ·†Â„ÓÚ˘†Ï·Ê‰ ÈÓ˜Ӊ†ÌÂÁφ¨¢ÌÈÏÙÂËÓ†‡Ï¢‰†ÌÈÁË˘Ï ¯·†È·˘Ú†∫˙ÂÈ‚‰†ÌÚ†„ÒÁ†‰˘ÂÚ†Û¯ÂÁ‰ ‰¯È˙Ò·†„ÓÂÚ†˜Â¯È‰†È‚†¯˘ÂچƘ‰Â· ¨˜Â¯È·†Áˢ‰†˙‡†ÌÈÒÎÓ†ÌȈȈÓÁ‰ ®‰Î¯Ú˙‰†ÔÂ˙ÈÚ†ÍÂ˙Ó©†¯˘ÈÓ†‰ÓÚ†ÛÂ‰†˙ÈÏί„‡†∫˙ÂÂÓ˙‰†È·Â˙ÈÎ ‡Ï‰†ÌÈÁˢ‰†˙‡†Ì‚†ÌÈÒÎÓ†ÌÈ˜Â¯È ÆÌȘ¯ȉ†ÔÈ·Ó†ı·ˆ·Ó‰ ÆÌÈ·˘Ú·†‰ÒÂΆϷʉ Title textsbyLandscapeArchitectNaamaMeishar ÈÏ·È˘†Ì‡ÏÁ‡††¯ÎÂÓ†‡Ï

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49 48 denied basicinfrastructureandutilities. IsraelLandAdministration,ithasbeen residents. Sinceitisunrecognizedbythe Nowadays, ArabalNa’imhas900 ÔÂÂÈΆ¨ÌÈ·˘Â˙†π∞∞†ÌÂȉ†‰ÂÓ†ÌÈÚ–χ†·¯Ú ÆÏÓ˘Áφ¯Â·ÈÁ†‡Ï†Ì‚†¨˙ÈÒÈÒ·†˙È˙˘˙†Â·†Ôȇ ¨Ï‡¯˘È†ÈÚ˜¯˜Ó†Ï‰ӆȄȖÏÚ†¯ÎÂÓ†Âȇ˘ 51 50

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57 56 È·ˆ†Ô·†Ïȇ††‰ÓÁÏÓ‰†È¯Á‡

ÌÚ† ˘È‡‰† ¨ÏÓ‚‰† ¨¯Â˘¯Ë‰† ¨¯ÂÓÁ‰ ˙˙†¯·ÚÓ·†‰‚ˆÂ‰†¢‰ÓÁÏÓ‰†È¯Á‡¢†‰Î¯Ú˙ ÌÈÚ†‰Ï‡†ÏΆ¨ÛÂ·†Ûˆ˘†Ô·˘È‰†¨‰¯ËÈ‚‰ ÌÈ·˘Ï† Ìȯ·ÂÚφ ƯËÒ† Û‚ÊÈ„·† ÈÚ˜¯˜ ÌÈÙ‰† Æ˙ÂÓÓ¢† ˙ÂÚ·‚† ÔÈ·† ¨˜È¯† ·Á¯Ó· ÏÚ†ÈËÙÈϘÂÙ‡†ÔÂÈÊÈÁ†Û˘Á†È¯ÁÒÓ‰†Êίӷ Ì¯Â‰È†Ï˘†ÂÈن̉†ÌȯÂȈ·†˙‡¯˘†˙„ÈÁȉ ‰Ó„‡† ¨ÌÓ¢† ˙„ÏÂÓ† ÛÂ† ∫¢È¯Á‡˘† ÌÂȉ¢ ‰ËÂӆ¢‡¯†Æ‰¯È˘·†Â¯‚†˙‡†ıÓ‡Ó‰†Ô‡‚ Ɖȉ„†¨˙˘ÁÎÂÓ ¯Ó‡†¢ÔÂȈ†‰˘Â„˜¢†ÆËÚÓΆ˜Á†¨‰¯ÂÁ‡ Û‚‰† ¨‰ÓÁÏÓ† ȯÁ‡† Ï˘† ÈÏ„¯Á‰† ÛÂ· ·‰Ê† Ï˘† ÌÈÏ˘Â¯È† ÆÂȯÂÁ‡Ó˘† ¯ËÒÂÙ‰ Ș·†˙¯ÈˆӉ†˙ÂÓ„‰†ÆÔÓÈÒφÍÙ‰†È˘Â‡‰ ÈÏ„¯Á‰†ÛÂ·†ÌȯÊÂÙÓ†ßÁÈ˘†È¯·˜†Æ˙ÓÓ¢ ˙ÂÓ„†ÆϘӆ‰˜ÈÊÁÓ†¨˙„·ڷ†˙¯ÊÂÁ†¯‡˙ÈÓ Æ‰Ï˜†‰˜Â˜†È˜Â·˜··†ÔÓÂÒÓ†ÂÏ˘†˜Ù‡‰†Â˜˘ Æ˙˘ËÂ† ¨‰„·Î† ¨˙ÈÂÏÓ‚† Æ„„Â† ËÈÏÙ† Ï˘ Ï˘†ÌÈÏÊÂ‰†ÂÈÂÚ˘†Ìȇ¯†˙„·ډ†˙Á‡· ˙‡Ê‰†ı¯‡‰†Ô·†„ÈÏȆ¨ÈÓ˜ӆ·˘Â˙†‡Â‰†Èχ ¢Ô¯ÎÈʉ†Ï˘†Â˙„Ó˙‰¢†¯ÂȈ‰Ó†Èχ„†¯Â„·ÏÒ ¯ˆÈÈÓ† ˜È¯‰† ÂÙ‚† Æ„·‡† ¯˘‡† ˙‡† ˘ÙÁÓ‰ Æ®±π≥±© ¨Û˜˘†Ï·‡†ÌÈȘ†—†˙ÈËÏÂÂÈ·Ó‡†˙ÂÁÎÂ Ï˘†ÌÂÏÁ†˙ÂÓ˙φÌÈÒÓ†ÌÈί‰†ÌÈÂÚ˘‰ ¨˜È¯‰†Û‚‰†ÏÂÓ†ÆϘ†ÌÈÙ†¯ÒÁ†Ï·‡†ÁÎÂ ÌÈÓ˘‰† È·ˆ† Ô·† Ïȇ† ψ‡† ƷȘ¯Ó† ‰˘Ó Ô‚†Ï˘†Â˙ÂÓ„†‰ÚÈÙÂÓ†¨˙„·ډ†ÔÓ†˜ÏÁ· ÌÈÂÚ˘‰†„ÈφƯÂÎÚ†ÈÏ„¯Á†ÛÂ‰Â†ÌÈÓ¡ Ƈ‰†Ì‚†ÌÈÙ†ÈÂÂ˙†¯ÒÁ†¨‰¯ËÈ‚ ÔÓÊφ ÔÂËÈϘφ ÊÓ¯† ¨ÔÂÙÂÒ˜Ò† Ô‚† „ÓÂÚ „È˙Ú† ¨¯·Ú† —† ‰È¯ÂËÒȉ‰† ‡Â‰† ÈÂÓÈ„‰ ˙‡†¯È„ÒÓ‰†¨ÈχÈÂϘ–ÈÏ·ÂÏ‚‰†È‡˜È¯Ó‡‰ ·Á¯Ó† ‰ʆ Æ˘Â·Î† ·Á¯Ó† Ï˘† ‰Â‰ ÆÌÓ¢‰†ÛÂ·†ÁÂΉ†ÈÒÁÈ ‡Ïφ ·† ÌÈÚ† ÌÈÏÓ‚‰˘† ÈχÈÂϘ≠ËÒÂÙ ÔÓÊ·†‰¯ËÈ‚‰†ÏÚ†Ô‚†Ë¯ÂÙ†˙¯Á‡†‰„·ڷ ËÒÈχÈÂϘ‰† Æ˙ÂÎÈÈ˘Â† ¯„Ú† ‡Ïφ ¨ÔÂÂÈИ†Æ‰˘·È‰†‰Ó„‡‰†˙‡†ÍÁÏÓ†ÌÈ˘·Î†¯„Ú˘ ÆÌÏÚ†ÂÈÓÈÒ†˙‡Â†ÂÈÏ‚„†˙‡†¯È‡˘‰ ‰ÈÈ˙˘† Ș·˜·† Ï˘† ‚ÂÏ·† ÔÓÂÒÓ† ÚȘ¯‰ ·ÏÂ˘Ó†Ï‚„†ÌÈÏ‚҆ÌÈÓ˘†¨ÌȯÂȈ‰†„Á‡· Èʯ·† ÚȘ¯‰† ˜† Ï˘† Âί‡Ï† ¨ÏËÒȯ˜ ıÂÚ†Ï‚„‰†Æχ¯˘È†˙ȯ·‰†˙ˆ¯‡†ÈÏ‚„Ó ÆßÁÈ˘† ¯·˜† ‡† „‚ÒÓ† ¯·Úφ ÌÈÚ† ÁÂÂËÓ ‰È¯ÂËȯˆ ÔÂÓÈÒ† ÆÛ‚† ¯ÒÁ† ·ÂËÁ† Ô·˘È· Æ˙ÈÓ˜ӆ‰ÒÙÈϘÂÙ‡ ÆÍÁ‚Ó†ȘÒ˯‚ 59 58 After the War Eyal Ben Zvi È·ˆ†Ô·†Ïȇ††‰ÓÁÏÓ‰†È¯Á‡ 11.2.00-22.2.00 is markedbyCokebottles mustardy landscapewhosehorizon Sheikh gravesare scattered inthe A desolateJerusalemofGold. he exhibition After theWar left behindhisbannersandsigns, less, non-belonging.Thecolonialisthas camels moveaboutdirection-less,herd- It isapost-colonialterritoryinwhichthe future andpresentofanoccupiedterritory. guitarist, likewisedevoidoffacialfeatures. works, theemptybodyisjuxtaposedtoa faceless andvoiceless.Insomeofthe existing yetsee-through,present generates anambivalentpresence– for thatwhichwaslost.Hisemptybody Perhaps heisalocal,native,searching fugitive –burdened-down,ontherun. in theworks.Afigureofawandering contours, thestick-holdingfigurerecurs body transformsintoasign.Depictedin mustardy post-warlandscape,thehuman land-scape, adeficient,fadedsoil.Inthe “the morningafter”:adesolatenative faced withanapocalypticvisionof Center shoppingmall.Passersbywere subterranean passageoftheDizengoff The imageisakintohistory–past, After theWar wasfeaturedinthe Eyal BenZvi Ϙ ˜˜ ˜··†ÔÂÓ ÂÏ˘ ÔÓÂÒÓ† Ș·˜··† ‰˜Â˜† ‰Ï˜† ˜Ù‡‰†Â˜˘†ÈÏ„¯Á‰†ÛÂ·†ÌȯÊÂÙÓ ßÁÈ˘†È¯·˜†Æ˙ÓÓ¢†·‰Ê†Ï˘†ÌÈÏ˘Â¯È local apocalypse. toward amosqueorsheikh’s grave. A and therealong–duck-targetsmove the logoofsoftdrinkcompanyCrystal, dry land.Theskylineisdelineatedwith guitar whileaherdofsheepgrazesinthe barren landscape. that regulatesthepowerrelationsin Bill Clintonandtheglobal-colonialtime clocks isasaxophoneplayer, an allusion to landscape –turbid.Standingnexttothe is imperviousandthemustard-colored picture ofrot.InBenZvi’s works,thesky The softwatchesmeltintoadreamy painting Dali’s meltingclocksextractedfromthe whose horizonismarkedbyCokebottles. are scatteredinthemustardylandscape desolate JerusalemofGold.Sheikhgraves behind himreads“ZionisSacred”.A backwards, almostsuffocating.Theposter the topofhisvoice.Hisheadistilted Israeli singerYehoram Gaon, singingat only faceseeninthepaintingsisthatof empty space,amidstdesolatehills.The in thelandscape–allthesetranspirean man withtheguitar, therearendhovering territory marking. shaped backside–agrotesque,farcical Israeli flag,insertedinabody-lesswell- purple skiesandacombinedAmerican- disappeared. Oneofthepaintingsfeatures In anotherpiece,amanisplaying One oftheworksincorporatesSalvador The donkey, thetractor, thecamel, The PersistenceofMemory (1931). 61 60

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˙‡†Ô·Ï‰†Ì„‡‰†Ï˘†Â˘Â·ÈΆƉ„ÏÈφ¯·‚‰Ó ˜„†Ï·Á†ÏÚ†ÌÈÚÒÂÙ†‰„ÏȆ¯·‚†Ìȇ¯†ÏÂ‚Ú ·ˆÈÓ†Ô‰†¢˙¯ÂÁ¯Á ˘¢·†È¯¯‰†ÚË†Ï˘†˙Â„Â·Ú ‡ÏÓ† ˘Â·ÈΆ ‡Â‰† ¯ÂÚ‰† ˙‰Î† ‰È¯ÂËȯˉ ˙ÂÙ˜˙˘Ó†Ô‰È˙ÂÈÏψ†Æ‰Î¢Á†‰˙˜·†ÔÂÂÈÎÏ ˙Èȯς† ˙‡† ‰‰ÊÓ† ‰Ùˆ‰† ÆÈËÓ¯„† ȯÂȈ ÆÈËÒÈχÈÂϘ†Ô·ÂÓ·†ËÚÓΆ˙ÂÓÈχ†‰˜Â˘˙ ¨„‚ÂÓ‰†ÔÂÂÈÎφ˙„Úˆ†Èχ†¨ÍÙ‰ӷ†ÌÈÓ· ˙‡†¯˙‡Ó†¨‰Ó¯„·†˜ÏÁ†ÌÈÁ˜ÂÏ˘†ÌȄȘÙ˙‰ ÌÈ˘† Ï˘† ‰È¯Ï‚† ‰Î¯Ú˙‰† ÏÏÁ· Æ˙ÂËÏÓȉ‰†˙ÈȈÙ‡†˙‡†˙ÂÓÒÓ ÆÔ˙ȇ†‰‰„ÊÓ†˙Â¢‰†Ë·Ó‰†˙„˜ ¯˜ÈÚ·†‡Â‰˘†È˘†‚ˆÈȆ˙‰Ӊ†˙ÂÈÈ„ÂÏ· ˙„˜† ‡È‰† ÔÏÂΆ ˙„·ډ† Ï˘† ‰ÓÈ˙‰ ‰˘Ú†˙‰ʉ†ÔÂÈΆ¨ÌȄȘÙ˙‰†˙Èȯς· ˙Ú„ÂÓ†˙ÈÈ„ÂÏ·‰†‰˘È‡‰†ÆȘÒ˯‚†Ì‚٠ÌÏÂÚ‰† Ôȷφ ¢Ô·Ï¢‰† ÌÏÂÚ‰† ÔÈ·† ˘‚ÙÓ‰ ¯ÂÚ†Ô‚φ¨Û‚‰†Ï˘†Â˙‡¯φ¯È˘È†ÒÁÈ· ‰Ë·Ó†˙‡†‰¯È˘ÈÓ†‡È‰†ÆË·Óφ‡˘ÂÓ†‰˙ÂÈ‰Ï Æ¯ÂÚ‰†˙‰Ά˙„ÈÓ†˙ÂÚˆÓ‡·†ÔÓÂÒÓ‰†¨¢¯Á‡¢‰ ˙ÂÓ„‰†Æ‰˜Â˘˙†‡˘ÂÓΆÂ˙‡†ÔÂÎÓ‰†Ë·ÓÏ ̈چÏÚ†˙¯Ú¯ÚÓ†¨˙ÎÈÈÁÓ†‰Ï·Á†ÔÈÚ†ÌÚ ˙ˆÒ† ˙ȇ¯† Ï‚چ ËÓ¯ÂÙ·† ‰„·ڷ ¨È¯Â‚˘† ÈÓÂËÂÎÈ„† Ë·Ó† È„È–ÏÚ† ˙Ú·Â˜Ó ˙‰ÊΆÌÈȘ˙‰Ï†˙È˘†˙Â‰Ê†Ï˘†˙¯˘Ù‡‰ ˘·ÂÁ† ¨Ô·Ï† ¨Ì¯ÈÚ† ¨¯‚·ӆ ˘È‡† Ɖ·ÈÒÓ ˙ÈÓÂËÂÎÈ„† ‰ÓˆÚ† ‡È‰˘† ‰Ù˘·† ‰·ÂÓ‰ ‰„ÏÈ†Ï˘†‰Ù˙η†˙ÊÁ‡†ÂÏ˘†˙Á‡†„ȆƉÎÒÓ Ø‰„ÏȆ¨‰˘È‡Ø¯·‚†¨Ô·ÏدÂÁ˘†∫˙ȯ‚˘ Ɖ˙Óˆ† ˙‡† ‰Óȯӆ ‰ÈÈ˘‰† „Ȇ ¨¯ÂÚ† ˙‰Î Ɖ¯ÂÁ˘Ø˙ÈÈ„ÂÏ·†¨‰˘È‡ ÌÈÏ˘ÙÂÓ† ‰ÈÂ˙Á˙† ¨Ë˜˘·† ˙„ÓÂÚ† ‰„Ïȉ ÌÏÂÚ†ÆȄȯ·È‰†ÌÏÂÚ†˙ÂÙ˘ÂÁ†˙Âȯ‚˘‰ ƘÁ¯Ó†¯ÂˆÈφÔÂÈÒÈ·†‰·‚†˙‡†‰˙È˘˜Ó†‡È‰Â ¯ÂÁ˘‰Â†Ô·Ï‰˘†ÈËÒÈχÈÂϘ–ËÒÂÙ†È˘ÈÏ˘ Ú·ˆ‰† ˙Âȯ‚˘† ‰·˘† ‰„ÈÁȉ† ‰„·ډ† ÂÊ ‰˘È‚Ó†˙¯ÂÁ¯Á˘†‰„ÏȆƄ¯Ù‰†‡Ïφ·†ÌȯÂÊ˘ ÌÈÈ˘‰†ÆÈÈÓ††Á˙ӆȯ†˘‚ÙÓ‰†Æ˙¢‚Ù ¨Ï·Á·†˙ÂÊÁ‡†¯ÂÚ†˙ÂÓÂÁ˘†˙„ÏȆÈ˙˘†¨Á¯Ù ÔÂÂÈÎÓ†Ú†ÏÚÙÂÓ‰†ÁÂΉ†¨Ë·Ó†ÌÈ¯È˘ÈÓ†Ìȇ ÔÓʉ†ÆıÂÙ˜˙†‡Â·˙˘†˙È˘ÈÏ˘‰†‰„ÏÈφ˙ÂÎÁÓ ¨¯ÂÁ˘Ï†Ô·Ï‰Ó†‰„·ډ†˙‡È¯˜†ÔÂÂÈΆ¨„Á‡ ËÓ¯ÂÙ·†˙¯Á‡†‰„·ڷ†Æ˙Á˙ÂÓ†‰ÈÈÙȈ‰†Æ‡Ù˜ 65 64 65 Brunette Neta Harari Navon Ô·†È¯¯‰†ÚË††˙¯ÂÁ¯Á˘ 26.5.00-30.6.00 ‰¯ÂÁ˘Ø˙ÈÈ„ÂÏ· ¨‰˘È‡Ø‰„ÏÈ ¨‰˘È‡Ø¯·‚†¨Ô·ÏدÂÁ˘ ∫ȯ‚˘†ÈÓÂËÂÎÈ„†Ë·Ó blonde/brunette female, girl/woman, black/white, male/ dichotomous gaze: A categorical, Brunette eta Harari-Navon’s worksin blonde/brunette. black/white, male/female,girl/woman, is, initself,categoricalanddichotomous: dichotomous gazebuiltintoalanguagethat The figureisfixatedbyacategorical gaze thatrendersitanobjectofpassion. the body’s visibility, itsskincolor, andthe identity isperformedindirectrelationto presents apartyscene.Anakedwhite adult skin’s degreeofdarkness. and the“other”world,representedby meeting pointsbetweenthe“white”world the optionofescape. walking intheoppositedirection,marking reflected inthewaterinversely, perhaps toward adarkhut.Theirsilhouettesare a manandgirlwalkingontightrope Another workinaroundformatfeatures Time hasfrozen.Anticipationistense. waiting forathirdgirltocomeandplay. brown-skinned girlsholdontoajumprope, black-haired girlisofferingaflower, two and whiteareinseparablyintertwined.A a post-colonialThirdWorld whereblack of viewandidentifieswiththem. the drama,recognizesvariouspoints identifies thegalleryofrolestakingpartin dramatic painterlyinstallation.Theviewer Another workinaroundformat All theworksareconcernedwith These categoriesexposeahybridworld, In thisgalleryofroles,constitution Neta HarariNavon Brunette forma while highlightingitsweakpoints. structures thebodypresentinpainting, these intersecttoformawebofgazesthat by amask,glasses,ordowncasteyes.All there istheabsentgaze,whichconcealed inflamed orbruisedeyes;ontheotherhand, one hand,thegazeisreturned,evenwith gallery ofrolespresentedintheworks.On ˙„˜†ÏÚ†‰ÚÈ·ˆÓ†¨„ÁÓ†¯ÂȈ·†ÁÎÂ‰†Û‚‰ ˙‡†‰· ÏΆÆË·Ó†˙ÂÏÈÙ˘Ó†ÌÈÈÈچ̂†Â‡†¨ÌÈÈÙ˜˘Ó ‡†‰ÎÒӆȄȖÏÚ†¯˙ÒÂÓ‰†¨¯ÒÁ‰†Ë·Ó‰†È˘ „ˆÓ†¨˙ÂÈÈ„ÂÏ·‰†ÌÈ˘‰†Ï˘†˙ÂÚ‚ن‡ ˙ÂÈ˙˜Ï„†ÌÈÈÈÚ·†Ì‡†Ì‚†¨Ë·Ó†˙¯ÊÁ‰†„Á‡ „ˆÓ†Æ˙„·ڷ†˙ÁÎÂ‰†ÌȄȘÙ˙‰†˙Èȯς· È˘‡¯†Ô˜Á˘Ï†ÍÙ‰†Ë·Ó‰†Æ˙ÓÏ˘ÂÓ†‰ÓÏ˘ The gazebecomesakeyplayerinthe perfect, intactidentity. possibility forfemaleidentitytoexistasa smiling, thusunderminingthevery a bruisedeye,shelooksstraightahead, fact thatsheisanobjectofthegaze.With tation. Theblondewomanisawareofthe flawed andgrotesquefemalerepresen- blonde womenthatformanessentially violence, inavirtuallycolonialsense. territory asoneteemingwithpassionand white man’s conquestofthedark-skinned from themantogirl,symbolizing reading directionisfromwhitetoblack, The powerexercisedisunidirectional;the tension. Thetwofiguresdonotlookup. meet. Theencounterisimbuedwithsexual the onlyworkwherecolorcategories attempt tocreatesomedistance.Thisis rolled down,andshearchesherbackinan braid. Thegirlstandsquietly, herpanties skinned girl,hisotherhandliftsupher hands holdsontotheshoulderofadark- man isseenwearingamask.Oneofhis ÃÓ˘†ÌÈË·Ó†Ï˘†˙˘¯Ï†ÌÈ·Ïˈӆ‰Ï‡ The exhibitionspaceoffersagalleryof Æ̈́ȇӆ·†‰ÂÓˉ†‰˘ÏÂÁ‰ 67 66

69 68 The blonde woman is aware of the fact that ‡˘ÂÓ†‰˙Âȉφ˙Ú„ÂÓ†˙ÈÈ„ÂÏ·‰†‰˘È‡‰ she is an object of the gaze. The exhibition ÌÈ˘†Ï˘†‰È¯Ï‚†‰Î¯Ú˙‰†ÏÏÁ·†ÆË·ÓÏ space offers a gallery of blonde women that ¯˜ÈÚ·†‡Â‰˘†È˘†‚ˆÈȆ˙‰Ӊ†˙ÂÈÈ„ÂÏ· form an essentially flawed and grotesque ÆȘÒ˯‚†Ì‚٠female representation. È·‰Â†‰¯ÈÓÒ††È„Ó†˜ÂÁ¯†‡Â‰˘†Ì˜ӆÔȇ

‡ÏφÔ˙‡†˙··ÂÒ†¨ÔÎÂ˙·†˙ÚÏ·†‡È‰†∫ÛÂ‰Ó ¯˙‡‰†¨˙„‰†Ï˘†Ï‚¯Ï–‰ÈÈÏچȯ˙‡·†˙ÓÏˆÓ ¨‰Ï†˙¯ÎÂÓ†Ô˙È·¯Ó†ÆÌÈ˘†˙Óψӆȷ‰Â†‰¯ÈÓ ¨¯·Ú†¨Ô˙ȇ†„ÁȆ¨‰ÓˆÚ†ÏÚ†˙Ï·˜Ó†¨‰ÁÂÓ ÆÈ˘† ¯˙‡Î† Ìψӆ ÈËÈÏÂÙ‰–ȯ·‚‰–È˙„‰ χ†˙ÈÏ„¢†·Â˘Èȉ†˙¢†‰˙ÁÙ˘Ó†˙Â·†Ô‰ ÆÌÈÙ˙¢ӆ„È˙Ú†‰Â‰ –ȯ·‚† ·Á¯Ó† Ï˘† ÒÂÎÈ† ‰Ê† Ôȇ† Ï·‡ ¨ÌÂȆȄӆ˙Óψӆ‡È‰†Æ‰¯‚†‡È‰†Â·˘†¢ÏӯΠ‰·†˙ÈÓ‡‰†¨‰Î¯Ú˙·†„ÈÁȆڷˆ†ÌÂÏȈ· ˙¯ÂÒÓ·† ˙È˘† ÔÈÚ† È„È–ÏÚ† È˙„–ÈËÈÏÂÙ ‰˜È¯Ά‡Ï†ÆÈ˘†ÌÂȘ†Ï˘†‰˜È¯Ά‰˘ÚÓΠ̇‰† ˙·˘ÂȆ ‰˙È·† ÔÂÏÒ·† ∫ÌÈË·Ó† ˙˘¯ ÌÈ˘‰† ˙ÒÈΆ ÈÙφ ÆÈËÒÈÈÓÙ‰† ÌÂÏȈ‰ ˙¢ÓÓ† Ï˘† ‡Ï‡† ¨ÌÈËÏ˘† ÌÈÈÏ¢† Ï˘ „È˙Ú‰†˙ÂÏÂÏΆÌÂÈφÊÓ¯†¨Ô·Ï†„·†˙¯ÙÂ˙ ˙‡† ÂÙȆ ¯·˜‰Ó† ‡ˆÈ† Ìȯ·‚‰† ¨ÏÏÙ˙‰Ï ‰˜ÈÁ¯Ó†‰Ï†·Â¯˜‰†˙‡†˙ÓψӆÆ˙ÂÈÊίÓ ˙Â·‰† ˙Á‡† ˙·˘ÂȆ ‰ÙÒ‰† ÏÚ† ¨‡Â·Ï ‰˜ÂÏÁ†‰ȇ†ÂʆÆ˙È˘†˙ÂÁÎÂφÂÏÂΆÌ˜Ӊ ÆÔ·˙‰Ï†È„Î ¯ÂÁ‡Ó†¯È˜‰†ÏÚ†¨‰‡¯Ó·†‰ÓˆÚ·†˙·˙Ó ‡Ï‡† ¨¢ÌÈ˘† ˙¯Êڢφ ¢Ìȯ·‚† ˙¯ÊÚ¢Ï ÌÈÈÁ‰†·Á¯Ó†È·‰Â†‰¯ÈÓÒ†Ï˘†‰ÈÓÂÏȈ· ˙Â·Ó† ˙Á‡† Ï˘† ˙ÂÏÂÏΉ† ÌÂȆ ˙ÂÓ˙ ÌÈÈÁ†¨ÏÈ·˜Ó·†ÌÈÈÁ†Ï˘†˙·ίÂÓ†ÏÚ†‰Ú·ˆ‰ ÔÓÂÒÓ† È˙„‰Â† ÈËÈÏÂÙ‰† ¨È¯Â·Èˆ‰† ¨È˙È·‰ ·˘†˘Ï¢ӆ¯ˆÂ†ÌÈ˘‰†˘ÂÏ˘†ÔÈ·†Æ‰ÁÙ˘Ó‰ ÆÂÏÂÎ†È˘†ÂÏÂΆȯ·‚†ÔÓÊ·†Â·†‡Â‰˘†·Á¯Ó· Ô‰† ƄȘÙ˙·† „ÈÓ˙† ÌÈ˘‰† ·˘† ·Á¯ÓÎ ¯·Ú·†‰˙ȉ†Â‡†„È˙Ú·†‰È‰˙†Ô‰Ó†˙Á‡†ÏÎ ÆÏÂÙΆÌ˜ӆ‰ÓˆÚφ˙ÓÒӆȷ‰Â†‰¯ÈÓÒ ˙ÂÚÈÓ†‰¯Â˘·†˙„ÓÂÚ†¨‰Â˙Á·†˙ÂÓÏÂˆÓ ıÂÁÓ†˙ÈÓ‡‰†ÆÔ˙·ØÔ˙ÂÁ‡†Ï˘†ÌÂÏȈ‰†‡˘Â ÔÈ·˘†‰„˜‰†‡È‰†‰˙ÓÏˆÓ†Ï˘†Ë·Ó‰†˙„˜ ˙‡†˙ÂÙȘӆԉ˘†Â‡†¨‰·‰‡†¯È˘†Ô‚Èφ¯ Ë·Ó‰†Ï·‡†‰È„ÚÏ·†ÌÈȘ†˘Ï¢Ӊ†¨ÌÈȯÙÏ ‰ÓÓ†˙‡ˆÂÈ˘†Ë·Ó†˙„˜†ÆıÂÁ‰†ÔȷφÌÈÙ‰ ˘˜·Ï†Ìȇ·˘†Ô˙Á‰†È·Â¯˜Ï†‰ÎÁÓ‰†‰ÏΉ ‡È‰†ÆÂ˙‡†Ì˜ÓÓ†¨Â˙‡†ÔÓÒÓ˘†‰Ê†‡Â‰†‰Ï˘ ÌÈ˘‰†ÔÈ·†˙ËË¢ӆ‡È‰†Æ‰˙‡†‰ÏÈÎӆ̂†Í‡ ˙ˆÂ·˜†ÔÓÊ·†Â·Â†‰ÎÈÓ˙‰†˙ˆÂ·˜†Ô‰†Æ‰„Ȇ˙‡ Ô‚ӆÏÈÎÓ‰†ÌÂȘ†·Á¯Ó†—†‰È¯ÂËȯˆ˙ÓÒÓ ˙ÂÂÎÓ†‡È‰˘†‰ÓψӉ†˙¯Óφ¨‰Ï†˙¯ÎÂÓ‰ ¨È¯Â·Èˆ†¨ÈËÈÏÂÙ†¨È˙„†„ȘÙ˙†Â‰Ê†ÆÁ˜ÈÙ‰ ÆË·Ó†˙„˜†ÌÈÓ˜ÈÓ ˜ÏÁ† ¨Ì˜Ӊӆ ˜ÏÁ† ¨‰Ù˜˘† ‡È‰† Ô‰Èχ ‡È‰†¯˘‡Î†Ì‚†ÆÌÈȘ‰†˙‡†ÍÈ˘Ó‰Ï†Â˙ÈÏÎ˙˘ 71 70 There is No Such Place as Far Away Samira WahbiÈ·‰Â†‰¯ÈÓÒ††È„Ó†˜ÂÁ¯†‡Â‰˘†Ì˜ӆÔȇ 22.3.01-25.5.01 There isNoSuchPlaceasFarAway amira Wahbi photographswomen.Sheknows in Drusepilgrimagesites,thereligious- the existent.Evenwhenshephotographs political, publicroledesignedtosustain and acontrolgroup.Itisreligious, hand. Theyareatonceasupportgroup family memberscomingtoaskforher the bride-to-beawaitinggroom’s to thetuneofalovesong,orsurrounding wedding, standinginline,wavingacandle always ‘onduty.’ They aredepictedata is signifiedasaspacewherethewomenare public, politicalandreligiouslivingspace drawing awayinordertoobserve. photographs thatwhichisclosesttoher, rather thatofasubstantialcenter. She dominated peripheryormargins,but female existence.Notthechroniclesofa photographs everyday, asachronicleof Carmel wheresheresides.She members orneighborsfromDalyatal most ofthemsincetheyareeitherfamily In Wahbi’s photographs,thedomestic, „ȘÙ˙·†„ÈÓ˙†ÌÈ˘‰†Â·˘†·Á¯ÓΆÔÓÂÒÓ†È˙„‰Â†ÈËÈÏÂÙ‰†¨È¯Â·Èˆ‰†¨È˙È·‰†ÌÈÈÁ‰†·Á¯Ó where thewomenare always‘onduty.’ The domestic,public,politicalandreligious livingspaceissignifiedasa camera shedirectsatthem,herselfis with whomsheissofamiliar. Despite the time. Shewandersamongthesewomen and takespartinitatonethesame contains her. Shedocuments the prayer which atonceoriginatesinherand between insideandoutside;apointofview her cameraliesontheborderlinein- position. Thepointofviewassumedby entirely female. space thatisatonceentirelymaleand intricacy ofparallelexistence,lifeina synagogue, butratheranindicationofthe “women’s gallery”asinanorthodoxJewish division intoa“men’s gallery”and place forfemalepresence.Thisisnota pray, themenleavegraveandclear photography. Beforethewomengointo a femaleeyeinthetraditionoffeminist ation ofamale-political-religiousrealmby locus. However, thisisnotanappropri- political-male siteisportrayedasafemale Wahbi outlinesfor herselfatwofold Samira Wahbi and viewpoints. space thatembracesaspectrumoflocations positions it.Shemarksaterritory–living without her, yetitisherthatoutlines and outside theframe;triangleexists sister/daughter picture.Theartistis already beenthesubjectoftheir each willeitherbeinthefutureorhas created betweenthethreewomen,where of onethefamilygirls.Atriangleis on thewallbehindherisaweddingpicture the girls,observingherselfinmirror; wedding day. Sittingonthesofaisoneof white fabric,anallusiontothecoming is seensittinginthelivingroom,sewinga constructs anetworkofgazes:themother incorporated intheshow, theartist past, presentandfuture. upon herself,alongwiththem,ashared them, restlesslyencirclingtaking the landscape;sheisabsorbedamongst transparent, apartoftheplace, In asinglecolorphotograph 73 72

Sitting onthesofaisoneofgirls,observing fabric, anallusiontothecomingweddingday. In asinglecolorphotographincorporatedin herself inthemirror;onwallbehindher the show, theartistconstructsanetworkof is aweddingpictureofanotherdaughter. gazes: themotherisseensewingawhite ˙Á˙ÂÓ†˙ÈÓ‡‰†¨‰Î¯Ú˙·†„ÈÁȆڷˆ†ÌÂÏȈ· ¨Ô·Ï†„·†˙¯ÙÂ˙†˙·˘ÂȆ̇‰†∫ÌÈË·Ó†˙˘¯ ‰ÙÒ‰†ÏÚ†¨‡Â·Ï†„È˙Ú‰†˙ÂÏÂÏΆÌÂÈφÊÓ¯ ‰ÓˆÚ·†˙·˙Ó†˙Â·‰†˙Á‡†˙·˘ÂÈ ÌÂȆ˙ÂÓ˙†¯ÂÁ‡Ó†¯È˜‰†ÏÚ†¨‰‡¯Ó· Æ˙¯Á‡†˙·†Ï˘†˙ÂÏÂÏΉ

75 74 Ï˘†Ï‚¯Ï–‰ÈÈÏچȯ˙‡·†˙Óψӆ‡È‰†¯˘‡Î†Ì‚ ÈËÈÏÂÙ‰–ȯ·‚‰–È˙„‰†¯˙‡‰†¨˙Èʯ„‰†˙„‰ ÆÈ˘†¯˙‡Î†ÌψÓ

Even when she photographs in Druse pilgrimage sites, the religious-political- male site is portrayed as a female locus. ÂÏ˘†˙È¯††Please Help Me

ÈÂÓÈ„‰Â†¨®ÌȘ‰Â·‰†‰Ó˜¯‰†ÈËÂÁ†Ï˘†È¯ÓÂÁ‰Â ‰„·ÂÚ‰† Æ‰Ï˘–‰˙È··† ‰ÈÙφ ˙„ÓÂÚ‰ Ҙȇ‰† ÈÓÈÒ† ÆÔ¯ÙÈÚ·† ˙Ә¯† ÂÏ˘† ˙È ƯˆÂ†Âȇ†ËÚÓΆ¨‰ÂÂÎ˙†ÂÈχ ¨ÌÈ˘Â„† ÌÈÈÂÓÈ„·Â† ˙‡˘ÈϘ·† ¯·Â„Ó˘ ¨Ì˜¯˙‰Ï† ‰„È˙Ú‰† ‡Ó‚„‰† ˙‡† ÌÈÓÒÓ ˘ËȘ‰† ÈÈÂÓÈ„† ¨¯ÓÂÁ‰† ¯ÒÁ† ÁˢӉ ¯Ú¯ÚφÔȇ˘†ÌÏÂÚ†Ï˘†‚ˆÈÈΆÌ˙‡†˙¯ˆÈÈÓ ˙ˆÈÚ†Ì˜ӆ˙‡†¨‰Ó˜¯†˙‡¯Â‰·Î†¨ÌÈÓÒÓ ‰Î¯„‰‰† ȯÙÒÓ† ˙˜˙ÚÂÓ‰† ˙‡˘ÈϘ‰Â ÏÏΆ ͯ„·† ˙ÂÈÂÏ˙† ‰Ï‡Î† ˙„·چ ÆÂÈÏÚ Æ‡Â·Ï†‰„È˙Ú‰†ËÁÓ‰ ËÏÁÂÓ† „‚È·† ÌÈ„ÓÂÚ† ¨˙··ÂÁ‰† ˙Ó˜Â¯Ï ¨Ìȯ‚Ӊ† ÔÂÏҷ† ‰È˘‰† ¯„Á·† ¨Á·ËÓ· ÌÈÁ˜φÂÏ˘†˙È¯†Ï˘†˙„·ڷ†ÌÈÈÂÓÈ„‰ ¨‰È˙„·ڷ†˙ÈÓ‡‰†˙ÂÂÎӆ̉Èχ†ÌȯÒÓÏ ¯Â¯Ó˙†˙¢Ӣӆԉ†˙È·‰†ËÂ˘È˜Ï†¯·ÚÓ ˙„·ډ† Æ˙··ÂÁ‰† ˙Ә¯φ ˙¯·ÂÁÓ ˙È·‰†˙¯˜Ú†˙ÂÂÏ˘†ÏÚ†ÌÈÓÈÈ‡Ó˘†ÌȯÒÓ Æ¯ÂˢÈÓφ‰¯‰Ê‡Ï ˙Ó˜¯†Ï˘†ÌÈ˘†˙·¯†˙¯ÂÒÓ†ÌÚ†˙·˙Î˙Ó ÔÂÁËÈ·†ÏÚ†ÌȯگÚÓ†¨®Please Help Me© ÔÓʆ˜ÒÙ†‰ÁÂÓ†‡Â‰†ÂÓˆÚ†‰Ó˜¯‰†‰˘ÚÓ Ï˘†‰ÓÏÂÚÓ†Á˙ÙÓ†ÈËÙ˘Ó†˙·Ï˘Ó‰†¨ÌÈ˘ ˘È˘† „˜Ά ÌÈÚÈÙÂÓ† ÌȯÒÓ‰† Æ˙ÂÈ˙È·‰ Ï˘†¯ÂÓ˘‰†Ô„Â҆‰ʆϷ‡†¨˙È·‰†˙„·ÚÓ ÆÌÈÈ˘–ÌÈÈ˙È·†ÌÈÈÂÓÈ„†Û¯Ȉ·†˙È·‰†˙¯˜Ú ¯˘˜‰† ˙Á˙† ¯˙ÂÁ‰† È˘† ϘΆ ¨ÁÚÙÏ ˙ȇ¯† ˙Ә¯‰† ‰˘È‡‰† ȯ‰˘† ÆÌÈ˘‰ ‰·Â† ˙È·‰† ËÂ˘È˜Ï† ¢ÓÈ˘† ÔÓˆÚ† ˙ÂÓ˜¯‰ ÌÏ˘ÂÓ‰† ˙È·‰† ˙‡È„ȇ† ÔÈ·† ÈËÓȇ‰ ÔÈÈˈ‰Ï† ‰ÈÒҷ‡‰† Ɖ˙È·† ÔÚÓφ ‰˜ÂÒÚÎ ¨‰˘È‡‰†Ï˘†‰Ó˜ӆÏÚ†ÌȯÒӆ¯ȷډ†˙Ú· ÍÂ˙†¨˙ÓÏ˘ÂÓ‰†‰„ÏÈ–‰¯Ú–‰˘È‡‰†˙‡È„È‡Ï ¯˘˜†˙ÓÈȘӆ¨‰ÈگΆ‰˘È‡Î†¨˙È·†˙¯˜ÚÎ ‰„·ډ† Ɖ˙‡† ··ÂÒ‰† ÌÏÂډ† ‰È˙ÂÙȇ˘ Ï·‡†Æ˙ÓÈȘ‰†˙ίÚÓ‰†¯ÂÚ¯Ú†‰¯ÊÚφ‰‡È¯˜ ‰Ú˜˘‰‰Â†ÔÓʉ†¨˙ÂÈ·ÈÒҷ‡‰†˙Ó¯†ÌÚ†˜Â„‰ ÌÈÓÈÒ† ˙‡ӂ„† ȯÙÒ† ¨Ú·˜† ËÓ¯ÂÙ· –Ìȇ·ÁÂÓ–ÌÈ·Ï¢ӆ ÌȯÒÓ‰˘† ÌÂ˘Ó Æ‰ÓˆÚ†‰Ó˜¯‰†˙·ÏÓφÌÈ˘Â¯„‰ ˙Â‰Ê†Ï˘†È·È˘Ï˜†Ô¯ÎÈʆÌȯˆÈÈÓ†ÌÈÚ·˜ ÁË˘Ó·Â†È·È˯˜„†ÈÂ‚Ò†Ûˆ¯·†ÌÈÚÓËÂÓ Ï˘† Ú·ˆ·† ÔÂÓÈÒ‰† ˙„·چ Ï˘† χÂËȯ‰ ¨ÌÈÏÓÒ† ͯ„† ˙ÎÂÂ˙Ó‰† ˙È˘† ˙‰„ʉ ˙Èχ„†‰„ÓÚ†ÏÚ†˙ÂÚÈ·ˆÓ†˙„·ډ†¨¯ÂÂÈÁ ˙ÂÁÙ†‡Ï†˙È·ÈÒҷ‡†˙ίÙÓ†ÂÏ˘†˙È¯ Æ˙‡˘ÈϘ†ÌÈËÙ˘Ó ·Á¯Ó† ˙‡† ˙Â˘Ï† ÏÂÚÙφ Ì˙ÏÂÎȆ È·‚Ï ˙ÈÏÎ˙†˙¯ÒÁΆ‰ÓˆÚ†ÏÚ†‰„ÈÚÓ†¨‰Ó˜¯‰Ó ˙È҇Ϙ‰† ‰Ó˜¯‰† ˙„·ڷ† ÌÈËÙ˘Ó‰ ÆÔ‰·†¯ÈÈˈӉ†‰ÈÈÁÓ‰ Ï„·‰†¨Ìȉ„†Ô¯ÙÈÚ‰†ÈÚ·ˆ†Æ˙ÏÚÂ˙†˙¯ÒÁ ˙ω˙Ó† ‰·˘† ‰È¯ÂËȯˉ† ˙‡† ÌÈÙ˜˘Ó ÈÂÚ·ˆ‰† ¯˘ÂÚφ „‚È·©† ¯ÂÂÈÁ† ÌÈ‚‰ ˙Âȯ˘Ù‡‰†‰ÏÂÚÙ‰†˙ÂȂ˯ËÒ‡†˙‡Â†‰˘È‡‰

Please Help Me 77 76 Please Help Me Ronit Shalev ÂÏ˘†˙È¯††Please Help Me 8.4.00-12.5.00 representation ofanincontestableworld The factthattheseare hackneyedimages onit Shalevembroidersinpencil.The representation ofanincontestableworld. trite clichéstransformsthemintoa fact thatthesearehackneyedimagesand can choosefrominherownhome.The operates andthepossible reflect theterritoryinwhichwoman catchphrases andclichés. identification, mediatedviasymbols, a collectivememoryoffemaleidentityand pattern booksandstandardsignsgenerate world aroundher. Theformatisfixed; the woman’s place,herambitions,andthe same time,conveyedmessagesconcerning used ashouseholddecorations,andatthe images. Thesamplersthemselveswere a homemaker’s worldwithdomestic-female samplers, incorporatingkeymottoesfrom with anage-oldtraditionofneedlepoint instruction books.Theworkscorrespond from ‘embroideryforthebeginner’ Please HelpMe needle, asinneedlepointinstructions. marking theplacesinwhichtoinsert intended designisoutlinedin"X"es, The maximsinclassicneedlepoint The imagesinShalev’s worksaredrawn and triteclichésrenders thema modi operandi Ronit Shalev she diametrically opposedtothemessages ‘embroidery forthebeginner’guidesare images andtheclichéscopiedfrom intended isbarelycreated. embroidery threads),andtheimage color andmaterialrichnessofthebright distinctions inhues(asopposedtothe colors arefaded,thereonlyfaint revealing itselfaspointlessandfutile.The arduous andobsessiveasneedlework, the embroideryactitself. time andeffortthathastobeinvestedin proportionate tothedegreeofobsession, housewife, awomanandwife,isdirectly household. Theobsessiontoexcelasa appears tobebusy, exertingherselfforthe secret. Whileembroidering,thewoman but thisisawoman’s closelyguarded rest andtime-outfromdomesticchores, The material-lesssurface,thekitsch Shalev’s ritualofcolorsignificationisas The actofembroideryitselffurnishes warning signandameansforgoverning. a domesticdecoration,theyfunctionas the bedroomandlivingroom;beyond Such piecesareusuallyhunginthekitchen, the livingspacetheydepict. position regardingtheircapacitytochange surface, theworksindicateanambiguous decorative stylisticsequenceandapale incorporated-concealed-assimilated ina system. However, sincethemessagesare help andanunderminingoftheexisting the perfectwoman-girl;theyareacryfor ideal oftheperfecthomeand subverting theimmanentlinkbetween must bedeciphered;asafemalevoice messages areintroducedasacodethat undermining thedomesticsecurity. The peace ofmind(“PleaseHelpMe”), messages thatthreatenthehomemaker’s artist wishestoconveyinherworks, ÂÈÏÚ†¯Ú¯ÚφÔȇ˘†ÌÏÂÚ†Ï˘†‚ˆÈÈÎ Ì˙‡†˙¯ˆÈÈÓ†ÌÈ˘Â„†ÌÈÈÂÓÈ„·Â ˙‡˘ÈϘ·†¯·Â„Ó˘†‰„·ÂÚ‰ 79 78

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ÂȯÂÁ‡˘Î†ÈÈÓ†ˉÂφÌ„‡†Ú˜¯†ÏÚ†ÁÂÓ ˙·ˆÂÓ† ¨„Á‡† ÏÚ† „Á‡† τ‚·† ¨Âʆ „ˆÏ†  χ†ÔÂÂÎÓ†Ìȯ·È‡Ï†Ë·Ó‰†Æ‰ÓψÓφÌÈÂ٠ƯȘ‰†ÏÚ†¨˙ÂÈÓÂÓ†Ú·˘†ÂÓΆ¨˙ÂÈÂÓ„‰ χ† ÌÈŸt‰† χ† ¨Û‚‰† χ† ‰¯È„Á‰† ÌÂ˜Ó ¨ÛÂËÚ†Û‚†Ï˘†ÌÈί‡†ÌÈÓÂÏȈ†‰Ú·˘ ÌȘ·˜·‰†˙Âȯ‡˘†Æȯˉ†¯˘·‰†Ï˘†˙ÂÈÈÓ‰ ˙ÈËÒχ† „·† ˙Úˆ¯† ƘÂÁ† ¨˘Â·Á† ¨Í¯Π¨˙‰Óȇ† Ï˘† ‰˜ÈÁÓ† ÔÈÚÓ† ̉† ÌÈÎ˙ÂÓ‰ ‰ʆƉ˜ÊÂÁ·†˙Á˙Ó†¨Ìȯ·È‡‰†·È·Ò†˙ίÎ‰ τ‚·†˙·ˆÈ‰†˙È˘‰†‰˜ȇ‰†Ï˘†‰˜ÈÁÓ È˜†ÆÔÓÂÒÓ†È˘†Û‚†Â‰Ê†¨Ì¯ÈÚ–‡Ï–̯ÈÚ ÆÏÂÓÓ†¯È˜‰†ÏÚ†¨‰˘È‡ ¨ÂÓˆÚ†Û‚‰†Í‡†ÌÈËÏ·ÂÓ†Û‚‰†Ï˘†¯‡˙ÈÓ‰ ÔÓ‚ÈϘ† ÒÈχ† Ï˘† ‰˙„·ڷ† ÌÈÈÂÓÈ„‰ „·‰†˙Úˆ¯†Ï˘†·Á¯‰†È˜†Æ‰‡¯†‡Ï†¨¯˘·‰ ®Ìȯ˘ÙÂÓ† ˙ÂÙÂÚ† ‰ʉ† Ș·˜·† ¨˙ÂÈÓÂÓ© ¨‰˜ÈÁÓ‰†ÆÌÈÈÎ‡‰†Û‚‰†È˜†˙‡†ÌȘÁÂÓ ¯˘·‰Ó†˙Ú·Â†‡Ï†‰ÏÂÚÙ‰†ÆÌÈÈ˙¯ȯ˘†Ì‰ Ôȇ˘†ÈÂÈ˘†ÍÈω˙·†ÌÈÓÈÒ†˙ίÚÓ†ÌÈ‚ÈˆÓ ÌÈÈÙ¯‚†Áˢ†ÈÙ†˙¯ˆÂȆ¨ËÂË¯È˘Î†ËÚÓÎ ¯˘·‰Â†¨®ÌÈȘ†‡Ï˘†Û‚†˙¯˘‡Ó†ÌÈÈÈÚ‰© ÌÈÓÂÏȈ‰†ÌÂȆÛÂÒ·†ÍÏ˘ÂȆÛÂÚ‰†Æ‰¯ÊÁ†ÂÓÓ ¨ÈÙ¯‚†ÈÂÓȄΆÁÎÂ†Û‚‰†Æ‰¯Â‡ÎφÌÈ˘˘ Æ®Ï˘Óφ˙ÈÈÓ©†‰ÏÂÚÙφ̯‚†Â‡†¯ˆÈÈÓ†‡Ï ÆÈÏÂȈ˜ÂÙ† ‡Ï† ¨‰ÏÈ·φ ¯ÂÒ‡† ¨ÁÙÏ ˙˜Á„†‰˜ȇ‰†Æ®Icon†¨ÌŒÏŒˆ©†‰˜ȇ†ËÚÓÎ ˙ÈÓʆ·†˙ÂÓÈȘ˙Ó†‰Ï‡†ÌÈÓÈÒ†˙ÂίÚÓ Ì‚†¨˜ÈËÒÏÙ†˙·Â¯Ú˙φÂÎ˙‰˘†ÌȘ·˜·‰ ˙‡†¨ÈÁ‰†¯˘·‰†˙‡†Áˢ‰†ÈÙφ˙Á˙ӆχ Ԙ¯˙Ó† Û‚‰˘† „Ú† ¨Âʆ ˙Á˙† Âʆ ˙¯˙ÂÁ ڷ˜ÈÈ†È˘‰†Û‚‰†ÆÌÈÈÏÂȈ˜ÂÙ†‡Ï†¯·Î†Ì‰ ÈÁ–˜ÙÒ† ÈÂÓÈ„† ˙¯ˆÈÈÓ† † ¨È˘‰† ̯ÈÚ‰ ˙Ú„Â˙ӆԘ¯˙Ó†Â˙ȇ†˙‰ÂÊÓ˘†˙ÂÏÂÚÙÓ ÌÈÈÁ†¯ÒÁ†¨¯˘·†¯ÒÁ†¨‰ÏÎ˙ÓΆÂ¯ÎÈÊ· ˙ÙËÚӆ‡†„·†ÛÂËÚ†Û‚†Â‰Ê†Ì‡‰†Æ˙Ó–˜ÙÒ ¨Û‚†Ï˘†ÔÓÈÒφ¯˙ÂȆ¯˙ÂȆÍÙ‰†¨¯˘·‰ Âʆ ˙ÂÂÓ† ˙¯ÈÊ‚† ‡˜Â„† Ï·‡† Æ˙ÏÁÂ˙† ¯ÒÁ ø˙˜Â¯Ó Ô˙È‰† ÔÓÈÒφ ˙ÎÙ‰† ‰˜ȇ‰† ƉÂ˜È‡Ï ¯·„Ά ÂÈÏÚ† ‰ÚÈ·ˆÓ† ¯ÓÂÁ‰† ˙‡† ˙Ù˘ÂÁ ¨È¯ÓÂÁ–È¯˘·‰† ¨È˘‰† Û‚‰† „‚Î ‰ÓȈÚÓ†Í熨¯ÓÂÁφ‡†‰ÏÂÚÙφ¨‰¯Ó‰Ï ËÒÂÓ† ˘‚„‰† Æ˘Èȷ‡‰† ˙‰ÓΆ ¨ÂÓˆÚ ˜ÈËÒÏÙ† ÌÈÈ˘ÂÁ† ÌÈ·ˆÈ† ¨‰ÒÂÎÓ–˜ÂÁÓ‰ ˘Èȷ‡†Ï˘†‚ˆÈÈΆ¨‰˜ȇΆ‰ÈÂÓÈ„†˙‡ ÆÏΉ†˙ÂÊÁ†‡Â‰˘†¯ÓÂÁ†Æ¯ÓÂÁ‰†Ï‡†ÍÈω˙‰Ó ÌȇÂÙ˜†˙ÂÙÂÚ†˙˜ÂÈ˙†È˜Â·˜·†Ï˘†Í˙ÂÓ ÆÁˆ†ÈÈÁ†ÏÚ· ¯˘·‰†˙Ú„Â˙†‰ÏÂÚÙ‰†˙Ú„Â˙†ÔÈ·†ÌÈÒÁȉ ¨¯˘·†˘Â‚†¨ÛÂÚ‰†ÆÌÈ˘‡ÏÙ‰†ÌÂÁ·†Â¯˘Ù‰˘

Icon 83 82 83 Seven on the Wall Alice Klingman ÔÓ‚ÈϘ†ÒÈχ††¯È˜‰†ÏÚ†Ú·˘ 20.1.00-10.2.00 ide-by-side, thelifesizefiguresaremounted mounted inlife-sizeontheoppositewall. of maternity, anerasure ofthefemaleicon melted bottlesareakintoanobliteration of thefreshmeat.Theremnants the body, attheinside andatthesexuality directed atthepointofpenetrationinto the camera.Thegazeonitsorgansis sexual redbackdrop,withitsbacksideto a lumpofmeat,issetagainstfervent, generated fromtheflashes.Thechicken, and frozenchickensdefrostedbytheheat objects madeofmeltedbaby-bottleplastic fleshy-material femalebodyaresensuous cloth, orisitbutanemptyenvelope? possibly dead.Isthisabodywrappedupin generating animage–possiblyliving, female nudity, belowthesurface, icon ofsorts.Thepushestheflesh, The bodyispresentasagraphicimage,an generates anostensiblystillgraphicsurface. obliteration, almostlikeadrawing, obliterate theverticalbodylines.The horizontal linesofthefabricstrap body itself,theflesh,isunseen.The body’s contoursareemphasized,butthe nakedness, amarkedfemalebody. The stretched forcefully. Itisunnaked- cloth stripistiedaroundtheorgans, bound, bandaged,gagged.Anelasticized elongated photographsofabodywrapped, on thewall,likesevenmummies.Seven Seven ontheWall The imagesinAliceKlingman’s works Juxtaposed totheerased-covered, Alice Klingman possessing eternallife. icon, asarepresentationofanobject matter, thusreinforcingitsimage asan converted –intoactionorsubstance, body, anicon. gradually transformingintoasignof voided oftheconsciousnessflesh, actions habituallyidentifiedwithitand another, untilthebodyisemptied of signs occurconcurrently, underminingone (sexual orother)action.Thesesystemsof flesh neithergeneratesnorstimulatesthe eyes affirmanon-existentbody),andthe The actdoesnotstemfromtheflesh(the consciousness oftheflesharearbitrary. consciousness oftheactand of thematter. substance. Asubstancewhichisthecrux emphasis isshiftedfromprocessto itself, astheobject’s veryessence.The the material,introducingitasthing is preciselythisdeathsentencethatexposes fleshless, lifelessanduseless.However, it fixed inourmemoryasexpendable, non-functional. Thefemalebodywillbe into aplasticmixwerelikewiserendered consumption, useless.Thebottlesmelted end oftheshoot,unfitforhuman chickens willbechuckedinthebinat an irreversibleprocessofchange.The chickens) formasetofsignsundergoing (mummies, babybottlesanddefrosted The iconbecomesasignthatcanbe The interrelationsbetweenthe or isitbutanemptyenvelope? this abodywrappedupincloth, possibly living,dead.Is the surface,generatinganimage The iconpushesthefleshbelow ˙˜¯†˙ËÓ ‡ „· ‡† ˙ÙËÚÓ† ø˙˜Â¯Ó† ˙¯ˆÈÈÓ ÛÂËÚ†Û‚†Â‰Ê†Ì‡‰†Æ˙Ó≠˜ÙÒ ÈÂÓÈ„† ÈÁ≠˜ÙÒ† ÈÁ‰ χ† ˙Á˙Ó† ÈÙφ Áˢ‰† ‰˜ȇ‰ ˙˜Á„† ˙‡† ¯˘·‰† ‡ˆÂ‰†ÌÈÈÈÚ‰†Í¯„†¨ÛÂÒ·†˜¯Â ‡ˆÂ‰†˙È˘Â‡‰†‰È¯ÂËÒȉ· fleshless anddried.Itwas through theeyes,was removed first;onlythen, dubbed themirrorof to theworldofdead. the earliestmummiesin Ô‰†¨ÌÈÈÈÚ‰†ÆÌÈ˙Ó‰†ÌÏÂÚÏ ¨ÌÈÈÓÈÙ‰†Ìȯ·È‡‰†‰ÏÈÁ˙ container, asuitcase for the soulmakingitsway ¨ÏÎÈÓΆÛ‚†ÆÔ¯˙†˙ÂÏÈ·Á· soul, whereasthebody stuffed withsodium.A The internalorgansof ¯ÒÁ†¨˜È¯†¯˙Â†Û‚‰†Æ·Ï‰ ¨˘Ù‰†È‡¯Î†ÂÓÂÒ†¨„·Ï· body remainedempty, body tantamounttoa ‰È„„·†˘Ùφ‰„ÂÂÊÓÎ was consideredmere The eyesalonewere heart extracted.The ˙Â¢‡¯‰†˙ÂÈÓÂÓ‰†ÔÓ human historywere ‡ÏÂÓÓ†Æ˘·ÂÈÓ†¯˘· ƯÓÂÁ†Û‚‰Â matter.

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87 86 ÁÂΆ˙ÏÚ·†˙È˘†˙Âӄφ˙˜˜„Êȉ†‰ÂÓ‡ ÍÂ˙Ó†˙È˘Ú†·Èˇ¯‰†Ï˘†˘„ÁÓ†‰‡È¯˜‰ ¨‰˙ÂÓ„ Ìȉӆ Æ˙È˘†˙ÂÓ„Ó†‰¯ÊÚφ‰ÈÈÙ†Ï˘†È˙„–ȯÂËÒȉ ͢Ӊ† ¯È˘È† χÂËȯφ Ï˘†‚ˆÈȉ†˙ÂÓÈÎ҆ȷȯ†‰˘Â„˜‰†˙ÂÓ„· ÌÈ˘ ÏÂÙÈˉ†ÆÈ˘È‡Ï†ÈÏ·ÓÈÒ‰Ó†¨È˯Ùφȯ·Ȉ‰Ó Æ˙¯ʆ ˙„·ډ† ˙‡˷ӆ ¯·ÚÓ† ˙¯ÎÂÓ†ÌÈ˘†¨‰ÁÙ˘Ó†˙Â·†¨˙ÂÈ˯نÌÈ˘ ∫˙·¯†ÌÈ˘†ÈÈÁ†ÏÚ†‰Ê‰†ÔÂÎÓ‰†ËҘˉ†Ï˘ ˙ÈχËÂˉ†‰ÚÙ˘‰‰†˙‡†˙Á·†˙ÈÓ‡‰ ÆÈÁ‰†¯˘··†‰ÚÈ‚Ù‰ ƉÚÙ˘‰Â ÈÓ†Ì φφ¨È ˙ÂÚˆÓ‡· ¨ÌÈÒ† ÏΆ ‰Ï‡† ÌÈ˜† ¯ÈÁÓ·† ‰˘Â„Ș Ï˘† ˙‡Ȉӆ˙Â˘Ï†ÁÂΆ˙ÏÚ·†˙È˙„–˙ȯ·Ȉ ¨‰˘È‡‰† ‰˙ÎÈÙ‰† ˙Âӄφ ‰È„˘˘ Â˙¯Î† ÏÚ† ˘Â„Ș† ˙„‰† Æ˙ȯˆÂ‰† ËÒÏ ÈÒÂφ ‰ÈÈÚ˘† ¨Â¯˜Ú† ËÒφ ‰˙‚‡† ·Èˇ¯ Ò† Ɖ˘Â„˜‰† ˙„·ډ† ·Èˇ¯ ˙ÂÒÁÈÈ˙Ó† ¨ÛÒÂ† ¯ÊÂÁ‰† ¨˙„·ڷ† ‡Â‰† ‰È¯Ó†Ï˘†‰Ï·˜·†ÌÈÎÂ¯Î˘†È˘‰†Ï·Ò‰†ÁÂΠ˙ÂÚÈΉ†¨‰·¯˜‰‰†¨˙¯ÒÓ˙‰‰†˙‡†ÔÈÈˆÓ ‰˘È‡‰ ÆÏÚÂÙ·† ¨ËҘˉ† Â·ÂÓ·† ¨·Á¯‰† ÈÈÁφÍȯ„Ó†‰Ê†Ô·ÂÓ·†˘Ó˘Ó†¨Â˙‡†˙‡¯Â˜ ˙ÈÓ‡‰˘†ÈÙΆ¨‰È¯Óφ‰¯Â˘·‰†·Èˇ¯ ‰Ï‡‰ ¯ÈÁÓφ ÌÈ˘‰˘† ˙ÂÓÏ˘Ó† Ô‰ÈÈÁ·† ˙ÂÓÈÎÒ‰†ÔÈ·˘†¯˘˜‰†˙‡Â†¨˙¯ˆÂȆ‡È‰†‰·˘ ˙·¯˙·†˙ÂÈÊίӆÌÈ˘†˙ÂÈÂÓ„†Ï˘†‚ˆÈȉ ˙ÂÓÈÎÒ†˙‡†˙ÈÓ‡‰†˙Á·†‰È˙„·ڷ ¨˙È˘ ˙¯ÒÁ† ¨˙ÂÈ˯ن ˙ÓÈȘ˙Ó‰† ÏÂÓ† Ɖχ‚†Ϸ҆¨‰·¯˜‰†Ï˘†ÌÈÏ„ÂÓ „·چÏÈÓ‡†‰‡ÓÂß‚ Ɖϯ‚†˙‡ ÆÌÈÈ˘ÓÓ‰ ÏÓ†ÈÈ¯Ï ÒÈ˙†˙ÈÓ‡‰ ¨Ï΢·†Â¯Â˜Ó† ˙ÒÁÈÈ˙Ó† È·ÈίÓφ ‰ÏÈÓ‰† ˙‡ „–Ú Ï‚Ó†‰Â˙ Æ˙È˙ÂÓ ‰ÚÂ˙† ˙Ï·‚ÂÓ‰† È„È–ÏÚ† ‰˙‡† ‰ÚÂ˙φ˘ÈÈ·ÂÒ†‡È‰†¨‰Ê†Ô·ÂÓ·†¨‰˘È‡‰ Û‚‰†Ï˘†˙ÈÊÈÙ‰†‰ÏÂÚÙ‰†˙‡†‡Ë·Ó†¨‰ÒÎÓ‰ ¯‡Ï‰Â˜†Ô·†‰ÂÙ†ÁÂÂË ˙Â‰Ê†Ï˘†ÌÂȘ†·Á¯Ó†‡Â‰†‰¯Â‡ÎÏ–‰ÈÂÙ˘‰Â ‰ÏÂÚÙ‰† ÔÈ·˘† ‰¯Â‡ÎÏ–‰˘Â„˜‰† ÆÛ‚‰†Ï˘†‰ÏÂÚÙ‰†ÁÂÂËφÔÓÈÒΆ‰ÓÈÏ‚‰†ÔÈ·Ï ÓÏÎ ¨ ‰ÓÈςΆ ‰·¯˜‰ ¨Ï·Ò† ‡©†˙ÂÈÈÓ†˙¯„Ú†‰ÏÂ˙·†∫˙È˘†˙‚‰˙‰Ï ˙‡Â† Ï„ÂÓ‰† ÈχȄȇ‰† ˙ȯˆÂ–˙È·¯Ú‰ ˙ÓÏ‚Ó† ‰˙‰ʷ† ‰˘Â„˜‰ ¨„·Ά ˙·¯˙·† ˙È·¯ÚÓ‰† ˙·¯˙·Â† ÒÂ˙ÈÓ ÆÔÂÎÓ† ÈÙ–ÏÚ† ·Èˇ¯† ¨‰Ê† ˙ÂÓ„† ˘Ó˘Ó‰†È¯ÂÙÈ҆ڄȆÛ‚††Â‰Ê†Æ‰ÏÈÓ·†¨‰Ù˘· ˙ÂȯÂËȯˉ†È˙˘†˙‡†˙˜„·†„·چÏÈÓ‡†‰‡Ó† (sanity sainthood Ɖ˘Â„˜†Ï˘†‰ÏȉΆ˙ÓÂÒÓ˘†‰ÓÈÏ‚ ©†˙ÂÈÙ˘‰†ÔÈ·†¯˘˜†˙¯ˆÂȆ˙ÈÓ‡‰ ††˙ÂÈÙ˘Â†‰˘Â„˜ hood saint ‰ ®˘ÎÓ ‰˙ÂÈÈÓ˘ Æ®˙˘ÁÎÂÓ† –‰† ƉÚÂ˙†¯ÒÂÁ†Â‡†‰ÚÂ˙†— –‰†Æ®‰˘e„˜©† Æ˙eÈÙ˘‰Â†‰˘e„˜‰†Ï˘ saint sainthood hood

89 88 Sainthood & Sanity-hood Jumana Emil ‘Abboud„·چÏÈÓ‡†‰‡ÓÂß‚††˙ÂÈÙ˘Â†‰˘Â„˜ 12.3.01-25.4.01 living spaceforfemaleidentitysustainedvis-à-vismodelsof The rangebetweenthepseudo-saintandpseudo-saneisa ‰Ï‡‚†Ϸ҆¨‰·¯˜‰†Ï˘†ÌÈÏ„ÂÓ†ÏÂÓ†˙ÓÈȘ˙Ó‰†˙È˘†˙Â‰Ê†Ï˘ ÌÂȘ†·Á¯Ó†‡Â‰†¨‰¯Â‡ÎÏ–‰ÈÂÙ˘‰Â†‰¯Â‡ÎÏ–‰˘Â„˜‰†ÔÈ·˘†ÁÂÂˉ Sainthood &Sanity-hood umana Emil‘Abboudexploresthetwin price paidbywomenintheirreal lives. the linkbetweentheseschemes and the the culturewithinwhichshecreates,and schemes usedtorepresentkeywomenin sacrifice, sufferingandredemption. conducting herlifevis-à-vismodelsof for femaleidentitydevoidofprivacy, saint andthepseudo-saneisalivingspace of action.Thisrangebetweenthepseudo- and thehoodassignifyingbody’s range aura ofsanctity. one restrainedbythehoodsignifiedasan the subjectofaconditionedmovement, movement. Thewoman,inthissense,is physical act–movementornon- covering cloakexpressesthebody’s sexuality isdenied).The‘hood’asa virgin devoidofsexuality(oronewhose it istheidealmodelforfemalebehavior:a embodies respect,sacrificeandsuffering; culture andintheChristianArab narrative, thefigureofsaintinwestern formative myth.Accordingtothat of narratalknowledgethatfunctionsasa mind, inlanguage,theword.Itisabody ‘sainthood’. The‘saint’originatesinthe addresses theconstituentsofword territories ofsainthoodandsanity. She In herworks,theartistexamines The artistcreatesalinkbetweensanity sacrifice, suffering andredemption Jumana Emil‘Abboud influential femalerolemodel. belief inandneedforapowerful, narrative’s re-readingisperformedoutof of turningtoafemalefigureforhelp.The extension ofthehistorical-religiousritual representing herimageareadirect figure andthemultiplemodesfor personal. Thetreatmentofthesaint’s to theprivate,fromsymbolic The worksconveyashiftfromthepublic famous women,andanonymouswomen. women: privatewomen,familymembers, of thisformativetextonthelivesmany at thecostofmutilationflesh. through miracles–alltheseareacquired possesses thepowertochangereality mation intoapublic-religiousfigurethat The woman’s sainthood,hertransfor- were severedforthesakeofChristianity. plucked out,andSt.Agathawhosebreasts works alludetoSt.Lucywhoseeyeswere works isthemiracleofsainthood.The acceptance ofherdestiny. humility andsufferinginvolvedinsuch sense, pointsatfemaledevotion,sacrifice, woman’s actuallife.Thetext,initswide serves, inthisrespect,asaguideforthe the Virgin Mary, asreadbytheartist, The artistexaminesthetotalinfluence Another narrativerecurringinthe The narrativeoftheAnnunciationto The public figure of St. Lucy as Ï˘†˙ȯ·Ȉ‰†‰˙ÂÓ„ a sculpture, an icon, is based on ¨ÏÒÙΆÈÒÂφ‰˘Â„˜‰ the story that her sculptured ÏÚ†˙ÒÒ·ӆ¨‰˜ȇΠlikeness in various cathedrals ¨‰Ï˘†ÏÒÙ‰˘†¯ÂÙÈÒ‰ around the world has been ˙Â¢†˙ÂÈÒη†ÌÈȘ˘ known to shed tears of blood, Ú˙ÙφÏÈÊÓ†¨ÌÏÂÚ· oil or water. ÆÌÈӆ‡†ÔÓ˘†¨Ì„†˙ÂÚÓ„ 91 90 On thisborderlinebetweentheprivateand physical sphere.Sheisinvisible,yetshecansee. physicality. However, theveilalsoallowsherto between herphysical,sexualexistenceandthe insubstantial speechtolifeitself.Inreallife,the that metaphoricalcloak.Thecloakisthefallen The artistsignifiestheveilasanextensionof revisits thefiguresofstrong,highlyinspiring and ArabMuslimculturalsystems,theartist model ofthesaint.Thepublicspheremarks between Arab-Christian,Western Christian artist says,theveilissignforawoman’s maintain hersanityinanintimate,private, public, betweensanityandsainthood, her lackofsanityandindeliblesexual sanity. Itsignifiestheunbridgeablegap halo. Itisthetransitionfromspiritual, women. ÌÈÈÁφ¨˙ÂÈ˘ÓÓ†¯ÒÁ†¨ÈÁ¯†¯Â·È„Ó†¯·ÚÓ‰†‡È‰ ƉÏÙ˘†‰Ïȉ‰†‡È‰†‰ÓÈÏ‚‰†Æ˙ȯÂÙ‡ËÓ†‰ÓÈÏ‚ Ï„ÂÓ†Ôȷφ¨‰˘È‡‰†Ï˘†ÈÈÓ‰†¨ÈÊÈÙ‰†‰ÓÂȘ†ÔÈ· ˙ȯˆÂ–˙È·¯ÚÓ†¨˙ȯˆÂ–˙È·¯Ú†˙·¯˙†˙ÂίÚÓ ÔÈ·†¨‰Ê‰†¯Ù˙‰†Â˜·†Æ‰‡Â¯†Í‡†˙»‡¯†˙¯ÒÁ†‡È‰ ÆÈÊÈÙ†È˯نÈÓÈËȇ†·Á¯Ó·†‰˙ÂÈÙ˘†˙‡†ÌÈÈ˜Ï ‰Ï†˙¯˘Ù‡Ó†Ì‚†‰ÏÚ¯‰†¨Ìχ†Æ‰˜ÈÁÓφ˙˙È ¨‰¯È‚ÒφÔ˙È†Âȇ˘†¨¯ÚÙ‰†˙‡†˙ÓÒÓ†‰ÏÚ¯‰ ‰ȇ˘†¨‰Ï˘†˙ÈÈÓ‰†˙ÂÈÊÈÙ‰†˙‡Â†‰˙˘Â„˜ ‰˙Â‡Ï†Í˘Ó‰Î†‰ÏÚ¯‰†˙‡†˙ÓÒÓ†˙ÈÓ‡‰ ¯„Ú‰†˙‡†ÔÓÒӆȯ·Ȉ‰†·Á¯Ó‰†Æ‰˘Â„˜‰ Ôȷ†¨‰˘Â„˜Ï†˙ÂÈÙ˘†ÔÈ·†¨È¯Â·Èˆ‰Â†È˯ى ¨˙ÈÓ‡‰†˙¯Ó‡†¨ÌÈÈ˙ÈÓ‡‰†ÌÈÈÁ·†ÆÌÓˆÚ Æ‰˘È‡‰†Ï˘†‰˙ÂÈÙ˘Ï†ÔÓÈÒ‰†‡È‰†‰ÏÚ¯‰ Ɖ‡¯˘‰†˙¯¯ÂÚÓ†˙˜ÊÁ†ÌÈ˘†˙ÂÈÂÓ„Ï ‡˜Â„†˙¯ÊÂÁ†˙ÈÓ‡‰†¨˙ÈÓÏÒÂÓ–˙È·¯ÚÂ

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Images from the video “The Colonel’s Angry Daughter” Ô¢‡¯†¯ÂÙÈÒ

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First Story Images from the video “Hotel Toledo: Three Love Songs” To my friend, director E.W., I am thankful for involving me in his Jewish, sometimes radical discourse, on zionism and on the state of Israel. One afternoon I avoided working on his film, making an excuse that I was ill, and went to wander round the city, Paris. I entered the BHV (“City Council Bazaar”) department store, and there I saw by chance, on the entrance floor, some of the most beautiful bras I had ever seen. One of them, green, almost made me cry. They were quite expensive, and I immediately began to plan what I could do with them instead of buying them. For the whole six weeks I stayed in Paris, I couldn’t stop thinking how to film the bras (I had just written an essay about skin, fashion and cinema, for a catalogue for the Israel Museum, an essay that was ordered from me and later rejected. From this discourse I went to see some inspiring films that took place at È˘†¯ÂÙÈÒ

‰Ï˘†È˘‰†Ë¯ˆ˜‰†˙‡†˙˙φ‰„ÓچʯÈÈÙ†ÆÔ‡ÓÚ·†‰ÏÈÏ·†È˘È˘ ‰ÏÚ†ÒÈ˯Ω†·Â˘†˙ÎÏφÏÎÂ†‡Ï˘†¨ÂÚÓ˘ÓΆÂËÂ˘Ù†¨Ï·‡·†ÂÈȉ†ÂÁ‡Â ÌÈÈÁ‰†ÌÈÈËÒÏÙ‰†·Â¯†¯Â·Ú†·‚‡†ÈÂÈÓ„†¯ÈÁÓ†¨¯Ï„†±∞∞†˙·ȷҷ ‡ˆÈ†¨˙ÈÏ‚ÈÒÂ†È˘†¨ÈÏ˘†Ìȯ·Á‰†Æ®‰·È·Ò˘†ÌÈËÈÏÙ‰†˙ÂÁӷ†¯ÈÚ· Æß„ÏÂË߆ÔÂÏÓ·†¨¯„Á·†˘ÙÁφÈ˙¯‡˘†È‡†Æ‰È˙·˜Ú·†¨‰¯ÈÚ‰†‡ÂÂ˘Ï „ȯ‰†¨ÏÂÓÓ†Ô‚·†¨Û‡ÂÂÒ†˙ÁÙ˘Ó†Ï˘†Ï‰Â‡‰†ÆÂÙÈ·†˙ÙȆ·ÂÁ¯·†¨¯˜Â··†Ú·˘†¨È˘ÈÓÁ†ÌÂȆ¨‰ÚÙ‰‰†ÌÂÈ·†ÂÙÒ‡†Æ± ˙‡†Â¯·Ú†ÆÏ·‚‰†¯·ÚÓφÂÚ‚‰†ÆÚ˜¯·†˙È·¯Ú†‰˜ÈÊÂӢΆ·È·‡†Ï˙†˙‡†ÂȈÁ†ÆÚ‚¯‰†Ï˘†ÈÙ¡‰†¯‰Âʉӆ‰˘Ó· ƄψÔÂÏÓ†ÆÔ‡ÓÚφÂÚ‚‰†ÆÏ·‚‰ ÌÈÓ·†Â·˘È†Æ¯‰†Úψ†ÏÚ†¨ÌÈÓÁ†˙ÂÈÈÚÓφÂÚ‚‰†ÆÏÂÈËφÂÏ˘†Ò·Âˇ‰†‡ˆÈ†¨ÌÈȯ‰ˆ·†È˘È˘†¨‰ÚÙ‰‰†˙¯ÁÓφÆ≤ ÆÈ˘‰†„ˆ‰Ó†ÁÏÓ‰†ÌȆ˙‡†˙‡¯Ï†Ìȉ„Ó˘†¯Ó‡Â†¯ÊÁ†È˘†¨Ò·Âˇ·†‰ÚÈÒ†ÍÂ˙†¨Ì˘Ó†‰¯ÊÁ†Í¯„·†ÆÂ¯·È„†¨ÌÈÓÁ‰ ¨È‡Â†È˘†¨ÂÁÁ¢†ÌÈ„‚·‰†˙ÂÈÂÁÓ†˙Á‡·†ÆÌȈÙÁ†Ì‚†Æ˙È˙Á˙‰†¯ÈÚ‰Ó†˙Â¯Á‡†˙ÂÈÂÂÁ†¯Â‚‡Ï†ÂËË¢†˙·˘·†Æ≥ ƉÚ†‡Â‰†¨¢ÂÙÈÓ†È‡†Ì‚¢†Æ·È·‡†Ï˙Ó†ÂÁ‡˘†ÂφÂ¯Ó‡†¨Â˙χ˘Ï†Æ‰˜„†¨˙ȯ¯ه†¨‰˜Â¯È†‰ÈÈ·Ï‚†È˙˜„·†Æ¯ÎÂÓ‰†ÌÚ Æ·ÂˆÚ†ÍΆÏΆ˷ӆÂφ‰È‰†∫È˘†Èφ¯Ó‡†‰‡ÈˆÈ·†ÆÂψ‡†È˙È˜†‡Ï ƯÈÁÓ†˙Ú˜Ù‰†∫Â·†‰Ë˜˘‰†Â˙Ó˜†ÆÌÈÓÏÒÂÓ‰†ÌÈÁ‡‰†˘È‡Î†‰‡¯†‚‰‰†ÆÔÂÏÓφ˙ÈÂÓ†˙È˙Á˙‰†¯ÈÚ·†ÂÒÙ˙†Æ¥ ψψ†Ï·È˜†¨ÈÙφÏÒÙÒ·†·˘È˘†¨ÈÏÚ†∫·¯Ú†˙ÂÙφ˙·˘†¨Ï‡¯˘ÈφÏ·‚‰†¯·ÚӆȯÁ‡†Ú‚¯†¨‰¯ÊÁ·†Ò·Âˇ·†Æµ È˙Á˜Ï†Æ®ÔÂ˙ÈÚ†Â˙‡·†Â˙˘ÂÏ˘†Ê‡†Â„·Ú©†˙¯ÁÓ‰†ÌÂÈφÌÂÏȈ†Â˙ȇ†Ì‡˙φÈÏÚφψψ˘†¨„¯ÂӆƯÆȆ‰È‰†‰Ê†ÆÔÂÙ‡ÏÙÏ ˙¯Ó‡†‡Ï†‰ÓφÆ̉„†‡Â‰Â†ÌÈ˯ى†˙‡†ÂφÈ˙¯ÙÈÒ†ÆʯÈÈÙ†Ï˘†‰ÚÙ‰·†ÂÈȉ†¨„¯ÂÓ†∫È˙¯Ó‡Â†ÈÏÚÓ†ÔÂÙ‡ÏÙ‰†˙‡ ‡Â‰†¨¢‰‡¢†Æ‰ÏÈÏ·†È˘È˘·†‰ÓÈȘ˙‰†‰ÚÙ‰‰˘†È˙¯Ó‡Â†˙ˆ˜†È˙¯˜È˘†Æ‰Ê†ÏÚ†È˙·˘Á†‡Ï˘†Èφ·‡Î†Æχ˘†‡Â‰†øÈÏ Æ˙·˘†ÏÂÏÈÁ†‰È‰†‡Ï†‰Ê†¨Â˙ÈÁ·Ó˘†Èφ‰È‰†‰Ó„†ª·Ê·ӆ¨¯Ó‡ 101 100 Second Story

Friday night in Amman. Fairuz was about to give her second concert and we were heartbroken that we could not go again (a ticket cost around one hundred dollars, which is an imaginary price for most Palestinians living in the city and in the refugee camps in its surroundings.) My friends, Shay and Sigalit, followed her into town, in vain. I remained in the room, in the ‘Toledo’ Hotel. 1. We gathered on the day of the performance, Thursday, seven in the morning, in Yefet Street in Jaffa. The Sawaf family tent, in the garden on the other side of the street, somewhat decreased the utopian glory of the moment. We crossed Tel Aviv with Arabic music in the background. We arrived at the border crossing. We crossed the border. We arrived in Amman. Hotel ‘Toledo’. 2. The day after the performance, Friday noon, our bus went on a trip. We arrived at warm springs, on the side of a mountain. We sat in the warm water, talking. On the way back, while travelling on the bus, Shay said again how amazing it is to see the Dead Sea from the other side. 3. On Saturday, we went walking to stock up on last experiences from downtown. Objects as well. In one of the clothes shops we talked, Shay and I, with the salesman. I examined a green ghalabia, grayish, thin. To his question, we replied that we are from Tel Aviv. “I’m also from Jaffa”, he said. I did not buy anything from him. When we left, Shay said: He had such a sad look on his face. 4. We caught a taxi to the hotel, downtown. The driver looked like he belonged to the Muslim Brothers. His quiet revenge on us: overpricing. ‡Ȅȉ†˙„·چÍÂ˙Ó†ÌÈÈÂÓÈ„ 5. On the bus back, a moment after crossing the border, Saturday evening: Ali, who ¢‰·‰‡†È¯È˘†‰˘ÂÏ˘†∫„ψÔÂÏÓ¢ sat before me, received a call to his cellular phone. It was Morad, who called Ali to coordinate a photo session for the following day (all three of us were working for the same newspaper then.) I took the cellular phone from Ali and said: Morad, we went Images from the video to hear Fairuz sing. I told him all the details and he was astonished. Why didn’t you “Hotel Toledo: Three Love Songs” tell me? He asked. I was sorry not to have thought of it. I lied a little and said that the performance took place on Friday night. “Oh”, he said, disappointed; It sounded as if for him, it would not have been considered desecration of the Shabbat. ¯ÂÁ‡Ó†Â¯Â†ÌÈÏÏÁ‰†·Â¯†¨ÏÈÒ‡†ÂÓΆÆÚ˜¯˜‰ ÏÚ†·Â΢†‡Â‰˘Î†¨·Â¯˜†ÁÂÂËÓ†¨ÂÙ¯ÂÚ·†Â· ¯Ȇ̉†ÆÏÙ†‡Â‰Â†Â˙‡†Â‚È˘‰†Ì‰†Æ̉ÈÙÓ Ò†ÏÈÒ‡†Æ¯·Úφ·¯˜˙‰†ÌȯË¢†‰˘ÂÏ˘ ¯˘‡Î†¨˘Á¯˙Ó·†‰ÙˆÂ†˘È·Î‰†„ˆ·†·˘È†‡Â‰ Ɖ·‡¯Úφ˙ÈÂÙˆ‰†‰ÒÈη†È˘‡¯‰†˘È·Î‰ ÏÚ†‰ÓÈȘ˙‰˘†‰‚ىφ≤Ʊ∞Æ≤∞∞∞≠·†Â˙È·Ó ‰ÏÒ‡Ú†ÏÈÒ‡†‡ˆÈ†¨¢‰Ï‡„Ú¢†Ô‚¯‡†ÈÓÂÒ¯Ù·Â ¢Ìȇ¯Â ˙‡ˆÂ‰·† ‰„‚‡‰† ˙ÂÈÂÎÊφ Á¯Ê‡‰† ÈÙÏ ˙ÂÈ„چ ÂÓÒ¯ÂÙ˘† ˙¯·ÂÁ·† ÌÈÓÈ¢† ˙‡ȯ·‰ ‰Ï·È˜˘† Â˙ÁÙ˘Ó† ˙Ú˘·† ‰‚Ȇ „¯˘Ó†Ï˘†ÒÙÂˉ†ÏÚ†¢·È‡†˙ÏÂÚÙ¢†˙Ó˙ÂÁ‰ ˙‡Â†ÌÈÓÂÁÈ‰†È·˙ÎÓ†˙‡†¨·˙΢†ÌÈ¯È˘‰†˙‡ ¨ÔÂÈÓ„‰†È‡ÏÓ†ÌÈÓÂ˘È¯‰†˙‡†¨È„ÂÒȉ†¯ÙÒ‰ ˙È·Ó†˙¯·ÁÓ‰†˙‡†Ì˘†È˙ȇ¯†Æ¯˘Â‡Ó†·Á¯ ÍÂÈÁ†ÏÚ·†¯‡Â˙–‰ÙȆ¯Ú†ÆÏÈÒ‡†Ï˘†ÌÈÏ„‚ Ô˜ÂÈ„†È¯ÂȈ†ÌÈÈÂÏ˙†ÔÂÏÒ‰†˙¯Ș†ÏچƉ·‡¯Ú ¯Ùη˘†Ì˙È··†¨ÏÈÒ‡†Ï˘†ÂÓ‡†¨‰ÏÈÓß‚†ÌÚ ÆÌȯËÂ˘Ï†ÌÂȇ†Â‡†‰ÎÒ†ÂÂȉ†‡Ï ˙˘˜†‰Ï¢ Æ¢ÌÈÏÂÁ‰†˙È·· È˙˘‚Ù¢†∫˙·˙ÂΆ‡È‰†‰Î¯Ú˙‰†ËҘ˷ ¨ÏÈÒ‡†Ï˘†ÂÓ‡†¨‰ÏÈÓ߂†Ì‚¯˙†‡Ïφ˙È·¯Ú· ¢˙‰Ӈ‰ ‰ÈÂ·‰† ˙„ÈÚÓ†Ô‰Ó†˘ÂÏ˘†Æ¯·Â˘‡†È‚¯‰†˙Â‰Ó‡Ó Ô˙„ÚÓ† Ï˘† ‰Ú·¯‡† ˙Ú·¯‡¢†Â‡È„ȉ†˙„·چ‰Î¯Ú˙‰†Êίӷ Ư˜ӷ†·ˆÈÓ‰†Í¯Ú†Â˙¯‚ÒÓ·†¯˘‡†ÌÈ¯Â‡ ¯ÈÓÒ†Ï˘†˙ÂӇφ‚ÂÁ·†˙¯ˆÂ‡‰†¯ÂÚÈ˘ È„ÈÓÏ˙†ÂÂÈφ‰Î¯Ú˙‰†˙‡†ÆÌÈÏÏÁ‰†˙ÂÁÙ˘Ó ÌÚ†˙˘˜†‰Ï¢†‰˘‚Ù†‰„·ډ†Íωӷ ¨ÌÈÏÂÁ ˙ÂÁÂφ ‰˘† ÌȯËÒÂÙ† ÌÈÁȈÓ˘† ˙È·†ÈÎÓÒÓ†¨˙ÂȇÂÙ¯†˙„ÂÚ˙†¨Â¯Â†Ì‰·˘ ˙ÂÓ˜ӷ†ÂÓψ˘†˙ÂÂÓ˙†¨Ì‰Ï˘†ÌÈÈ˘È‡ ÌÈÓÂȆ¨ÌÈ„ÂÓÈÏ·†˙ÂÈÈˈ‰†˙„ÂÚ˙†¨Ì‰Ï˘ ‰ÁÙ˘Ó†˙ÂÂÓ˙†¨ÌÈÏÏÁ‰†Ï˘†ÌȯÂÚ†˙ÂÂÓ˙ ÏÏÁ· ¨˙ÂÈÂÏ˙† ‡† ˙ÂÁÂÓ† ÏÚ† ¨ÌÈÙ„Ó† Ɖ¯Ë˘Ó‰†ÌÚ†˙ÂÓÈÚ·†≤∞∞∞†¯·Â˘‡·†˙ÂÂÓÏ Â¯Â˘†¨Ï‡¯˘È†ÈÁ¯Ê‡†¨ÌÈÈËÒÏÙ‰†ÌÈÏÏÁ‰ ¯˘Ú–‰˘ÂÏ˘Ï†Ô¯ÎÈʆ·ˆÈÓ†‡Â‰†ÌÈÈÁ†Ìȯ„Ά ††ÌÈÈÁ†Ìȯ„Ά±≥ Æ˙ȯ·Ú·†‰„ÈÚÓ ÆÌȯÈڈΆÌ˙‡ Installation view ÏÏÁ†‰‡¯Ó

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in itstimeofgriefandsorrow.” form thefamilyreceived atthehospital Operation’ ontheMinistryofHealth Arrabe, Isawthestamp‘Enemy “In Asel’s home inthevillageof Live Bullets 13 LiveBullets by studentsofthecuratorshipcourse in making oftheexhibitionwasaccompanied met withthefamiliesofvictims.The as youngsters. calendars andpostersperpetuatingthem shot, medicalrecords,hospitaldocuments, photos takenattheplaceswheretheywere certificates ofmerit,personaldiaries, family photos,schooldiplomasand space areyouthfulimagesofthedead, during clasheswiththepolice. who wereshottodeathinOctober2000 thirteen Palestinians,citizensofIsrael, During theworkprocess,ShulaKeshet Either hungorplacedonshelvesinthe isamemoryinstallationforthe Shula Keshet Health formthefamilyreceived atthe ‘Enemy Operation’ontheMinistryof the lettersofcondolence,andstamp imaginative drawings,thepoemshewrote, from elementaryschool,thehighly wide, happysmile.Isawhisnotebooks paintings ofAsel;abeautifulboywith living roomwallstherewerelargeportrait home inthevillageofArrabe.On met withJamila,Asel’s mother, in their Jamila, Asel’s mother, testifiesinHebrew. testimony inArabic,withouttranslation; victims’ mothers.Threeofthemgivetheir consisting ofthetestimoniesfour around avideopiece, originally mounted.Theshowiscentered in whoseframeworktheinstallationwas the DepartmentofArtatOranimCollege, In theexhibitiontextKeshetwrites:“I The FourMothers Â˙ÁÙ˘Ó†‰Ï·È˜˘†˙‡ȯ·‰†„¯˘Ó†Ï˘ ÒÙÂˉ†ÏÚ†¢·È‡†˙ÏÂÚÙ¢†˙Ó˙ÂÁ‰†˙‡ È˙ȇ¯†¨‰·‡¯Ú†¯Ù熨ÏÈÒ‡†Ï˘†Â˙È··¢ , danger norathreattothepolicemen. in theback,althoughtheywereneithera Like Asel,mostofthefatalitieswereshot while hewaslyingthereontheground. him inthebackofneckatcloserange him andhefellontheground.Theyshot run awayfromthem.Theycaughtupwith policemen approachedhim.Aseltriedto road, watchingtheprotests,whenthree Arrabe. Hewassittingbythesideof the mainroad,atnorthernentranceto 2000, onthewaytoademonstration Asel AslehlefthishomeonOctober2, Center forArabMinorityRightsinIsrael, in thepublicationsofAdalah,Legal Association forCivilRightsinIsrael,and report hospital initstimeofgriefandsorrow.” According totestimoniesprintedinthe Æ¢ÌÈÏÂÁ‰†˙È··†‰‚Ȇ˙Ú˘· The Terrible Days publishedbyThe 4. HalimaBushnaq–Ramez’mother 3. JamilaAsleh–Asel’s mother 2. HadiyaA’kkawi –Omar’s mother 1. Tareb Yazbak –Wissam’s mother Mothers” (lefttoright,clockwise) Images fromthevideo“Four ®ÔÂÚ˘‰†ÔÂÂÈη†ÔÈÓÈÏ†Ï‡Ó˘Ó©†¢˙‰Ӈ Ú·¯‡¢†Â‡È„ȉ†˙„·چÍÂ˙Ó†ÌÈÈÂÓÈ„ ÏÈÒ‡†Ï˘†ÂÓ‡†—†‰ÏÒ‡Ú†‰ÏÈÓß‚†Æ≥ ÊÓ‡¯†Ï˘†ÂÓ‡†—†˜˘Â·†‰ÓÈÏÁ†Æ¥ ̇ÒÈÂÂ†Ï˘†ÂÓ‡†—†˜‡·ÊÈȆ·¯Ë†Æ± ¯ÓÂÚ†Ï˘†ÂÓ‡†—†È˜چ‰È„‰†Æ≤

105 104 ‰ÏÒ‡Ú†‰·È‚ӆ·†¨≤µÆ±±Æ≤∞∞∞≠‰Ó†·˙ÎÓ†ÚÈÙÂÓ†ÏÈÒ‡†Ï˘†Û„Ó‰†ÏÚ ÌÈÈÎÂÈÁ‰†ÌȈÚÂȉ†˙„‚‡Ó†‰Ï·È˜˘†ÌÈÓÂÁ˙†·˙ÎÓφ¨ÂÓ‡†¨‰ÏÈÓß‚ È˙‡†˙ÓÁÓ†˙‡¢†∫˙ȯÈچ߷‚φ‰ÏÈÓß‚†‰ÏÒ‡Ú†˙·˙ÂΆÍΆÆχ¯˘È· ‰ÏÁÓ†¯Á‡Ï†Â˙ÂÓ†˙‡†‡ˆÓ†‡Ï†È·˘†˙Ó‡‰†Í‡†È·†Ï˘†Â˙ÂÓ†ÏÚ ‡Ï‡†Ï¢‰†Ìȯ·„·†˙˜Ù˙Ò‰†‡Ï†ÆÆÆÁˆ¯†‡Ï‡†ÌÈί„†˙‡˙†Â‡ ˙‡†˙ÂÙÁ„†ÂÁ‡†ÂÏȇΆ˙Úˆ˙‰Ӈφ‰ÓÈ˘‡Ó†Ú·ˆ‡†˙ÈÙ‰ ˙È˘Ú†Ì‡‰†¨ÌÈÈÈ„Ó†ÌÈ‚˘È‰†ÌÈ˘‚‰Ï†È„Ά‰Ï‡Î†ÌÈ˘ÚÓφÂÈ· ¢‚„‰†‰Ï‡†Ìȯ·„˘†‰¯È·ÒÓ†˙‡†Íȇ†¨ÔΆ̇†ø·Ï†ÌÂ˙·†˙‡Ê ¨‰˘†≥∞†¯·Î†‰‡¯Â‰·†˙˜ÒÂÚ†È‡˘†Íφ¯ÈÎʉφÈˆ¯·†ÆÆÆ°°·˙η ÌȄ‰Èφ„ÁÂÈӷ†ÌȈÚÂȉ†ÏÎφÍÂÈÁ‰†„¯˘Óφ˙ˆÚÈÈÓ†È‡ ¢ÆÆƉ˜ÂÓÚ‰†Ì˙˘Ó†¯¯ÂÚ˙‰Ï†Ì‰ÈÈ·Ó

On Asel’s shelf is a letter dated November 25, 2000, in which Jamila Asleh, his mother, responds to a letter of condolence she received from the Association of Educational Counselors in Israel. Writing to Mrs. Irit, Jamila says: “You console me for the death of my son, but the truth of the matter is that my son did not die due to an illness or in a car accident, but rather he was murdered… As if these words were not enough, you put the blame on the mothers, maintaining that it is we who encourage our children to perform such acts in order to obtain political goals. Was that an innocent response? If so, how do you explain that these words were underscored!!!… I would like to remind you that I have been working in the field of education for 30 years now; I advise the Ministry of Education and all the guidance counselors and advisors, especially the Jewish ones among them, to wake up from their deep sleep…” Muhammed Jabareen,24,Ummal-Fahem MislehAbuJared,16,DirElBalah,Gaza Muhammed Khamayseh,19,KufrKanna RamezBushnaq,24,KufrManda ¨‰ÊÚ†¨ÁϷχ†¯È„†®±∂©†„‡¯ß‚†Â·‡†ÁÏÒÂÓ Wissam Yazbak, 25,Nazareth Walid AbuSaleh,21,Sakhnin Ahmed Siyyam,18,Muaweye Emad Ghanaym,25,Sakhnin ÌÁنχ†Ì‡†®≤¥©†Ôȯ‡·ß‚†„ÓÁÂÓ Eyad Lawabny, 26,Nazareth Omar A’kkawi, 42,Nazareth ÌÁنχ†Ì‡·†‰‚Ù‰†˙Ú·†Áˆ¯ (killed inUmmal-Fahem) ‡Ά¯ÙΆ®±π©†ÈÒȇÓßÁ†„ÓÁÂÓ ‡„Ó†¯ÙΆ®≤¥©†˜‡˘Â·†ÊÓ‡¯ ÔÈÎÒ†®≤±©†Áχ҆·‡†„Èχ Ala’a Nassar, 18,Arrabe ‰È‡ÚÂÓ†®±∏©†Ì‡ÈÒ†„ÓÁ‡ ‰·‡¯Ú†®±∏©†‰ÏÒ‡Ú†ÏÈÒ‡ Asel Asleh,18,Arrabe ÔÈÎÒ†®≤µ©†ÌÈȇßÚ†„‡ÓÚ ‰·‡¯Ú†®±∏©†¯‡Ò†‡‡ÏÚ ˙¯ˆ†®≤∂©†‰·‡Âφ„‡È‡ Rami Ghara,21,Jatt ˙¯ˆ†®¥≤©†È‡ÎÚ†¯ÓÂÚ ˙¯ˆ†®≤µ©†˜·ÊȆ̇Ò ˙ß‚†®≤±©†‰¯ßÚ†ÈÓ‡¯

107 106

109 108 CVs ÌÈÈÁ†˙¯˜ È·ˆ†Ô·†ÏË

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®˙ÂÈ˙ˆÂ·˜†˙ÂίÚ˙©†˙Á¯Â‡†˙¯ˆÂ‡ ¢ÔÈËÒÏÙÓ†ÌÈ˘†˙ÂÓ‡†›†®‰©ÈËÒÏÙ¢ ±ππ∏ ÏÈÓ‡†‰‡ÓÂß‚†¨Ò‡ËÒ‡†Ô˙‡Ù†¨Ïʇ¯†‰È„†¨ÔÒÁ–χ†‰ÊÚ ÏÈÚÓÒȇ†¯È‰ÂÒ†¨‰¯˘·†‰¯†¨¯Â·ß‚†Ï‡Â†¨È¯ÂÁ†‡‡„†¨„Â·Ú ¨·È·‡†Ï˙†¨˙È¢ÎÚ†˙ÂÓ‡†›†ıÈÈÈˢ†ÈÓÚ ÌÈÏ˘Â¯È†Á¯ÊÓ†¨˙ÂӇφÊίӆÈËÈÒ‡ÂÂχ ¢˙ÈÈËÒÏÙ†ÌÈ˘†˙ÂÓ‡†∫ÈÓˆÚ†Ô˜ÂÈ„¢ ≤∞∞∞ ¨‰Ïχ¯Ò†‰„ȇچ¨Ò‡ËÒ†ÈʇنÔ˙‡Ù†¨ÈÏ·È˘†Ì‡ÏÁ‡ ¨„·چÏÈÓ‡†‰‡ÓÂß‚†¨„ÈÓÁ†Â·‡†Ô‡Óȇ†¨ÔÈÈÒÂÁ†Â·‡†Ô‡Á ß‚‡¯Ù†ÏÈÚ‡ÓÒ‡†¯È‰ÂÒ†¨È·ÚÂʆ¯‡Ó†¨Ò˜¯ÂӆχÓ ¨ÈËÒ‡ÂÂχ·†Á˙Ùȉφ‰¯ÂÓ‡†‰˙ȉ†¢ÈÓˆÚ†Ô˜ÂÈ„¢†‰Î¯Ú˙‰ ˙Èȯς·†¨≤∞∞∞†¯·Â˘‡·†¨˙ÈÁ¯ÊÓ‰†ÌÈÏ˘Â¯È·†˙ÂӇφÊÎ¯Ó Êίӷ†≤∞∞±†¯‡Â¯·Ù·Â†≤∞∞∞†¯·Óˆ„·†·È·‡†Ï˙·†¢ıÈÈÈˢ†ÈÓÚ¢ ÈÚ¯ȇ†˙·˜Ú·†ÂÏË·†˙ÂίÚ˙‰†˘ÂÏ˘†ÆÌÁφ˙È··†˙ÂÓ‡Ï ‡ˆ˜‡–χ†˙„‡ÙÈ˙ȇ „¯Á†ÔÈÚ†¨˙ÂӇφÔ΢Ӊ†¨¢Ì‡†˙Ù˘¢ ≤∞∞≤†È‡Ó ÒÈχ†¨‰Ê·Â˜Â·†˜È¯‡†Â‰Èχ†¨ÏËÙ†Èχ†¨ÂÓÁ†˙ȯȇ ¯ÈÓʆ¨ÌÂÏ˘†‰Ù„†¨‡˜È„Ú†„„†¨ÌÁ˘†Í¯·†¨ÔÓ‚ÈϘ ·˜ÚȆ¨Ô˘Â˘†Ïˆ¨ËÁ¢†Ïˆ¨ÁÈψӆψ¨˘È˘†ÔÁ†¨ı˘ Ìȯӆ¨È˘‡˜†˘ÂÓ†¨Ï‚†¯È‡Ó†¨È¯Ê†Ï‡‚Ȇ¨„¯ÂÓ†Ô¯ Ô‚†Ô‰Î†ÒÁÙ†¨ÔÂÓÈÓ†ÈÓ¯†¨Ò†È„Ú†¨È¯¯‰†ÚË†¨‰Ò·Î Á¯Â‡†ÔӇΠÌÁφ˙È··†˙ÂӇφÊίӆ¨¢Ì‡†˙Ù˘¢ ≤∞∞≤†ı¯Ó≠¯‡ÂÈ ª¯ÎÂÓ†‡Ï¢¨ÈÏ·È˘†Ì‡ÏÁ‡†ª¢ÔÈËÒÙ¢†¨Ô„‡†‰„ȇ¯ ¢‰Á·Ò¢†¨‰Ïχ¯Ò†‰„È‡Ú ÂÙÈ·†˙ÂӇφ¯‚‰†‰È¯Ï‚†¨¢Ì‡†˙Ù˘¢ ≤∞∞≤†È‡Ó≠¯‡ÂÈ ‰„‡‡¯†ª¢˙ÂÈÙ˘Â†‰˘Â„˜¢†¨„·چÏÈÓ‡†‰‡ÓÂß‚ ̇ÏÁ‡†ª¢‰Ó¯ÂÙ¢†¨È¯‡ßÁ·†ÈÓÒ†ª¢ÔÈËÒÙ¢†¨Ô„‡ ÒÓÂÚ¢†¨ÈÒ‡˙ÈÓ†Ò‡ËÒ‡†Ô˙‡Ù†ª¢·ÂˆÈÓ¢†¨ÈÏ·È˘ ¢˙‡˜ÂÈ„¢¨‡˜È„Ú†„„†ª¢¯˙È 111 110 111 Tal Ben Zvi Guest Curator (group exhibitions) 1966 Born in Kibbutz Alumot, grew up in Pardes Hanna 1998 “Palestin(a) - Women’s Art from Palestine” Lives and works in Tel Aviv Azza El Hassan, Dina Ghazal, Faten Nastas, Jumana Emil 1992 Graduate of the Departments of Fine Arts and Abboud, Nidaa Khoury, Noel Jabbour, Rana Bishara, Art History (B.A.), Haifa University Suheir Ismail 1997 Graduate of the New Seminar for Visual Culture, Ami Steinitz - Contemporary Art, Tel Aviv, Al-Wasiti Camera Obscura School of Art, Tel Aviv Palestinian Art Center, East Jerusalem 1998-2001 Curator of the gallery atthe Heinrich Böll 2000 “Self Portrait - Palestinian Women’s Art” Foundation offices, Tel Aviv (26 solo exhibitions) Iman Abu Hamid, Faten Fawzy Nastas, Manar Zuabi, 2002 Curator of Hagar Art Gallery, Jaffa Ahlam Shibli, Suheir Ismail Farraj, Jumana Emil Abboud, Hanan Abu Hussein, Manal Murqus, Aida Nasrallah Currently working on her thesis about Palestinian art at the Yolanda and David Katz Faculty of the Arts Graduate School, The exhibition “Self Portrait” was supposed to open at Al-Wasiti Tel Aviv University. Arts Center, East Jerusalem in October 2000; at Ami Steinitz Lectures at the Camera Obscura School of Art, Tel Aviv Gallery, Tel Aviv in December 2000; and at the International Center, Bethlehem in February 2001. All three exhibits have been Publications: “New Middle East - 11 Exhibitions”, Heinrich Böll postponed indefinitely due to the Al-Aqsa Intifada. Foundation, Tel Aviv (2000) ”Self Portrait: Palestinian Women’s Art”, Andalus Publishing May 2002 “Mother Tongue”, Mishkan Le’Omanut Museum (2001) of Art, Ein Harod Adi Nes, Alice Klingman, Baruch Shacham, Chen Shish, Dafna Shalom, David Adika, Eli Petel, Eliahou Aric Bokobza, Irit Hemmo, Meir Franco, Meir Gal, Miriam Cabessa, Mosh Kashi, Neta Harari Navon, Rami Maymon, Tal Matzliah, Tal Shohat , Tal Shoshan, Yaacov Ronen Morad, Yigal Nizri, Zamir Shatz, Pinchas Cohen Gan as guest artist.

January-March 2002 “Mother Tongue”, The International Center, Bethlehem Raeda Adon,“Pasateen”, video art; Ahlam Shibli, “Unrecognized”; Aida Nassrala, “Sabha”, painting January-May 2002 “Mother Tongue”, Hagar Art Gallery, Jaffa Jumana Emil Abboud, “Sainthood & Sanity Hood”, painting; Raeda Adon, “Pasateen”, video art; Sami Bukhari, “Panorama”; Ahlam Shibli, “Positioning”; Faten Nastas, “Overloaded”, video installation; David Adika,“Portraits” ®±πππ©†¢ÌÈÈÓ˘Ó†ÔÓÈÒ¢†È‡ÏÂʇ†‰Ï‡È¯‡†Ï˘†‰È˯҆˙‡†Í¯Ú ˯҆¨¢ÏÂÒÈÁ†˙¯ÈÎÓ¢†ª®±ππ≤©†ß„†≤µ†¨˙ÈÓ˜†‰Ó¯„†¨¢¯˘¢ ˙‡†ÌÈÈ·†∫˯‡†Â‡È„Ȇ‰ÈÊÈÂÂψ¨ÚÂϘ†È˯҆ͯÂÚ†ȇӷ ˙‡Ó†ËҘˆÈÙ–ÏÚ†¢˙¯Ù‡†È˜Á¯ÓÓ¢†ÙÈϘ‰†˙‡†Í¯Ú†ÌÈÈ· ¨¢‚·Ê¢†‰ÈÊÈÂÂÏˉ†˙¯„Ò·†ÌȘ¯Ù†ª®±ππ∂©†ß„†µ∞†¨È˙ÏÈÏÚ ı·Ș†¨Ô˙˘ÂÁ†Èӯ†ȯ‡†˙È·†Ô‡ÈÊÂÓ†¨¢ ˙ÂӇφ‰È¯Ï‚†ª·È·‡†Ï˙†¨ÌÚ‰†˙È·†˙ȯς†¨¢≥≥≠‰†‰˘‰¢ ®„ÈÁÈ©†·È·‡†Ï˙†¨Ï·†ÍȯÈȉ†Ô¯˜†¨¢„Ȉ†˙ÂÓÂÏÁ†˙ˆÂ·˜¢ ˙‡†ÌÈÈ·†ª®±πππ≠±ππ∂©†¢‰ÒÈÂÒ–È‚·È‡†Á¢Â„¢Â†¢ÒÂÙËÏÙ¢ Æ®≤∞∞∞©†˙ÂӇφ‰Èψ¯‰†Ô‡ÈÊÂÓ†¨¢‰È¯ÂËÒȉ‰†Í‡ÏӢ †Ï˘†≤†ı¯ڷ†˙˘˜†È¯Â„È˘·†¨È·Èˇȯ˜†Ï‰ÓΆ˘Ó˘Ó ®≤∞∞∞©†‰ÈÈ˘‰†˙¢¯‰†¯Â·Ú†È¯Â˘ÈÓ†˙¯Ù‡†˙¯¯Â˘Ó‰ ·È·‡†Ï˙†˙ËÈÒ¯·È‡†¨‰ÈÊÈÂÂψÚÂϘφ‚ÂÁ‰†¯‚· ¨ß„†±∂†¨Â‡È„Ȇ¨¢˙ÂϘ†¯˙È·†ËÏ˘†„ÎÂÏÓ†‡Ï†ÔÂÓ‰¢ ·È·‡†Ï˙†¨‰¯Â˜Ò·Â‡†‰¯Ó˜†˙ÂӇφ¯ÙÒ‰†˙È·†¯‚· †®„ÈÁÈ©†·È·‡†Ï˙†¨„ÏÙʯ†‰È¯Ï‚†¨¢˙‡ӈډ†ÌÂÈ¢ ≤∞∞±†˙¯ÈÁ··†˜¯·†„‰‡†Ï˘†˙¯ÈÁ·‰†È¯È„˘˙ ·È·‡†Ï˙·†„·ÂÚ†¯¯Â‚˙Ó†Æ˙¯Άı·Ș·†„ÏÂ ˙ÂӇφ·È·‡†Ï˙†Ô‡ÈÊÂÓ†¨¢¥†Â‡È„Ȇ˙ÂÓ‡¢ ·È·‡†Ï˙·†„·ÂÚ†¯¯Â‚˙Ó†ÆÚ·˘†¯‡··†„ÏÂ „¯Á†ÔÈÚ†¨˙ÂӇφÔ΢ӆ¨¢Ì‡†˙Ù˘¢ ®„ÈÁÈ©†·È·‡†Ï˙†¨Ï·†ÍȯÈȉ†Ô¯˜ ®„ÈÁÈ©†‰ÙÈÁ†Ô‡ÈÊÂÓ†¨¢ÌÈ˘¯Ó¢ ˙Èχ¯˘È‰†‰ÈÊÈÂÂÏˉ ®„ÈÁÈ©†·˜ÚȆ˙„˘‡ Red Something ÌÁنχ†Ì‡ ÈËÏÈφ·‡Èχ ˙ÂίÚ˙†¯Á·Ó ı˘†¯ÈÓÊ ˙ÂίÚ˙ ¢ ≤∞∞∞ ±ππ≤ ±π∂¥ ≤∞∞∞ ±πππ ±π∂π ≤∞∞± ≤∞∞≤ ¨¢¯·„φÈÓ†ÌÚ†˘È¢†¨¢ÔÂÓ‚‡†·˜ÚȆÌÚ†˙ÂÈ˘È‡†˙Âχ˘¢ ∫Ô‰ÈÈ·†Æ˙ÂÈÎÂ˙†¯Â„È˘†ÈÓȆͯÂÚΆϢ‰ˆ†ÈÏ‚·†˙¯È˘ ‰·˜ÒÂÓ†¨˙ÂӇφ‰ÏÏÎÓ·†ÈÙ¯‚†·ÂˆÈÚφ‰˜ÏÁÓ·†ÌÈ„ÂÓÈÏ ¨® ‰‡Â˘Ï†Ô¯ÎÈʉ†ÌÂȆÔÂȈφ˙ÈÎÂ˙†¨¢˙ȯÂËÒȉ†‰Ú˘¢ ÆÏ¢‰ˆ†ÈÏ‚·†¢˙¯„¢Ӊ†‰ËÈÒ¯·È‡¢‰†Í¯ÂÚ†‰¯Á‡Ï†„Ú ¨ß„†≤≥†¨≤∞∞±†Ï‡¯˘È©†¢ÌÈˆȘ‰¢†¨® ˙ÂӇφ˙Ú‰†·˙η†·˙ÂΆ¢˙È˘ÙÂÁ‰†‰ÈÓ„˜‡¢·†¯·Á ¨≤∞∞≤†Ï‡¯˘È©†¢ÈÏ˘†¯„Á‰¢†∫̉ÈÈ·†¨ÌÈ˯҆ȇӷ ÊίӉ†¨Ë¯‡–‡ȄȆ˙„·چ˙ίÚ˙†¨¢ÌÈÈ·¯Â‡†ÌÈÒÂ˙ÈÓ¢ DigiBeta ˙¯¯Â‚˙ӆƱππ±≠·†Ï‡¯˘Èφ‰¯·Ú†Æ‰·˜ÒÂÓ·†‰„ÏÂ ·ÂˆÈÚ†˙ÂӇφ‰ÈÓ„˜‡‰†¨˙ÂӇφ‰˜ÏÁÓ‰†˙¯‚· Æ® ˙¯Â˘˜˙‰†ÛÒÂӷ†¢˜ËÓÈÒ¢‰†ÔÂ˙ÈÚ·†¨¢ÂÈ„ÂËÒ¢ ¨¯˘ÈϘ†‰È¯Ï‚†¨˙ÈÏËÈ‚È„†˙ÂÓ‡†Ë˜È¯ن¨¢‡¯ÂÏÙÒ˜‡¢ Beta sp ‰È¯Ï‚†ª·È·‡†Ï˙†¨ÌÚ‰†˙È·†˙Èȯς†¨¢‰˘˜‰†„ȉ†„‚¢ ÌÈÏ˘Â¯È†¨Ï‡¯˘È†Ô‡ÈÊÂÓ†¨Ë¯‡–‡ȄȆ˙„·چ˙ίÚ˙ ®„ÈÁÈ©†·È·‡†Ï˙†¨Ï·†ÍȯÈȉ†‰È¯Ï‚†¨¢Úˆ˜Ó†ÈÏÚ·¢ Ï˘†˙ÂӇφÔ΢Ӊ†¨¢¯˜Ò·Èφȯ‡†ÌÚ†È˙·Î˘†È‡¢ ∏†ı¯ڷ†Ô¯˜Â‰©†˙˜ى†Ô¯Â‚†˙ÈÓÚ†¨¢Ì˜Ӣ†Ë˜È¯٠†¨ß„†µµ†¨≤∞∞±†Ï‡¯˘È©†¢ÌÈÚ‚¯¢†¨® †¨ß„†π†¨±πππ†Ï‡¯˘È©†¢ÌÈÈÓ‡φÌÈÁ¯Ê‡¢ ·È·‡†Ï˙·†„·ÂÚ†¯¯Â‚˙ӆƷȷ‡†Ï˙·†„ÏÂ ·È·‡†Ï˙†¨È·‡†ÔÂÎÓ†¨¢˙ÂÂÓ‰†˙‡†˙¢ÚÏ¢ ·È·‡ ®„ÈÁÈ©†·È·‡†Ï˙†¨Ï·†ÍȯÈȉ†Ô¯˜†¨¢Û‡¢ ·È·‡†Ï˙†¨¯˙Ò‡†Ïˆ‰È¯Ï‚†¨Â‡È„Ȇ·¯Ú ·È·‡†Ï˙†˜ËÓÈÒ†¨¢·È·‡˜Â„¢†Ï·ÈËÒÙ ¢Ò·ÂÏ‚¢†ÔÂ˙ÈÚ‰†Ï˘†¢‰Ó¯ÈÙ¢ ·È·‡†Ï˙†¨˙ÈÂÏÙ†‰È¯Ï‚†¨¢≤†ÔÂÏÒ¢

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¨±∂†Â˜†‰È¯Ï‚†¨¢ÌÂÈ†Ï˘†Â˜ÂÒÙ¢ ·È·‡†Ï˙†¨˙È˘ÙÂÁ‰†‰ÈÓ„˜‡‰ ÔÂÏÂÁ†¨˙ÈÏËÈ‚È„†˙ÂÓ‡Ï ·È·‡†Ï˙·†˙„·ÂÚ ÌÈÏ˘Â¯È†¨Ï‡Ïˆ· ÌÁنχ†Ì‡†˙ÂÓ‡Ï DigiBeta „ÂÚ†‰¯Â·‚Ï ®ÌÈϷ熉ÈÊÈÂÂÏË· ȘÒ‡ÈÓÂÙ†‰È¯Ó DigiBeta †¨ß„†µ ÔÂÓÈÒ†Ú˘Â‰È ˙ÂίÚ˙†¯Á·Ó ·È·‡†Ï˙ ˙ÂίÚ˙†¯Á·Ó †±ππ∞≠±π∏∂ ≤∞∞∞≠±ππ∑ ±πππ≠Ó †±ππ∏ †±π∑± ±π∑π ≤∞∞≤ ≤∞∞∞ ≤∞∞± †≤∞∞≤ ≤∞∞± ≤∞∞∞ †

113 112 ÈÏ·È˘†Ì‡ÏÁ‡ ¯‰Ê†˙Ïȇ

‰ÙÈÁ·†˙„·ÂÚ†˙¯¯Â‚˙Ó†ÆÈÏ·È˘†¯Ù熉„ÏÂ ±π∑∞ ·È·‡†Ï˙·†˙„·ÂÚ†˙¯¯Â‚˙ӆƷȷ‡†Ï˙·†‰„ÏÂ ±πµ∏ ‰ËÈÒ¯·È‡‰†¨˙È҇Ϙ†˙ÂÓ‡·Â†‰È‚ÂχÈί‡·†Ô¢‡¯†¯‡Â˙ ±ππ≥ ÔÙȆ¨È˘Â¯†‰„‡¯‡‰†Ïˆ‡†‰ÈÙ¯‚ÈϘ†ÂÈ„†¯ÂȈ†È„ÂÓÈÏ ±π∏≤ ÌÈÏ˘Â¯È†¨˙ȯ·Ú‰ Ô¯˘‰†˙Ó¯†¨˙ÂӇφ‰˘¯„Ó‰†˙¯‚· ±π∏∂ ‰ÙÈÁ†˙ËÈÒ¯·È‡†¨˙ÈχȈÂÒ†‰„·ڷ†Ô¢‡¯†¯‡Â˙ ±ππ∂ ¨˙ȯ·Ú‰†‰ËÈÒ¯·È‡‰†¨‰ÈÒ‡†Á¯ÊӆȄÂÓÈÏ·†Ô¢‡¯†¯‡Â˙ ±ππ± ‰ÙÈÁ†¨·ÂˆÈÚφ‰„˜–¢ˆÈ†˙ÏÏÎÓ†¨ÌÂÏȈ†È„ÂÓÈÏ ±ππ∑ ÌÈÏ˘Â¯È †¨‰ÈÊÈÂÂψÚÂϘφ‚ÂÁ·†È˘†¯‡Â˙†˙‡¯˜Ï†˙„ÓÂÏ ‚Èß‚ÈÈ·†¨˙ÂӇφ˙ÈÊίӉ†‰ÈÓ„˜‡·†ÌÈ„ÂÓÈÏ ±ππ∂ ·È·‡†Ï˙†˙ËÈÒ¯·È‡ ®È˙¯ÂÒÓ†ÂÈ„†¯ÂȈφÂÈ„ÂËÒ© ·È·‡ Ï˙†˙ËÈÒ¯·È‡†¨˙¯ÙÒ‰†˙¯Â˙·†È˘†¯‡Â˙ ≤∞∞∞ ˙ÂίÚ˙†¯Á·Ó ª·È·‡†Ï˙†¨Ï·†ÍȯÈȉ†Ô¯˜†¨¢ÌÈ¯Ú˘†‰Ú˘˙·†·Èχ҆Ȅ‡Â¢ ±πππ „ÈÁȆ˙ÂίÚ˙†¯Á·Ó ˙ÈÈËÒÏÙ‰†˙¢¯‰†¨‰Ïχӯ†¨˙Ù¯ˆ†˙·¯˙φÊίӉ†˙ȯς ·È·‡†Ï˙†¨˘ÂÏ˘†‰È¯Ï‚†¨¢ÈÏ‚ÂÓ†Ì˙΢ ±ππ∞ ®„ÈÁÈ© ˙ÂӇφÔ‡ÈÊÂÓ‰†¨¢‰„ÂÂÊӆȯÂȈ†‚ÂÙ–‚ÈÙ†˙ÂÁÏ¢¢ ±ππ≥ ª·È·‡†Ï˙†¨Ï·†ÍȯÈȉ†Ô¯˜†¨¢¯ÎÂÓ†‡Ï¢ ≤∞∞∞ Ô‚†˙Ó¯†¨˙Èχ¯˘È ®„ÈÁÈ©†˙ÈÈËÒÏÙ‰†˙¢¯‰†¨‰Ïχӯ†¨ÏËӆχ†‰È¯Ï‚ ·È·‡†Ï˙†¨‰¯Â˜Ò·Â‡†‰¯Ó˜†‰È¯Ï‚†¨¢„ȯ·È‰¢ ±ππ∑ „¯Á†ÔÈÚ†¨˙ÂӇφÔ΢ӆ¨¢ÈÏ·‚¢ ≤∞∞± ·È·‡†Ï˙†¨Ï·†ÍȯÈȉ†Ô¯˜†¨Â‡È„Ȇ·ˆÈÓ†¨¢‰ÈË‡¯‡˜¢ ≤∞∞∞ ®„ÈÁÈ©†ÂÙȆ¨˙ÂӇφ‰È¯Ï‚†¯‚‰†¨¢Ì˜ÈÓ¢ ≤∞∞≤ „‰†ÔÈÚ†¨‡„‡„–˜ȆÔ‡ÈÊÂÓ†¨Ë¯‡–‡ȄȆ¨¢˙ÂÈ˘·†ÌÈ˷ȉ¢ ≤∞∞± ÂȘˆ¨‰Ê‡ÏÙ†‰È¯Ï‚†ª·È·‡†Ï˙†¨‰Ïȉ†˙Èȯς†¨¢‰È˙ÙÓ‡¢ ¨˙È¢ÎÚ†˙ÂӇφÔ‡ÈÊÂÓ‰†¨¢‰ÙÈÓ†ÂÓΆ˙Á˙Ù†‰¯Î‰†˙˙¢ Espace Auteuil - Place†¨ÌÈÓ‡‰†„ȯȆ¨¢˙ÈÙ¯ȇ†˙ÂÓ‡¢ ‚Èß‚ÈÈ· Êȯن¨de la Porte d’Auteuil ‰˘¯„Ó‰†Ï˘†‰È¯Ï‚‰†¨¯‡Ù†¨Â‡È„Ȇ·ˆÈÓ†¨“Apfelsine” ·È·‡†Ï˙·†˙ÂÓ‡Ï

Ï˘Ù†‰‡¯„‡ ÌÏ˘†˙¯Ù‡

ÏÒȯ··†˙„·ÂÚ†˙¯¯Â‚˙ӆƉÈÓ¯‚†¨‚¯Â·Ó‡‰·†‰„ÏÂ ±π∑∞ ·È·‡†Ï˙·†˙„·ÂÚ†˙¯¯Â‚˙ӆƷȷ‡†Ï˙·†‰„ÏÂ ±π∑≤ ÔÈϯ··Â ‰ÈÓ„‰Â†Â‡È„ȆÌÂÏȈφ‰˜ÏÁÓ‰†¨˙ÂÈÈˈ‰·†˙¯‚· ±ππ∏ ‰Âψ¯·†¨˙ÂӇφ‰ÈÓ„˜‡·†ÌÈ„ÂÓÈÏ ±ππ∂≠±ππ¥ ÌÈÏ˘Â¯È†¨Ï‡Ïˆ·†·ÂˆÈÚφ˙ÂӇφ‰ÈÓ„˜‡‰†¨˙·˘ÁÂÓÓ ¨˙ÂӇφ‰ÈÓ„˜‡·†ÈÙ¯‚†·ÂˆÈÚφ‰˜ÏÁÓ·†ÌÈ„ÂÓÈÏ ±ππ∏≠±ππ∂ ‰ÈÓ„‰Â†Â‡È„ȆÌÂÏȈφ‰˜ÏÁÓ‰†¨¯˜ÁÓ†˙ÂÁÓ˙‰†˙˘ ±πππ ‰ÈÓ¯‚†¨Ì„ÒËÂÙ ÌÈÏ˘Â¯È†¨Ï‡Ïˆ·†·ÂˆÈÚφ˙ÂӇφ‰ÈÓ„˜‡‰†¨˙·˘ÁÂÓÓ ˙ËÈÒ¯·È‡†¨˙¯ÙÒ‰†˙¯Â˙φ‚ÂÁ·†È˘†¯‡Â˙†È„ÂÓÈÏ ≤∞∞∞ ˙ÂίÚ˙†¯Á·Ó ·È·‡†Ï˙ ®„ÈÁÈ©†‰Âψ¯·†¨ †‰È¯Ï‚†¨¢ÌÈÓÂ˘È¯Â†ÌȯÂȈ¢ ±ππµ ˙ËÈÒ¯·È‡†¨‰ÈÊÈÂÂψÚÂϘφ‚ÂÁ·†È˘†¯‡Â˙†È„ÂÓÈÏ ≤∞∞≤ Sala Almirall ·È·‡†Ï˙ ÔÈϯ·†¨Schadow-Haus†‰È¯Ï‚†¨¢¯ÈȈφ˙·ÈÒ¢ ±ππ∂ ®„ÈÁÈ©†ÔÈϯ·†¨ †‰È¯Ï‚†¨¢˙ÂÈ˘È‡¢ ±ππ∏ Berlintokyo ˙ÂίÚ˙†¯Á·Ó ÔÈϯ·†¨ÁÂ˙Ù†¯„Á†‰È¯Ï‚†¨¢„Á‡Ï†ÌÈÈ˙˘¢ ±πππ ®„ÈÁÈ©†·È·‡†Ï˙†¨Ï·†ÍȯÈȉ†Ô¯˜†¨¢ÔÈϯ·–·È·‡†Ï˙¢ ≤∞∞∞ ·È·‡†Ï˙†¨‰¯Â˜Ò·Â‡†‰¯Ó˜†‰È¯Ï‚†¨¢·Á¯Ó†ÍÂ˙·†ÏÏÁ¢ ±ππ∏ ®„ÈÁÈ©†ÔÈϯ·†¨ †‰È¯Ï‚†¨¢˙ÂÈχ¯˘È†ÌÈÙ¢ ·È·‡†Ï˙†¨‰¯Â˜Ò·Â‡†‰¯Ó˜†‰È¯Ï‚†¨¢È„†˙Á‡†ÌÚÙ†„ÂÚ†˜¯¢ ±πππ Christof Weber ®„ÈÁÈ© ®„ÈÁÈ©†ÔÈϯ·†¨Aufsturz†‰È¯Ï‚†¨¢ÌÈÈ¯ÈÚ†ÌÈ˘‡¢ ÔÈϯ·†¨ †‰È¯Ï‚†¨¢¯ÁÓφÌÂȉӢ ®„ÈÁÈ©†·È·‡†Ï˙†¨Ï·†ÍȯÈȉ†Ô¯˜†¨¢¯ˆÁ†Ô‚¢ ≤∞∞∞ Haus des Lehrers ÌÈÏ˘Â¯È†¨Ï‡¯˘È†Ô‡ÈÊÂÓ†Ï˘†Â‡È„ȉ†˙ÈÎÂ˙ ≤∞∞± ·È·‡ Ï˙ ¨‡‚†‰È¯Ï‚†¨¢ÌÏ˘ÂÓ‰†‚Âʉ¢ ¨Ô·†¨Ifa†‰È¯Ï‚†ÌÚ†ÛÂ˙È˘·†Ô·†˜ËÓÈÒ†“Re-thinking” ‰ÈÓ¯‚ ÌÈÏ˘Â¯È†¨Ï‡¯˘È†Ô‡ÈÊÂÓ†¨¢ÌÈÈ„È¢ ˙ÂÓ‡†ıÈÈÈˢ†ÈÓÚ†¨¢ÏÂÓ˙‡†¨È˘†ÌÂÈ·†¨Ú·˘†ÈÙÏ¢ ·È·‡†Ï˙†¨˙È¢ÎÚ ®„ÈÁÈ©†˙ÂӇφ‰Èψ¯‰†Ô‡ÈÊÂÓ†¨¢‰·¯Ú¢ ≤∞∞≤ ·È·‡ Ï˙ ¨ÂÙ†Ïȇ†Ì˜†¨¢˙È··†ÏÈÁ˙Ó†ÏΉ¢ ˙ÂӇφ·È·‡ Ï˙†Ô‡ÈÊÂÓ†¨¢ÌÂÏȈ‰†ÛÒ‡φ˙Â¯Á‡†˙¢Èί¢ È·‰Â†‰¯ÈÓÒ È·ˆ†Ô·†Ïȇ

ÏӯΆχ†˙ÈÏ„·†˙„·ÂÚ†˙¯¯Â‚˙Ó†ÆÏӯΆχ†˙ÈÏ„·†‰„ÏÂ ±π∑≥ ‰Á†Ò„¯Ù·†„·ÂÚ†¯¯Â‚˙Ó†Æ˙ÂÓÂχ†ı·Ș·†„ÏÂ ±π∂¥ ·È·‡†Ï˙†¨‰¯Â˜Ò·Â‡†‰¯Ó˜†˙ÂӇφ¯ÙÒ‰†˙È·†˙¯‚· ±πππ ÔÓ¯˜Âˆ†È·‡†¨È¯ÒφÔÈÒ¯Ù†ÌÈÓ‡‰†Ïˆ‡†„ÓÏ ±π∏∂≠±π∏µ „‰†ÔÈÚ†ÌÈÓ‡‰†¯Ùη†È˜ˆÈ¯Ê†È„ ˙ÂίÚ˙†¯Á·Ó ‰˘¯„Ó‰†˙¯‚ÒÓ·†˙ÂӇφ‰ÁÂ˙Ù‰†‰˘¯„Ó·†„ÓÏ ±π∏π≠±π∏∑ ¨˙È¢ÎÚ†˙ÂÓ‡†ıÈÈÈˢ†ÈÓÚ†¨¢ÌȘÁ¯Ó†Ï˘†·Á¯Ó¢ ±πππ Ô¯˘‰†˙Ó¯†¨˙ÂÓ‡Ï ·È·‡†Ï˙ ·È·‡†Ï˙†¨Ï·†ÍȯÈȉ†Ô¯˜†¨¢È„Ó†˜ÂÁ¯†‡Â‰˘†Ì˜ӆÔȇ¢ ≤∞∞± ˙ÂίÚ˙†¯Á·Ó ®„ÈÁÈ© ®„ÈÁÈ©†ÔÂȈφÔ¢‡¯†¨Ï·¯‡†‰ÈÏÓÚ†‰È¯Ï‚†¨¢˙„·ڢ ±ππ≥ ‰ÙÈÁ†¨ÔÙ‚‰†˙È·†¨¢˙ÂÏÂÏ΢ ≤∞∞≤ ®„ÈÁÈ©†Ï‡ÂÓ˘†Ô‚†ı·Ș·†‰È¯Ï‚‰†¨¢˙„·ڢ ±ππ¥ ‰ÙÈÁ†¨ÔÙ‚‰†˙È·†¨¢ÌÓ„†Ú·Ë¢ ®„ÈÁÈ©†‰¯„Á†¨ÔÓ¯„È·†ÔÂË‡†¨ÔÓ‡†ÂÈ„ÂËÒ†¨¢˙„·ڢ ±ππµ ¨¢ÌÂÏ˘Â†˙‰ʆ¨ÌÂȘ–„φȯËÓ˜„†¯ÈÓÒ†˙ίÚ˙¢ ‰È˙†¨ÈÏÒφ˙ÏÏÎÓ ±πππ ÌÈÏ˘Â¯È†¨‰¯¯ÒÂÓ†ÌÂÏȈφ¯ÙÒ‰†˙È· ·È·‡†Ï˙†¨¯ËÒ†Û‚ÊÈ„†¨¢‰ÓÁÏÓ‰†È¯Á‡¢ ≤∞∞∞ ®„ÈÁÈ©†®Ï·†ÍȯÈȉ†Ô¯˜†¢·ÂÁ¯†Ë˜È¯٢†˙¯‚ÒÓ·© ®„ÈÁÈ©†‰Á†Ò„¯Ù†¨ÌÈ·Ï†„Ȇ˙È·†¨¢˙„·ڢ ÂÏ˘†˙È¯ ‰ÙÈÁ†¨‡¯ËÒ˜†‰È¯Ï‚ ®„ÈÁÈ©†‰ÙÈÁ†¨ÌÁÂω†˙È·†¨¢˙„·ڢ ≤∞∞± Ƙ¯·†˙ÊÂÁ‡·†˙„·ÂÚ†˙¯¯Â‚˙ӆƉ¯Â·„†·˘ÂÓ·†‰„ÏÂ ±π∂∂ ®„ÈÁÈ©†·È·‡†Ï˙†¨ÌÁÂω†˙È·†¨¢‰ÓÁÏÓ‰†È¯Á‡¢ ≤∞∞≤ ¨‰È‚ÂÏÂÙ¯˙‡·Â†‰È‚ÂÏÂȈÂÒ·†¨˙ÂÓ‡·†Ô¢‡¯†¯‡Â˙ ±ππ≤ ‰ÙÈÁ†˙ËÈÒ¯·È‡ ‰ÙÈÁ†˙ËÈÒ¯·È‡†¨ÈÎÂÈÁ†ıÂÚÈÈ·†È˘†¯‡Â˙ ±ππ∏ ȯ¯‰†ÚË ‰ÙÈÁ†˙ËÈÒ¯·È‡†¨‰È‚ÂÏÂÎÈÒÙφ‚ÂÁ·†˙ÈË¯Â˘„

˙ÂίÚ˙†¯Á·Ó ·È·‡†Ï˙·†˙„·ÂÚ†˙¯¯Â‚˙ӆƄ‰ȷ†‰„ÏÂ ±π∑∞ ¨·ÂˆÈÚ†˙ÂӇφ‰ÈÓ„˜‡†Ï‡Ïˆ·†¨˙ÂÓ‡†È„ÂÓÈÏ ±ππ≤≠±ππ± ÔÂڷˆ¨ÌÈ¯Â‡†‰È¯Ï‚†¨¢ÌÈ¯Â‡·†ÌȯÈÚˆ†ÌÈÓ‡¢ ±ππ≥ ÆÌÈÏ˘Â¯È ·È·‡†Ï˙†¨ÌÈÓ‡‰†˙‡„Ò†¨¢ÌÈ¯Â‡·†ÌȯÈÚˆ†ÌÈÓ‡¢ ±ππµ ¨Ô¯ˇÈ˙φ‚ÂÁ‰†¨˙¯‡Ù˙†·ÂˆÈÚ·†Ô¢‡¯†¯‡Â˙ ±ππµ ‰ÙÈÁ†¨‰„ÈÓ¯ÈÙ‰†˙Èȯς†¨¢ÔίˆÏ†ıÏÓÂÓ†¯ÈÁÓ¢ ±ππ∂ ·È·‡†Ï˙†˙ËÈÒ¯·È‡ ‰ÙÈÁ†˙ËÈÒ¯·È‡†‰È¯Ï‚†¨ “Interm” ϯ·†˙È·†˙ÏÏÎÓ†¨˙ÂӇφ‰˘¯„Ó‰†˙¯‚· ±ππ∏≠±ππ∂ ‰ÙÈÁ†¨‰„ÈÓ¯ÈÙ‰†˙Èȯς ®„ÈÁÈ©†·È·‡†Ï˙†¨Ï·†ÍȯÈȉ†Ô¯˜†¨“Please Help Me” ≤∞∞∞ ˙ÂίÚ˙†¯Á·Ó ‰ÙÈÁ†¨‰„ÈÓ¯ÈÙ†‰È¯Ï‚†¨¢ÔίˆÏ†ıÏÓÂÓ†¯ÈÁÓ¢ ±ππ∏ ¨¢È¢ÎÚ†Èχ¯˘È†¯ÂȈ†›†˙Â¢†˙„ÓÚ†›†Èٯφ¯˘˜·¢ ·È·‡†Ï˙†¨®¯ÙÂ©†‰˘¯„Ó‰†˙Èȯς ®„ÈÁÈ©†·È·‡†Ï˙†¨Ï·†ÍȯÈȉ†Ô¯˜†¨¢˙¯ÂÁ¯Á˘¢ ≤∞∞± „¯Á†ÔÈÚ†¨˙ÂӇφÔ΢ӆ¨¢‰·‰‡†ÔÂÒ‡¢ „¯Á†ÔÈÚ†¨˙ÂӇφÔ΢ӆ¨¢Ì‡†˙Ù˘¢ ≤∞∞≤ ®„ÈÁÈ©†·È·‡†Ï˙†¨„ÏÙʯ†‰È¯Ï‚†¨¢˙Ï˘Â˘¢ ·È·‡†Ï˙†¨È·‡†ÔÂÎÓ†¨¢˙ÂÂÓ‰†˙‡†˙¢ÚÏ¢ 115 114 115 „˘‡†Ï‚ÈÒ ÔÓ‚ÈϘ†ÒÈχ

·È·‡†Ï˙·†˙„·ÂÚ†˙¯¯Â‚˙ӆƷȷ‡†Ï˙·†‰„ÏÂ ±π∂∑ ·È·‡†Ï˙·†˙„·ÂÚ†˙¯¯Â‚˙Ó†ÆÚ·˘†¯‡··†‰„ÏÂ ±π∂≥ ·È·‡†Ï˙†˙ËÈÒ¯·È‡†¨‰ÈÊÈÂÂψÚÂϘφ‚ÂÁ‰†˙¯‚· ±ππ± ¨‰¯Â˜Ò·Â‡†‰¯Ó˜†˙ÂӇφ¯ÙÒ‰†˙È·†¨ÌÂÏȈφ‰˜ÏÁÓ‰†˙¯‚· ±ππ∑ ˙·¯˙‰†Ô¯˜†¨˙¯˘†Ô¯˜†ÌÚËÓ†˙‚ÏÓ†È˙˘†˙ÎÂÊ ·È·‡†Ï˙ ÚÂϘ‰†ÌÂÁ˙·†¨Ï‡¯˘È–‰˜È¯Ó‡ ˙ÂίÚ˙†¯Á·Ó ˙ÂίÚ˙†¯Á·Ó ¨˙ÂӇφ‰˘¯„Ó·†ÌÂÏȈφ‰˜ÏÁÓ‰†¨¢ÔÓ‚ÈϘ†ÒÈχ¢ ±ππ∑ ÌÈÏ˘Â¯È†¨ÌÈÓ‡‰†˙È·†¨¢Ï‡¯˘È·†˙ÂÈÁ¯ÊÓ†˙ÂÈÓ‡†∫È˙ÂÁ‡ †≤∞∞∞ ϯ·†˙È·†˙ÏÏÎÓ ¨Ï·†ÍȯÈȉ†Ô¯˜†¨¢ÌȯÂÙÈÒ†‡ȄȆ∫Ô‡ÓÚ·†‰ÏÈÏ·†È˘È˘ †≤∞∞± ‰È¯Ï‚†¨¢¯È΢‰Ï†‰È·Â˜†∫‰Ó„ӆ˙‰ʆ¨È˘ÁÂÓ†Û‚¢ ®„ÈÁÈ©†·È·‡†Ï˙ ·È·‡†Ï˙†¨‰¯Â˜Ò·Â‡†‰¯Ó˜ ·È·‡†Ï˙†¨ÍÂÈÁ‰†„¯˘Ó†¨¢˙ÈÁ¯ÊÓ†‰‡È¯˜ †≤∞∞≤ ·È·‡†Ï˙†¨‰¯Â˜Ò·Â‡†‰¯Ó˜†‰È¯Ï‚†¨¢·Á¯Ó†ÍÂ˙·†ÏÏÁ¢ ±ππ∏ ·È·‡†Ï˙†¨‰¯Â˜Ò·Â‡†‰¯Ó˜†‰È¯Ï‚†¨¢ÌÈÏÈÓ†‡ÏφÛ‚¢ ·È·‡†Ï˙†¨‰¯Â˜Ò·Â‡†‰¯Ó˜†‰È¯Ï‚†¨¢ÌȯÁ·†Ìȯ‚·†˙ίÚ˙¢ ±πππ ·È·‡†Ï˙†¨˜„ˆ†‰ÂÂ†¨‰Ïȉ†¨¢‚˙ÂÓ‰†˙ÂÓ‡¢ ≤∞∞∞ ®„ÈÁÈ©†·È·‡†Ï˙†¨Ï·†ÍȯÈȉ†Ô¯˜†¨¢¯È˜‰†ÏÚ†Ú·˘¢ ÌÈÏ˘Â¯È†¨Ï‡¯˘È†Ô‡ÈÊÂÓ†¨¢˙ÂÈÓ˜ӆ˙ÂÂÓ˙¢ ≤∞∞± ÌÈÏ˘Â¯È†¨Ï‡¯˘È†Ô‡ÈÊÂÓ†¨¢ÌÈÈ„È¢ ˙˘˜†‰Ï¢ ˙ÂÓ‡†ıÈÈÈˢ†ÈÓÚ†¨¢ÏÂÓ˙‡†¨È˘†ÌÂÈ·†¨Ú·˘†ÈÙÏ¢ ·È·‡†Ï˙†¨˙È¢ÎÚ ·È·‡†Ï˙·†˙„·ÂÚ†˙¯¯Â‚˙ӆƷȷ‡†Ï˙·†‰„ÏÂ ±πµπ ˙ÂӇφ‰Èψ¯‰†Ô‡ÈÊÂÓ†¨¢Ìȯ„Á†È¯„Á¢ ≤∞∞≤ Ô¯˘‰†˙Ó¯†¨˙ÂӇφ‰˘¯„Ó‰†˙¯‚· ±π∏∑ „¯Á†ÔÈÚ†¨˙ÂӇφÔ΢ӆ¨¢Ì‡†˙Ù˘¢ ·È·‡†Ï˙†¨ †¨¢˙È··†ÏÈÁ˙Ó†ÏΉ¢ ˙ÂίÚ˙†¯Á·Ó Comme il Faut ®„ÈÁÈ©†ÂÙȆ¨‰ËÓÒ‰†Ô¯ˇÈ˙ ±π∏± ®„ÈÁÈ©†˜¯ÂȆÂÈ†¨ ††±π∏≥ “Dramatis Personae” „·چÏÈÓ‡†‰‡ÓÂß‚ ÂÙȆ¨ÔÏ‚†‰Â†Ò¢˙Ó†¨˙ÂÈ˙Ïȉ˜†˙ÂίÚ˙†˙¯ˆÂ‡ ±ππ≥≠±ππ± ·È·‡†Ï˙†¨˙ÈÊίӉ†‰Á˙‰†¨¢‰Á˙·†‰‡ÁÓ¢ ±ππ∂ ÌÚ¯Ù˘·†˙„·ÂÚ†˙¯¯Â‚˙Ó†ÆÌÚ¯Ù˘·†‰„ÏÂ ±π∑± ·È·‡†Ï˙†¨˙È¢ÎÚ†˙ÂÓ‡†ıÈÈÈˢ†ÈÓÚ†¨¢˜ÂÏ·¢ ±ππ∑ ‰˙ÁÙ˘Ó†ÌÚ†‰„˜·†‰¯¯Â‚˙‰ ±ππ±≠±π∑π ·È·‡†Ï˙†¨˙È¢ÎÚ†˙ÂÓ‡†ıÈÈÈˢ†ÈÓÚ†¨¢·‰ÊÓ†¯˘‚¢ ±ππ∏ ‰„˜†¨ÂË¯Âˆ¨˙ÂӇφÂȯË‡†˙ÏÏÎÓ·†ÌÈ„ÂÓÈÏ ±ππ±≠±π∏π ˙ÂÈÁ¯ÊÓ†˙ÂÈÓ‡†∫È˙ÂÁ‡¢†¨˙ÈӇ†‰Ù˙¢–˙¯ˆÂ‡ ≤∞∞∞≠±πππ ÌÈÏ˘Â¯È†¨Ï‡Ïˆ·†·ÂˆÈÚ†˙ÂӇφ‰ÈÓ„˜‡‰†˙¯‚· ±ππ∂ ÌÈÏ˘Â¯È†¨ÌÈÓ‡‰†˙È·†¨¢Ï‡¯˘È· ˙ÂӇφ‰ÈÓ„˜‡‰†¨Í˘Ó‰†È„ÂÓÈÏφ˙ÈÎ˙‰†˙¯‚· ±πππ ˙ÂÓ‡†ıÈÈÈˢ†ÈÓÚ†¨¢˙ÂÈÁ¯ÊÓ¢†¨˙ÈӇ†˙¯ˆÂ‡ ÌÈÏ˘Â¯È†¨Ï‡Ïˆ·†·ÂˆÈÚ ·È·‡†Ï˙†¨˙È¢ÎÚ ªÔÂڷˆ¨ÌÈ¯Â‡†¯ÈÓÒ†Ï˘†‰È¯Ï‚‰†¨¢ÌÈÈÁ†Ìȯ„Ά±≥¢ ≤∞∞± ˙ÂίÚ˙†¯Á·Ó ®„ÈÁÈ©†·È·‡ Ï˙ ¨Ï·†ÍȯÈȉ†Ô¯˜ ®„ÈÁÈ©†·È·‡†Ï˙†¨Ï·†ÍȯÈȉ†Ô¯˜†¨¢‰ÈÏÊÂÙȯ¢ ±ππ∏ ·È·‡†Ï˙†¨ÍÂÈÁ‰†„¯˘Ó†¨¢˙ÈÁ¯ÊÓ†‰‡È¯˜¢†¨˙ÈӇ†˙¯ˆÂ‡ ≤∞∞≤ ª·È·‡ Ï˙†¨˙È¢ÎÚ†˙ÂÓ‡†ıÈÈÈˢ†ÈÓÚ†¨¢®‰©ÈËÒÏÙ¢ ÌÈÏ˘Â¯È†¨ÍÂÈÁ‰†„¯˘Ó†¨¢˙Â˘Ó†ÌÈ˘¢†¨˙¯ˆÂ‡ ÌÈÏ˘Â¯È†¨˙ÂӇφÈËÒ†χ†ÊÎ¯Ó Ô„Âφ¨Ë¯‡†„È„˜†‰È¯Ï‚†¨¢¯ÂÙÈÒ‰†˙Ú¢ ®„ÈÁÈ©†˙ÂӇφ‰Èψ¯‰†Ô‡ÈÊÂÓ†¨¢ÌÈÓȆ‰Ú·˘¢ ±πππ ÌÈÏ˘Â¯È†¨≥†Ò˜ÂÙ˯‡†¨“Look Mama Look”†††††††† ‰È‚·¯Â†¨ÒÓ¯„†Ô‡ÈÊÂÓ†¨¢ÌÈÈËÒÏÙ†ÌÈÓ‡†˙ίÚ˙¢ Ô„¯È†¨Ô‡ÓÚ†¨˙ÂӇφÈÓ‡ω†Ô‡ÈÊÂÓ‰†¨¢ÌÈ¯Ú˘¢ ‡Ó¯†¨ÌȯÈÚˆ†ÌÈӇφ‰Ï‡È·‰ ‰·Â˜†¨‰‡Â‰†¨˙ÂӇφ‰Ï‡È·‰ ≤∞∞∞ ‰ÈÓ¯‚†¨ÔÈϯ·†¨¢‰È˙ÙÓ‡¢ † ®„ÈÁÈ©†ÂÙȆ¨˙ÂӇφ‰È¯Ï‚†¯‚‰†¨¢˙ÂÈÙ˘Â†‰˘Â„˜¢ ≤∞∞± 117 116

119 118

Ayelet Zohar “Hands,” The Israel Museum, Jerusalem “A Week Ago, On Monday, Yesterday,” Ami Steinitz 1958 Born in Tel Aviv. Lives and works in Tel Aviv. Contemporary Art, Tel Aviv 1982 Calligraphy and ink painting studies, Harada Sekkei Roshi, 2002 “Midland,” Herzliya Museum of Art (solo) Japan “It All Begins at Home”, Comme il Faut, Tel Aviv 1986 Graduate of the Art Teachers’ Training College, “New Acquisitions,” Tel Aviv Museum of Art Ramat Hasharon 1991 B.A. in East-Asian Studies, The Hebrew University, Jerusalem 1996 Studied at the Central Academy of Fine Arts, Beijing Ahlam Shibli 2000 M.A. in Comparative Literature, Tel Aviv University 1970 Born in the village Shibli. Lives and works in Haifa. Selected Solo Exhibitions 1994 Graduate of the Education Department, the Hebrew 1990 “Mongolian Spot,” Chelouche Gallery, Tel Aviv University, Jerusalem 1993 “Ping-Pong Tables and Suitcase Paintings, Museum of B.A. in Classical Art and Islamic Archaeology, the Hebrew Israeli Art, Ramat Gan University, Jerusalem 1997 “Hybrid,” Camera Obscura Gallery, Tel Aviv 1996 Graduate of the Department of Social Work, Haifa 2000 “Quarantine,” video installation, Heinrich Böll University Foundation, Tel Aviv 1997 Photography studies, Wizo College of Art and Design, 2001 “Aspects of Femininity,” video art show, Janco Dada Haifa Museum, Ein Hod Currently studies for M.F.A. in Cinema and Television, “Subconsciousness Opens Like a Fan,” Museum of Tel Aviv University Contemporary Art, Beijing Selected Exhibitions “Apfelsine,” video installation, Peer, The Gallery of the “Midrasha” in Tel Aviv 1999 “Wadi Saleib in Nine Volumes”, Heinrich Böll Foundation, Tel Aviv; French Cultural Center, Ramalla, The Palestinian Authority (solo) Efrat Shalem 2000 “Unrecognized”, Heinrich Böll Foundation, Tel Aviv; El-Katan Foundation, Ramalla, The Palestinian Authority 1972 Born in Tel Aviv. Lives and works in Tel Aviv. (solo) 1998 B.F.A. (with excellence), Department of Video and 2001 “Liminal”, Mishkan Le’omanut, Museum of Art, Computer Imaging, Bezalel Academy of Art and Design, Ein Harod Jerusalem 2001-2002 “Empathie”, The Villa Gallery, Tel Aviv; Plaza 1999 Research year, Department of Video and Computer Gallery, Tokyo Imaging, Bezalel Academy of Art and Design, Jerusalem 2002 “Positioning”, Hagar Art Gallery, Jaffa (solo) 2000 M.A. studies in Comparative Literature, Tel Aviv University “European Art”, Nouveau Salon D’art Contemporain, 2002 M.F.A. studies in the Department of Film and Television, Espace Auteuil, Paris Tel Aviv University

Selected Exhibitions 1999 “Once More unto the Breach, and Die,” Camera Obscura Gallery, Tel Aviv (solo) “Void Space,” Camera Obscura Gallery, Tel Aviv 2000 “Yard Garden,” Heinrich Böll Foundation, Tel Aviv (solo) 2001 “The Video Program,” The Israel Museum, Jerusalem “The Perfect Couple,” Noga Gallery of Contemporary Art, Tel Aviv “Re-Thinking,” Bonner Cinematheque in collaboration with Ifa Gallery, Bonn, Germany 121 120 121 Joshua Simon Eliav Lilti

1979 Born in Tel Aviv. Lives and works in Tel Aviv. 1964 Born in Be’er Sheva. Lives and works in Tel Aviv. Until recently, editor of “University on Air” at the IDF 1992 B.A., Department of Cinema & Television, Tel Aviv Broadcasting Station (Galei Zahal) University 1997-2000 As part of his compulsory military service, edited numerous cultural programs, among them: Currently works as creative director at Keshet “Historical Hour,” “Yaacov Agmon Hosts,” Broadcasting – Israeli Channel 2 Television Holocaust memorial day program, etc. Since 1999 Filmmaker: “My Room” (Israel 2001, 5min.); “The Director and editor of TV and cinema movies and video Radicals” (Israel 2001, 23 min.); “Moments” (Israel art pieces, including: “Kutner,” comic drama, 25 min 2001, 55 min.); “City Hole” (Israel 1999, 9 min.). (1992); “The Sale,” fiction film, 50 min (1996); episodes Member of The Free Academy, Israel. for the Israeli TV series “Zbeng,” “Platfus,” & “The Writes for “Studio Israeli Art Magazine,” the Ivgi-Swissa Report” “Cinematheque Review,” and “Firma” – the media Director of Ehud Barak’s election campaigns (2001) supplement of the Israeli business daily “Globes” Editor of Ariella Azoulay’s films “A Sign from Heaven” (1999) and “The Angel of History” (2000) for the Selected Exhibitions Herzliya Museum of Art 2000 “The Professionals,” Heinrich Böll Foundation, Tel Aviv Director and editor of experimental videos: (solo) “Wegotsomething” and “3 Minutes to 4 O’clock” 2001 “I Slept with Ari Libsker,” The Free Academy Pavilion of Art, Tel Aviv Exhibitions “Against the Strong Hand,” Beit Ha’am Gallery, Tel Aviv; 2000 “Divided Crowd is Dominated More Easily,” video, Um el-Fahem Art Gallery 16 min, Heinrich Böll Foundation, Tel Aviv (solo) 2002 “Death Doing,” Avni Institute Gallery, Tel Aviv “Salon 2,” Plonit Art Gallery, Tel Aviv

Zamir Shatz Maria Pomiansky 1969 Born in Kibbutz Kineret, the Jordan Valley, Israel. Lives and works in Tel Aviv. 1971 Born in Moscow. Moved to Israel in 1991. 1999 Graduate of Camera Obscura School of Art, Tel Aviv Lives and works in Tel Aviv. 1986-1990 Studied in the Department of Graphic Design, Selected Exhibitions Moscow Art College 2000 “4 Video Artists,” Tel Aviv Museum of Art 1998 Graduate of the Department of Fine Art, Bezalel “Dreams Group and Hunter,” Heinrich Böll Academy of Art and Design, Jerusalem Foundation, Tel Aviv (solo) Selected Exhibitions 2001 “The 33rd Year,” Um el-Fahem Art Gallery; Beit Ha’am Gallery, Tel Aviv 2000 Video night, Tal Esther Gallery, Tel Aviv “Red Something”, Beit Uri and Rami Nechushtan, “Industika,” Heinrich Böll Foundation, Tel Aviv Kibbutz Ashdot Ya’acov (solo) 2001 “The Daily Verse,” Kav 16 Gallery, Tel Aviv “Independence Day,” Rosenfeld Gallery, Tel Aviv (solo) “New Video Works,” The Israel Museum, Jerusalem “Marshim,” Haifa Museum of Art (solo) “Urban Myths,” The Digital Art Lab Center, Holon 2002 “Mother Tongue,” Mishkan Le’omanut Museum of Art, “Nose,” Heinrich Böll Foundation, Tel Aviv (solo) Ein Harod 2002 DocAviv Documentary Film Festival, The Tel Aviv Cinematheque The 4th Gwangju Biennial, South Korea “Explora” Digital Art Project, Kalisher Gallery, Tel Aviv “The Place,” video projects, The Israel Museum, Jerusalem Ronit Shalev Jumana Emil ‘Abboud

1966 Born in Moshav Devora Lives and works in Ahuzat Barak. 1971 Born in Shefa-Amer, Galilee. Lives and works in 1992 B.A. in Fine Arts, Sociology and Anthropology, Haifa Shefa-Amer. University 1979-1991 Lived with her family in Ontario, Canada 1998 M.A. in Educational Counseling, Haifa University 1989-1991 Studied Art at the Ontario College of Art, Toronto Studies for Ph.D. in Psychology, Haifa University 1991 Returned to live in the Galilee 1996 BFA, Bezalel Academy of Art and Design, Jerusalem Selected Exhibitions 1999 Post-graduate studies in the Young Artists’ program, 1993 “Young Artists at Oranim,“ Oranim Art Institute, Tivon Bezalel Academy of Art and Design, Jerusalem 1995 “Young Artists at Oranim,” Artists’ Studios Gallery, Tel Aviv Selected Exhibitions 1996 “Retail Price,” Pyramid Art Gallery, Haifa 1998 “Story Time,” Candid Arts, London “Interm,” Haifa University Art Gallery “Rapunzelina,” Heinrich Böll Foundation, Tel Aviv (solo) Pyramid Art Gallery, Haifa “Palestin(a): Eight Woman Artists,” Al Wasiti Art Center, 2000 “Please Help Me,” Heinrich Böll Foundation, Tel Aviv Jerusalem; Ami Steinitz Contemporary Art, Tel Aviv (solo) “Story Time,” Candid Arts, London 1999 “Look Mama Look,” ArtFocus 3, Jerusalem “Palestinian Artists Today,” Drammens Museum, Drammen, Norway “Gateway,” National Gallery of Fine Arts, Amman, Jordan Alice Klingman “Mediterranean Biennial for Young Artists,” Rome, Italy “Seven Days,” Herzliya Museum of Art (solo) 1963 Born in Be’er Sheva. Lives and works in Tel Aviv. 2000 “La Havana International Biennial,” Cuba 1992-1997 Studied at the Photography Department, Camera “Empathy,” Galerie im Kornerpark, Berlin Obscura School of Art, Tel Aviv 2001 “Sainthood & Sanity-hood,” Hagar Art Gallery, Jaffa (solo) Selected Exhibitions 1997 “Real Body, Imaginary Identity: Block for Hire,” Camera Obscura Gallery, Tel Aviv Sigal Eshed “Alice Klingman,” Department of Photography, Beit Berl Art College 1967 Born in Tel Aviv. Lives and works in Tel Aviv. 1998 “Tel Baruch Region,” Camera Obscura Gallery, Tel Aviv 1991 B.A., The Department of Film and Television, Tel Aviv “Body without Words,” Camera Obscura Gallery, University Tel Aviv Two-time recipient of the Sharet Scholarship, America- 1999 “Chosen Graduates,” Camera Obscura Gallery, Tel Aviv Israel Cultural Foundation, in the field of cinema Anber Fellowship Recipients’ Exhibition, Tel Aviv Municipality Selected Exhibitions 2000 “Seven on the Wall”, Heinrich Böll Foundation, Tel Aviv 2000 “Sister: Mizrahi Women Artists in Israel,” The Artist’ (solo) House, Jerusalem “Brand Art,” The Villa Gallery, Neve Zedek, Tel Aviv 2001 “Friday Night in Amman: Video and Stories,” 2001 “Hands,” The Israel Museum, Jerusalem Heinrich Böll Foundation, Tel Aviv (solo) “Local Scenes,” The Israel Museum, Jerusalem 2002 “A Mizrahi Reading,” the Ministry of Education, Tel Aviv “A Week Ago, On Monday, Yesterday,” Ami Steinitz Contemporary Art, Tel Aviv 2002 “Mother Tongue,” Mishkan Le’omanut, Museum of Art, Ein Harod “Chambers,” Herzliya Museum of Art “It All Begins At Home,” Comme il Faut, Tel Aviv 123 122 123 Andrea Peschel Neta Harari Navon

1970 Born in Hamburg, Germany. Lives and works in 1970 Born in Yahud, Israel. Lives and works in Tel Aviv Berlin and Brussels. 1991 Art studied, Bezalel Academy of Art and Design, Jerusalem 1992-1994 Graduate of the Department of Graphic Design, 1995 B.A. in Theater and Set Design, Tel Aviv University FH Trier 1998 Graduate of the Beit Berl Art College 1994-1996 Fine Arts and Painting Studies, Massana Escola d’Art i Disseny, Barcelona Selected Exhibitions 1996-1998 Graphic Design Studies, FH Potsdam, Germany 1998 “Retail Price,” Pyramid Gallery, Haifa “Apropos Raffi,” Hamidrasha (Nofar) Gallery, Tel Aviv Selected Exhibitions 2000 “Brunette,” Heinrich Böll Foundation, Tel Aviv (solo) 1995 “Painting and Drawing,” Sala Almirall, Barcelona (solo) “Love Disaster,” Mishkan Le’omanut Museum of Art, 1996 “Reason to Paint,” Schadow-Haus, Berlin Ein Harod 1998 “Personality,” Galerie Berlintokyo, Berlin (solo) 2002 “Mother Tongue,” Mishkan Le’omanut, Museum of Art, 1999 “Two to One,” Galerie Open Room, Berlin Ein Harod 2000 “Tel Aviv-Berlin,” Heinrich Böll Foundation, Tel Aviv “Dynasty,” Rosenfeld Gallery, Tel Aviv (solo) (solo) “Death Doing,” Avni Institute Gallery, Tel Aviv “Israel’s Faces,” Galerie Christof Weber, Berlin (solo) “Urban People,” Aufsturz, Berlin (solo) “From Today Till Tomorrow,” Haus des Lehrers, Berlin

Eyal Ben Zvi Samira Wahaby

1964 Born in Kibbutz Alumot, Israel. Lives and works in 1973 Born in Daliat el-Carmel. Pardes Hanna Lives and works in Daliat el-Carmel. 1985-1986 Studied with artists Francin Lassri, Avi Zuckerman, 1999 Graduate of the Department of Photography, Camera and Danny Zritskie, at the Artists’ village Ein Hod Obscura School of Art, Tel Aviv 1987-1989 Studied in the Open Studies Program, the Art Selected Exhibitions College, Ramat Hasharon 1999 “Region of Distances”, Ami Steinitz Contemporary Art, Selected Exhibitions Tel Aviv 1993 “Works”, Amalia Arbel Art Gallery, Rishon Lezion 2001 “There is No Such Place as Faraway”, Heinrich Böll “Works”, The Art Gallery at Kibbutz Gan Shmuel (solo) Foundation, Tel Aviv (solo) 1995 “Works”, Anton Biederman Gallery, Hadera (solo) 2002 “Matrimony,” Beit HaGefen, Haifa 1999 Lesley College, Israeli Extension, Netanya “In Animate – Nature,” Beit HaGefen, Haifa 2000 “After the War”, Dizengoff Center, Tel Aviv (as part of “Identity and Peace,” Musrara School of Photography, Heinrich Böll Foundation’s “Street Project”) (solo) Jerusalem “Works,” Yad LaBanim, Pardes Hanna (solo) Castra Art Gallery, Haifa 2001 “Works”, Beit Halochem, Haifa (solo) 2002 “After the War,” Beit Halochem, Tel Aviv (solo) Shula Keshet

1959 Born in Tel Aviv. Lives and works in Tel Aviv. 1987 Gradate of the Art Teachers’ Training College, Ramat Hasharon

Selected Exhibitions 1983 “Dramatis Personae”, New York (solo) Hasimta Theater, Jaffa (solo) 1991-1993 Curator of communal exhibitions, Neve Golan Community Center, Jaffa 1996 “Protest in the Central Station”, The New Central Bus Station, Tel Aviv 1997 “Block”, Ami Steinitz Contemporary Art, Tel Aviv 1998 “A Golden Bridge”, Ami Steinitz Contemporary Art, Tel Aviv 1999-2000 Curator & artist, “Sister: Mizrahi Women Artists in Israel”, Artists’ House, Jerusalem Curator & artist, “Mizrahiyot,” Ami Steinitz Contemporary Art, Tel Aviv 2001 “13 Live Bullets,” Oranim Collage Gallery, Tivon; Heinrich Böll Foundation, Tel Aviv (solo) 2002 Curator & artist, “Mizrahi Reading,” The Ministry of Education, Tel Aviv Curator, “Women who Make a Difference,” The Ministry of Education, Jerusalem 125 124 125 ˙„·ډ

∂µ≠∂¥†ßÓÚ ¥µ≠¥∞†ßÓÚ ±µ≠±∞†ßÓÚ Ô·†È¯¯‰†ÚË ÌÏ˘†˙¯Ù‡ ÔÂÓÈÒ†Ú˘Â‰È ≤∞∞∞†¨¢˙¯˙ÂΆ‡ÏÏ¢ ≤∞∞±†¨¢˙¯˙ÂΆ‡ÏÏ¢ ‰Î¯Ú˙‰†ÏÂÏÒÓ†˙ÙÓ Ó¢Ò†≤µx≤µ†¨ıÚ†ÏÚ†ÔÓ˘ ÔÂ˙ÈÚ†¯ÈÈ†ÔÂÈÏÈ‚†¨Ú·ˆ†ÌÂψ˙ ÔÂÓÈÒ†Ú˘Â‰È Ô·†È¯¯‰†ÚË ≤∞∞∞†¨¢˙¯˙ÂΆ‡ÏÏ¢ ≤∞∞∞†¨¢˙¯˙ÂΆ‡ÏÏ¢ µ±≠¥∂†ßÓÚ Ó¢Ò†¥µx¥µ†¨Ú·ˆ†ÌÂψ˙ Ó¢Ò†≥∞x¥∞†¨‰ÒÙÈχ†¨ıÚ†ÏÚ†ÔÓ˘ ÈÏ·È˘†Ì‡ÏÁ‡ Ô·†È¯¯‰†ÚË ≤∞∞∞†¨¢˙¯˙ÂΆ‡ÏÏ¢ ≤±≠±∂†ßÓÚ ≤∞∞∞†¨¢˙¯˙ÂΆ‡ÏÏ¢ Ú·ˆ†ÌÂψ˙ ȘÒ‡ÈÓÂÙ†‰È¯Ó Ó¢Ò†≤µx≤µ†¨ıÚ†ÏÚ†ÔÓ˘ Ó¢Ò†∑∞xµ∞†¨Ó¢Ò†≥∞x¥∞ ≤∞∞±≠≤∞∞∞†¨¢˙¯˙ÂΆ‡ÏÏ¢ ÈÏËÈ‚È„†Ú·ˆ†ÌÂψ˙ ∂∑≠∂∂†ßÓÚ µ≥≠µ≤†ßÓÚ Ó¢Ò†π∞x∑∞ Ô·†È¯¯‰†ÚË Ï˘Ù†‰‡È¯„‡ ȘÒ‡ÈÓÂÙ†‰È¯Ó ≤∞∞∞†¨¢˙¯˙ÂΆ‡ÏÏ¢ ≤∞∞∞†¨¢ÌÈÈÙ‡¢ ±πππ†¨¢˙¯˙ÂΆ‡ÏÏ¢ ¯Ë˜†Ó¢Ò†±∞∞†¨ıÚ†ÏÚ†ÔÓ˘ Ó¢Ò†∑∞xµ∞†¨„·†ÏÚ†ÔÓ˘ ˘Ȅ†ÏÚ†ÔÓ˘ Ô·†È¯¯‰†ÚË Ï˘Ù†‰‡È¯„‡ ≤∞∞∞†¨¢˙¯˙ÂΆ‡ÏÏ¢ ≤∞∞∞†¨¢±†ÌÈÏ˘Â¯È¢ ≤∑≠≤≤†ßÓÚ Ó¢Ò ¥∞x¥∞†¨ıÚ†ÏÚ†ÔÓ˘ Ó¢Ò†∑∞x±∞∞†¨„·†ÏÚ†ÔÓ˘ ÈËÏÈφ·‡Èχ ∫‡Ȅȉ†ÍÂ˙Ó†ÌÈÈÂÓÈ„ ∂π≠∂∏†ßÓÚ µµ≠µ¥†ßÓÚ ¨¢˙ÂϘ†¯˙È·†ËÏ˘†„ÎÂÏÓ†‡Ï†ÔÂÓ‰¢ Ô·†È¯¯‰†ÚË Ï˘Ù†‰‡È¯„‡ ≤∞∞±†¨ß„†±∂Ƶ ≤∞∞∞†¨¢˙¯˙ÂΆ‡ÏÏ¢ ≤∞∞∞†¨¢˙·˘¢ ÈËÏÈφ·‡Èχ ¯Ë˜†Ó¢Ò†≤µ†¨ıÚ†ÏÚ†ÔÓ˘ Ó¢Ò π∞x±≥∞ ¨„·†ÏÚ†ÔÓ˘ ËÏ˘†„ÎÂÏÓ†‡Ï†ÔÂÓ‰¢†‰Î¯Ú˙φ‰Óʉ Ô·†È¯¯‰†ÚË Ï˘Ù†‰‡È¯„‡ ≤∞∞±†¨¢˙ÂϘ†¯˙È· ≤∞∞∞†¨¢˙¯˙ÂΆ‡ÏÏ¢ ≤∞∞∞†¨¢ÌÈÈÙ‡¢ Ó¢Ò ≤µx≤µ ¨ıÚ†ÏÚ†ÔÓ˘ Ó¢Ò†∑∞xµ∞†¨„·†ÏÚ†ÔÓ˘ ≥≥≠≤∏†ßÓÚ Ô·†È¯¯‰†ÚË Ï˘Ù†‰‡È¯„‡ ı˘†¯ÈÓÊ ≤∞∞∞†¨¢˙¯˙ÂΆ‡ÏÏ¢ ≤∞∞∞†¨¢˜Â˘¢ ∫‡Ȅȉ†ÍÂ˙Ó†ÌÈÈÂÓÈ„ Ó¢Ò ∑µx±≤∞†¨ıÚ†ÏÚ†ÔÓ˘ Ó¢Ò†π∞x±≤∞†¨„·†ÏÚ†ÔÓ˘ ≤∞∞±†¨ß„†±∂†¨“Red Something” ı˘†¯ÈÓÊ ∑µ≠∑∞†ßÓÚ µ∑≠µ∂†ßÓÚ Â‡È„È‰†ÍÂ˙Ó†ÌÈÈÂÓÈ„ È·‰Â†‰¯ÈÓÒ Ï˘Ù†‰‡È¯„‡ ≤∞∞±†¨ß„†¥Æ¥µ ¨“My Mother is a Monkey” ≤∞∞±†¨¢˙¯˙ÂΆ‡ÏÏ¢ ≤∞∞∞†¨¢‰Ù˜¢ ı˘†¯ÈÓÊ Ó¢Ò†µ∞x∑∞†¨ÏØ˘†ÌÂψ˙ Ó¢Ò†±∏∞x±¥µ†¨„·†ÏÚ†ÔÓ˘ ‰Î¯Ú˙‰†ÏÏÁ†‰‡¯Ó È·‰Â†‰¯ÈÓÒ Ï˘Ù†‰‡È¯„‡ ı˘†¯ÈÓÊ ≤∞∞±†¨¢˙¯˙ÂΆ‡ÏÏ¢ ≤∞∞∞†¨¢≥†ÌÈÏ˘Â¯È¢ ‰Èˆ˜Â„¯ٯ†ÌÂψ˙ Ó¢Ò†µ∞x∑∞†¨Ú·ˆ†ÌÂψ˙ Ó¢Ò†∑∞x±∞∞¨„·†ÏÚ†ÔÓ˘ Ï˘Ù†‰‡È¯„‡ ≥π≠≥¥†ßÓÚ ∑∑≠∑∂†ßÓÚ ≤∞∞∞†¨¢≤†ÌÈÏ˘Â¯È¢ ¯‰Ê†˙Ïȇ ÂÏ˘†˙È¯ Ó¢Ò†±∞∞x±∞∞ ¨„·†ÏÚ†ÔÓ˘ ∫‡Ȅȉ†È˯҆ÍÂ˙Ó†ÌÈÈÂÓÈ„ ≤∞∞∞†¨¢˙¯˙ÂΆ‡ÏÏ¢ ≤∞∞±†¨ß„†∂†¨“Naturaliser (v.)” „·†ÏÚ†Ú·ˆ†Ô¯ÙÚ ∂≥≠µ∏†ßÓÚ ≤∞∞±†¨ß„†≤∞†¨¢‰ÓÓÁ¢ Ó¢Ò ¥∞x≥∞ È·ˆ†Ô·†Ïȇ ≤∞∞±†¨ß„†±≥†¨¢‰ÎÈω†Ë¯Ò†›†Ò¯·Ò¢ ≤∞∞∞†¨¢˙¯˙ÂΆ‡ÏÏ¢ ¢Â‚Âʆ˙·Â†Ôʯˢ†®±π≥≤©†¢ÌÈÙ˜‰†ÍÏÓ†Ôʯˢ ÈÂÒÈη†Ë˜È„†ÏÚ†˙·¯ÂÚÓ†‰˜ÈÎË ˙ÂÚ˘†≥†›†Ûˆ¯·†‰¯˜‰†›†®±π≥¥© Ó¢Ò†∑∞x±∞∞†¨Ò˜ÙÒ¯Ù ¯‰Ê†˙Ïȇ ‰Î¯Ú˙‰†ÏÏÁ†‰‡¯Ó ±∞±≠π¥†ßÓÚ π±≠π∞†ßÓÚ ∑π≠∑∏†ßÓÚ „˘‡†Ï‚ÈÒ „·چÏÈÓ‡†‰‡ÓÂß‚ ÂÏ˘†˙È¯ ∫‡Ȅȉ†ÍÂ˙Ó†ÌÈÈÂÓÈ„ ≤∞∞±†¨¢˙¯˙ÂΆ‡ÏÏ¢ ≤∞∞∞†¨“It’s a Girl” ¨¢®ÏÂϘ‰†Ï˘†˙ÒÚÂΉ†Â˙·©†˙¯˙ÂΆ‡ÏÏ¢ ¨˙·¯ÂÚÓ†‰È„Ó†¯ÈÈ†ÏÚ†¯ÂȈ „·†ÏÚ†Ú·ˆ†Ô¯ÙÚ ≤∞∞∞†¨ß„†≥ Ó¢Ò†≥∞x≤∞ Ó¢Ò µ∞x∑∞ „˘‡†Ï‚ÈÒ „·چÏÈÓ‡†‰‡ÓÂß‚ ÂÏ˘†˙È¯ ∫‡Ȅȉ†ÍÂ˙Ó†ÌÈÈÂÓÈ„ ≤∞∞±†¨¢˙¯˙ÂΆ‡ÏÏ¢ ≤∞∞∞†¨“Thank You For Having Us” ¨ß„†±∞†¨¢‰·‰‡†È¯È˘†‰˘ÂÏ˘†:„ψÔÂÏÓ¢ ¨˙·¯ÂÚÓ†‰È„Ó†¯ÈÈ†ÏÚ†¯ÂȈ „·†ÏÚ†Ú·ˆ†Ô¯ÙÚ ≤∞∞± Ó¢Ò†≥∞x≤∞ Ó¢Ò µ∞x∑∞ „·چÏÈÓ‡†‰‡ÓÂß‚ ÂÏ˘†˙È¯ ±∞≥≠±∞≤†ßÓÚ ≤∞∞±†¨¢˙¯˙ÂΆ‡ÏÏ¢ ≤∞∞∞†¨“Please Help Me” ˙˘˜†‰Ï¢ ¨˙·¯ÂÚÓ†‰È„Ó†¯ÈÈ†ÏÚ†¯ÂȈ „·†ÏÚ†Ú·ˆ†Ô¯ÙÚ ‰Î¯Ú˙‰†ÏÏÁ†ÍÂ˙Ó Ó¢Ò†≥∞x≤µ Ó¢Ò ¥∞x≥∞ ˙˘˜†‰Ï¢ „·چÏÈÓ‡†‰‡ÓÂß‚ ‰Èˆ˜Â„¯ٯ†ÌÂψ˙ ≤∞∞±†¨¢˙¯˙ÂΆ‡ÏÏ¢ ∏±≠∏∞†ßÓÚ Ó¢Ò†≥∞xµ∞†¨„·†ÏÚ†¯ÂȈ ÂÏ˘†˙È¯ ±∞µ≠±∞¥†ßÓÚ „·چÏÈÓ‡†‰‡ÓÂß‚ ≤∞∞∞†¨“East - West Home is Best” ˙˘˜†‰Ï¢ Ó¢Ò†±µx±∞†¨Ú·ˆ†˙ÈÂÏ‚ „·†ÏÚ†Ú·ˆ†Ô¯ÙÚ ∫‡Ȅȉ†ÍÂ˙Ó†ÌÈÈÂÓÈ„ „·چÏÈÓ‡†‰‡ÓÂß‚ Ó¢Ò ∑∞xµ∞ ≤∞∞±†¨ß˜„†≥∞†¨¢˙‰Ӈ†Ú·¯‡¢ ≤∞∞±†¨¢˙¯˙ÂΆ‡ÏÏ¢ ÂÏ˘†˙È¯ ·‡È„†¯ÈÂÓ†Ìχ҆∫ÌÂÏȈ Ó¢Ò†∏∞x∂∞†¨˙·¯ÂÚÓ†‰È„Ó†¯ÈÈ†ÏÚ†ÌÂ˘È¯ ≤∞∞∞†¨¢˙¯˙ÂΆ‡ÏÏ¢ ·È·¯‡†ÔÏ‚†∫‰ÎÈ¯Ú „·چÏÈÓ‡†‰‡ÓÂß‚ „·†ÏÚ†Ú·ˆ†Ô¯ÙÚ ˙˘˜†‰Ï¢†∫ÈÂÓÈ· ≤∞∞±†¨¢˙¯˙ÂΆ‡ÏÏ¢ Ó¢Ò†±±∞x¥∞ Ó¢Ò†≤∞x≤∞†¨„·†Ú·ȯ ÂÏ˘†˙È¯ ˙˘˜†‰Ï¢ „·چÏÈÓ‡†‰‡ÓÂß‚ ≤∞∞∞†¨“Watch Over Me” ‰Î¯Ú˙‰†ÏÏÁ†ÍÂ˙Ó ≤∞∞±†¨¢˙¯˙ÂΆ‡ÏÏ¢ „·†ÏÚ†Ú·ˆ†Ô¯ÙÚ ÔÈÎÒ†¨ÌÈȇßÚ†„‡ÓÚ†Ï˘†ÂÓ‡ Ó¢Ò†≥∞x≤∞†¨¯ÈÈ†ÏÚ†ÌÂ˘È¯ Ó¢Ò µ∞x≥∞ ‡Ά¯ÙΆ¨ÈÒȇÓßÁ†„ÓÁÂÓ†Ï˘†Â˙ÂÁ‡ „·چÏÈÓ‡†‰‡ÓÂß‚ ≤∞∞±†¨¢˙¯˙ÂΆ‡ÏÏ¢ ∏∑≠∏≤†ßÓÚ ±∞∑≠±∞∂†ßÓÚ Ó¢Ò†≥µx≤µ†¨˙·¯ÂÚÓ†‰È„Ó†¯ÈÈ†ÏÚ†¯ÂȈ ÔÓ‚ÈϘ†ÒÈχ ¨˜‡˘Â·†ÊÓ‡¯†Ï˘†Â˙ÂÁ‡†¯„Á·†¯È˜ ≤∞∞±†¨¢˙¯˙ÂΆ‡ÏÏ¢ ‡„Ó†¯ÙÎ π≥≠π≤†ßÓÚ Ó¢Ò†±π∞xµµ†¨Ú·ˆ†ÌÂψ˙ ‡„Ó†¯ÙΆ¨˜‡˘Â·†ÊÓ‡¯†Ï˘†Â˙È·†ÔÂÏÒ· „·چÏÈÓ‡†‰‡ÓÂß‚ ÔÓ‚ÈϘ†ÒÈχ ÈÂÏ˙†ÌÂÏȈ©†‡Ά¯ÙΆ¨ÈÒȇÓßÁ†„‡ÓÁÂÓ ≤∞∞±†¨¢˙¯˙ÂΆ‡ÏÏ¢ ≤∞∞±†¨¢˙¯˙ÂΆ‡ÏÏ¢ ®˙È·‰†˙Ï„†ÏÚ Ó¢Ò†≤µx≤∞†¨¯ÈÈ†ÏÚ†˙·¯ÂÚÓ†‰È„Ó†ÌÂψ˙ Ó¢Ò†±≤∞xπµ†¨Ú·ˆ†ÌÂψ˙ ‰˘†ÁÂφÍÂ˙Ó†¨‰È‡ÚÂÓ†¨Ì‡ÈÒ†„ÓÁ‡ „·چÏÈÓ‡†‰‡ÓÂß‚ ˙ÂÁÙ˘Ó‰†˙‡ˆÂ‰· ≤∞∞±†¨¢˙¯˙ÂΆ‡ÏÏ¢ ∏π≠∏∏†ßÓÚ ‰˘†ÁÂφÍÂ˙Ó†¨‰·‡¯Ú†¨‰ÏÒ‡Ú†ÏÈÒ‡ ¨˙·¯ÂÚÓ†‰È„Ó†¯ÈÈ†ÏÚ†¯ÂȈ†¨ÌÂψ˙ „·چÏÈÓ‡†‰‡ÓÂß‚ ˙ÂÁÙ˘Ó‰†˙‡ˆÂ‰· Ó¢Ò†µ∞x≥µ Ó¢Ò†±∞x±µ†¨Ú·ˆ†˙ÈÂÏ‚ ‰·‡¯Ú†¨‰ÏÒ‡Ú†ÏÈÒ‡†Ï˘†Ô˜ÂÈ„†¯ÂȈ „·چÏÈÓ‡†‰‡ÓÂß‚ „·چÏÈÓ‡†‰‡ÓÂß‚ ®‰ÁÙ˘Ó†¯·Á†¯ÈȈ© ≤∞∞±†¨¢˙¯˙ÂΆ‡ÏÏ¢ Ó¢Ò†±µx±∞†¨Ú·ˆ†˙ÈÂÏ‚ ‰·‡¯Ú†¨¯‡Ò†‡‡ÏÚ†Ï˘†Â˙È·†ÔÂÏÒ ¨˙·¯ÂÚÓ†‰È„Ó†¯ÈÈ†ÏÚ†¯ÂȈ†¨ÌÂψ˙ „·چÏÈÓ‡†‰‡ÓÂß‚ Ó¢Ò†¥∞x∂µ ≤∞∞±†¨¢˙¯˙ÂΆ‡ÏÏ¢ „·چÏÈÓ‡†‰‡ÓÂß‚ Ó¢Ò†¥∞xµ∞†¨¯ÈÈ†ÏÚ†ÌÂ˘È¯ ≤∞∞±†¨¢˙¯˙ÂΆ‡ÏÏ¢ Ó¢Ò†≥∞x≤µ†¨˙·¯ÂÚÓ†‰È„Ó†¯ÈÈ†¨‰ÙËÚÓ 127 126 127

It’s aGirl

129 128 List of works pp. 10-15 pp. 40-45 pp. 64-65 Joshua Simon Efrat Shalem Neta Harari Navon Exhibition route map “Untitled,” 2001 “Untitled,” 2000 Joshua Simon C-print, newspaper Oil on wood, 25x25 cm “Untitled,” 2000 Neta Harari Navon C-print, 45x45 cm pp. 46-51 “Untitled,” 2000 Ahlam Shibli Oil on wood, ellipse, 30x40 cm pp. 16-21 “Untitled,” 2000 Neta Harari Navon Maria Pomiansky C-print “Untitled,” 2000 “Untitled,” 2000-2001 30x40 cm, 70x50 cm Oil on wood, 25x25 cm Digital C-print, 90x70 cm Maria Pomiansky pp. 52-53 pp. 66-67 “Untitled,” 1999 Andrea Peschel Neta Harari Navon Oil on plywood “Bicycle,” 2000 “Untitled,” 2000 Oil on canvas, 70x50 cm Oil on wood, d. 100 cm pp. 22-27 Andrea Peschel Neta Harari Navon Eliav Lilti “Jerusalem 1,” 2000 “Untitled,” 2000 Images from the video: Oil on canvas, 70x100 cm Oil on wood, 40x40 cm “A Divided Crowd is Dominated More Easily,” 16.5 min, 2001 pp. 54-55 pp. 68-69 Eliav Lilti Andrea Peschel Neta Harari Navon Invitation to the exhibition “A Divided “Sabbath,” 2000 “Untitled,” 2000 Crowd is Dominated More Easily,” 2001 Oil on canvas, 90x130 cm Oil on wood, d. 25 cm Andrea Peschel Neta Harari Navon pp. 28-33 “Bicycle,” 2000 “Untitled,” 2000 Zamir Shatz Oil on canvas, 70x50 cm Oil on wood, 25x25 cm Images from the video: Andrea Peschel Neta Harari Navon “Red Something,” 16 min, 2001 “Shuk” (Market), 2000 “Untitled,” 2000 Zamir Shatz Oil on canvas, 90x120 cm Oil on wood, 75x120 cm Images from the video: “My Mother is a Monkey,” 4.45 min, 2001 pp. 56-57 pp. 70-75 Zamir Shatz Andrea Peschel Samira Wahbi Installation view “Café,”†2000 “Untitled,” 2002 Zamir Shatz Oil on canvas, 180x145 cm C-print, 50x70 cm Reproduction print Andrea Peschel Samira Wahbi “Jerusalem 3,” 2000 “Untitled,” 2002 pp. 34-39 Oil on canvas, 70x100 cm Silver gelatin print, 50x70 cm Ayelet Zohar Andrea Peschel Images from the videos: “Jerusalem 2,” 2000 pp. 76-77 “Naturaliser (v.), 6 min, 2001 Oil on canvas, 100x100 cm Ronit Shalev “Greenhouse,” 20 min, 2001 “Untitled,” 2000 “Sabras - A Walking Film,” 13 min, 2001 pp. 58-63 Colored pencil on canvas, 40x30 cm “Tarzan, The Ape Man” (1932) Eyal Ben Zvi & “Tarzan and His Mate” (1934) - “Untitled,” 2000 pp. 78-79 sequential screening, 3 hrs. Mixed media on plywood covered with Ronit Shalev Ayelet Zohar Plexiglas, 70x100 cm “It’s a Girl,” 2000 Installation view Colored pencil on canvas, 50x70 cm Ronit Shalev Jumana Emil ‘Abboud pp. 102-103 “Thank You for Having Us,” 2000 “Untitled,” 2001 Shula Keshet Colored pencil on canvas, 50x70 cm Painting on canvas, 30x50 cm Installation view Ronit Shalev Jumana Emil ‘Abboud Shula Keshet “Please Help Me,” 2000 Color postcard, 15x10 cm Reproduction print Colored pencil on canvas, 40x30 cm Jumana Emil ‘Abboud “Untitled,” 2001 pp. 104-105 pp. 80-81 Drawing on paper and mixed media, Shula Keshet Ronit Shalev 80x60 cm Images from the video: “East - West Home is Best,” 2000 Jumana Emil ‘Abboud “Four Mothers,” 30 min, 2001 Colored pencil on canvas, 70x50 cm “Untitled,” 2001 Photography: Salam Munir Diab Ronit Shalev Cloth (square), 20x20 cm Editing: Golan Arviv “Untitled,” 2000 Jumana Emil ‘Abboud Director: Shula Keshet Colored pencil on canvas, 110x40 cm “Untitled,” 2001 Shula Keshet Ronit Shalev Drawing on paper, 30x20 cm Installation view “Watch Over Me,” 2000 Jumana Emil ‘Abboud Ahmed Ghanaym’s mother, Sakhnin Colored pencil on canvas, 50x30 cm “Untitled,” 2001 Muhammed Khamayseh’s sister, Painting on paper and mixed media, Kufr Kanna pp. 82-87 35x25 cm Alice Klingman pp. 106-107 “Untitled”, 2001 pp. 92-93 Shula Keshet C-print, 190x55 cm Jumana Emil ‘Abboud A wall in the room of Ramez Bushnaq’s Alice Klingman “Untitled”, 2001 sister, Kufr Manda “Untitled,” 2001 Photograph and mixed media on paper, In the living room of Ramez Bushnaq’s C-print, 120x95 cm 25x20 cm home, Kufr Manda Jumana Emil ‘Abboud Muhammed Khamayseh, Kufr Kanna pp. 88-89 “Untitled,” 2001 (a photograph hanging on the door of Jumana Emil ‘Abboud Photograph, painting on paper and mixed the house) Color postcard, 10x15 cm media, 50x35 cm Ahmed Siyyam, Muaweye (from Jumana Emil ‘Abboud Jumana Emil ‘Abboud a calendar printed by the families) Color postcard, 15x10 cm “Untitled,” 2001 Asel Asleh, Arrebe (from a calendar Jumana Emil ‘Abboud Photograph, painting on paper and mixed printed by the families) “Untitled,” 2001 media, 40x65 cm Portrait of Asel Asleh, Arrebe†(painted Drawing on paper, 40x50 cm Jumana Emil ‘Abboud by a friend of the family) “Untitled,” 2001 The living room of Ala’a Nassar’s pp. 90-91 Paper, envelope and mixed media, home, Arrebe Jumana Emil ‘Abboud 30x25 cm “Untitled,” 2001 Painting on paper and mixed media, pp. 94-101 30x20 cm Sigal Eshed Jumana Emil ‘Abboud Images from the video: “Untitled,” 2001 “The Colonel’s Angry Daughter,” 3 min, Painting on paper and mixed media 2001 30x20 cm Sigal Eshed Jumana Emil ‘Abboud Images from the video: “Untitled,” 2001 “Hotel Toledo: Three Love Songs,” Painting on paper and mixed media 10 min, 2001 30x25 cm 130