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Yael Bartana Yael Bartana Born in Kfar Yehezkel, Israel, 1970 Currently lives and works in Tel-Aviv and Amsterdam Education 2001 Rijksakademie van Beeldende Kunsten, Amsterdam, NL 1999 MFA studies, School of Visual Arts, New York, USA 1996 BFA, The Bezalel Academy of Arts and Design, Jerusalem, IL Selected Solo Exhibitions 2010 • and Europe Will be stunned, Moderna Museet, Malmö, S • “If you want, we’ll travel to the moon together”. “Mary Koszmary, Mur I Wieza”, Annet Gelink Gallery, Amsterdam, NL • Modern Museum, Malmo, Sweden • “If you want, we’ll travel to the moon together”. “Mary Koszmary, Mur I Wieza”, Sommer Contemporary Art, Tel Aviv, IL 2009 • Museum of Modern Art, “Mur I Wieza”, Warsaw, PL Contemporary Jewish Museum of San Francisco, “Mary Koszmary”, San Francisco, USA Jewish Museum, “Mary Koszmary”, New York, USA Auto Sueno y Materia, “The Kings of the Hill”, Centro de Arte Dos de Mayo, Madrid, ES 2008 • P.S. 1,”Trembling Time, Kings of the Hill”, a.o, NY, USA • EngholmEngelhorn, “Summercamp, a Declaration”, Vienna, AU • Galleria Raffaella Cortese, Milan, IT • Center for Contemporary Art, “Mary Koszmary” Tel Aviv, IL 2007 Annet Gelink Gallery, “Summer Camp”, Amsterdam, NL Ritual, “Wild Seeds”, The Power Plant, Toronto, CAN Yael Bartana, In the Army I was an outstanding soldier, “Wild seeds, Low relief II, Profile, Summer Camp.” March, Fondazione per l’arte contemporanea, Curated by Gabi Scardi, IT 2006 • Kunstverein Hamburg, “ When Adar Enters, Kings of the Hill, Trembling Time, a.o.” Hamburg, D • Stedelijk van Abbemuseum, “Odds and Ends, You Could be Lucky, Ad de’lo Yoda, Kings of the Hill”, Eindhoven, NL • Collective Gallery, “Sirens’ Song”, Edinburgh, UK 2005 • Museum St.Gallen, “Wild Seeds”, St.Gallen, Suisse • Annet Gelink Gallery, photographic works in projectspace The Bakery 2004 • Sommer Contemporary Art, “You Could Be Lucky”, Tel Aviv, IL • MIT, List Visual Arts Center, “When Adar Enters, Ad De’lo Yoda, Kings of the Hill” Cambridge, Massachusetts, US • Prefix Institute of Contemporary Art, “Trembling Time”, Toronto, CA • Büro Friedrich, “When Adar Enters, Blimp”, Berlin, D 2003 • P.S.1 Contemporary Art Center, Kings of the Hill, New York • Herzliya Museum for Contemporary Art, Blimp, Herzliya, IL • Purim Spiel, Annet Gelink Gallery, Amsterdam, NL • Kerstin Engholm Galerie, Kings of the Hill, Vienna, AU • Herzliya Museum for Contemporary Art, Kings of the Hill, IL • Galeria comercial, “Trembling Time, Kings of the Hill”, San Juan, PR 2002 • Museum Beelden aan Zee, Trembling Time, Scheveningen, NL • Variables X Y Z Digital Art Lab, “Profile, Tuning”, Holon, IL 2001 • Caermersklooster, “Profile”, Gent, B Selected Group Exhibitions 2010 • Out of Place, Lora Reynolds Gallery, Austin, TX 2009 • 6th Bienal Media City Seoul, Seoul, KR • 29th Bienal de São Paulo, “Mur I Wieza” and “Mary Koszmary”, São Paolo, BRA • 1st Ural Industrial Biennial, Ekaterinburg, RU • The Temporary Stedelijk at the Stedelijk Museum, “A Declaration”, Stedelijk Museum, Amsterdam, NL • Che cosa sono le nuvole? Artworks from the Enea Righi Collection, “Mary Koszmary”, Museion, Bolzano, IT • ... on the eastern front, video art from central and eastern Europe 1989- 2009, “Mary Koszmary”, Ludwig Museum, Budapest, HU • Trembling Time: Recent Video From Israel, “Trembling Time, Kings of the Hill, Mary Koszmary, a.o.”, Tate Modern, London, UK • Early years, “Mur I Wieza”, Kunst-Werke, Berlin, DE • Artes Mundi, “Mur I Wieza, Mary Koszmary, a Declaration”, Cardiff, Wales, UK • Building memory, four films about architecture, monuments and community, “Summer Camp”, Awodah, Vilnius – Tódz - Dortmund – Herzliya • Der Offene Garten, Kunsthalle Lingen, Lingen, DE Ecstatic Resistance, Grand Art, “Mary Koszmary,” Kansas City, US • Niet normaal, difference on display. “Odds and Ends”, Beurs van Berlage. Amsterdam, NL • Earth: Art of a Changing World, “Kings of the Hill”, Royal Academy of Arts, London, UK • Silent, “a Declaration”, “Trembling Time”, Hiroshima City Museum of Contemporary Art, Hiroshima, JPN • The Symbolic Efficiency of the Frame, “Mary Koszmary”, International Contemporary Art Biannual, Tirana, Albania • Acting Out: Social Experiments in Video, “Wild Seeds”, ICA, Boston, USA • Hugging & Wrestling, “Trembling Time” Museum of Contemporary Art Cleveland, OH, US • Pacific Meridian, “a Declaration” Vladivostok International Film Festival for Asian Pacific Countries, Vladivostok, RU • Stranded Positions, “A Declaration”, Ausstellungsraum Klingental, Basel, CH • Transitland. Video art from Central and Eastern Europe 1989-2009, “Mary Koszmary”, organized by InterSpace, Sofia, transmediale, Berlin and Ludwig Museum, Budapest • Monument to transformation, “Mary Koszmary” organized by transit, Prague • Places To Be. New York – Shanghai – Tel Aviv – Texas – Zagreb, “The Missing negatives of the Sonnenfeld Collection”, Annet Gelink Gallery, Amsterdam, NL • The 11th presentation of LeMois de la PhotoaMontréal 2009, “Summercamp”, CA, US • Contour, 4th Biennial of Moving Image, “Mary Koszmary”, Mechelen, B • As Is, Mostra di arte Contemporanea di Israele, “Trembling Time”, Roma, IT • Troubles au frontières, Galerie Marian Goodman, “a Declaration”, Paris, FR • Pop Up! , Ludwig Forum, “Summer Camp”, Aachen,, D • Auto. Dream and Matter, “Kings of the Hill”, LAboral Centro de Arte y Creacion Industrial, Gijon, S and Dos De Mayo Art Centre, Madrid, S • Promised Land, “Trembling Time, When Adar Enters”, Gemak, Gemeente museum Den Haag, NL • Anabasis. Rituals of Homecoming, “Mary Koszmary”, Book Art Museum, Lodz, PL 2008 • Imaginary Coordinates, “Summer Camp”, Spertus Museum, Chicago, US • Floating Architectures and Constant Centers: Some Projections, “Ad De’lo Yoda”, Martin Art Gallery, Muhlenberg College, PA, US • C.H.O.S.E.N., “Mary Koszmary”, Wyspa Institute of Art, Gdansk, PL • 'She doesn’t think so but she’s dressed for the h-bomb', “Trembling Time, Kings of the Hill, Wild Seeds, a.o.” Starr auditorium, Tate Modern, London, UK • We never looked better, “The missing negatives of the Sonnenfeld collection”, Museum of the Jewish People, Tel Aviv, IL • The Hidden Trace – Jewish Paths through modernity, “Trembling Time”, “Low Relief II”, Felix-Nussbaum- Haus, Osnabruck, D • World Tale: Mixed Narrations: A Video Parade from Different Points, “Mary Koszmary”, The Hacettepe University Art Museum, Ankara, TUR • Artist-Citizen, 49th October Salon, “Summer Camp”, Belgrade, Yugoslavia Momentum, “a Declaration”, Samuel P.Harn Museum of Art,Florida, USA The Art of the State,”a Declaration”, Joods Historisch Museum Amsterdam, NL H-BOX, “Mary Koszmary”, Tate Modern, London, UK “Like an Attali Report, but different", “Mary Koszmary”, Kadist Art Foundation, Paris Democracy in the Age of Branding, “Wild Seeds”, Sheila C. Johnson Design Center of Parsons The New School for Design in New York, US • The Object Quality of the Problem: The Space of Israel/Palestine, Henry Moore Foundation, “Wild Seeds”, Leeds, UK Brave New Worlds. “Wild Seeds”, “a Declaration” Jumex Collection, MEX Territorial Phantom, “Mary Koszmary”, Montevideo, Amsterdam, NL • The Greenroom: Reconsidering the Documentary an Contemporary Art. “Summer Camp”, CCS BARD Hessel Museum, NY, US • Deceiving the Enemy, Arteria, “Wild Seeds”, Bogota, COL Time beyond Border, Van Leer Institute, “Mary Koszmary”, Jerusalem, ISR • Personal Landscapes, Contemporary Art from Israel, “Kings of the Hill”, American University Museum, Washington DC, US • Stutter and Twitch, “Trembling Time”, Justina M. Barnicke Gallery, Toronto, CA • Les Inquiets, 5 artistes sous la pression de la guerre, “Low Relief”, Centre Pompidou, Paris, FR • H BOX, “Mary Koszmary”, Centre Pompidou, Paris, F, Museo de Arte Contemporaneo de Castilla y Leon, Spain, Musee d’Art Moderne Grand-Duc Jean, Luxembourg and Tate London, UK • Impakt EVENT, “a Declaration, Summer Camp, Mary Koszmary”, Utrecht, NL 2007 • Imaginary Zone, “Siren’s Song”, ZKM Seoul Office. Seoul, ROK • A Forest and a Tree, “Trembling Time”, Kunsthalle Energasse, Vienna, AUT • • Transforming Memory. The Politics of Images. “Trembling Time”, Art Gallery Nadezda Petrovic, Cacak, SRB • Documenta 12, “Summer Camp”, Kassel, DE Brave New Worlds, “Wild Seeds, a Declaration”, Walker Art Centre, Minneapolis, US Wherever We Go: Art, Identity, Cultures in Transit, “a Declaration”, San Francisco Art Institute, San Francisco, USA • Um Atlas de Acontecimentos/ An Atlas of Events, The State of the World, “Wild Seeds”, Fundacao Calouste Gulbenkian, Lisboa, PT • Play Safe, Battlefields in the playground, “Wild Seeds”, Project Arts Centre, Dublin, GB Im Auge des Zyklons/In the eye of the storm, “Trembling Time”, Kunstmuseum St. Gallen, CH • Regarding Fear and Hope, “Odds and Ends”, Monash University Museum of Art, Victoria, AU Thermocline of Art-New Asian Waves (a ZKM 10th Anniversary Exhibition), “Sirens’ Song”, Museum of Contemporary Art, ZKM Karlsruhe, DE • War and Cinema, “Wild Seeds”, Centre Pompidou, Paris, FR • Dateline Israel: New Photography and Video Art, “Freedom Border “, “Trembling Time”, The Jewish Museum, NY, US 2006 • Demolition, “Refusenik”, Engholm/Engelhorn gallery, Vienna, AUT • 27th Bienal de São Paulo, “A Declaration”, “Wild Seeds, Low Relief II (4)”, São Paulo, BRA • Records and Habits. The Time Machine / Images of Space, Tapies Foundation, “Low Relief II, Wild Seeds, Kings of the Hill” Barcelona, ES • Israele, arte e vita, 1906-2006, “Trembling Time”, Milano, Palzzo Reale, IT • Wherever We Go, Spazio Oberdan, “Wild Seeds”, Milan, IT • 7th Werkleitz Biennial, “Wild Seeds”, Halle, DE INSIDE-OUT. Contemporary
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  • Yael Bartana
    YAEL BARTANA Born 1970, Kfar Yehezkel, Israel EDUCATION 2000 – 2001 Rijksakademie van Beeldende Kunsten, Amsterdam, The Netherlands 1999 MFA, School of Visual Arts, New York, NY 1992 – 1996 BFA, The Bezalel Academy of Arts and Design, Jerusalem, Israel Lives and works in Amsterdam and Berlin SOLO EXHIBITIONS 2021 (Upcoming) The Orphan Carousel (memorial), Frankfurt, Germany Redemption Now, Jewish Museum Berlin, Germany 2020 Sala10: Yael Bartana, Museo Universitario Arte Contemporáneo, Mexico City, Mexico Patriarchy is History, Galleria Raffaela Crotese, Milan, Italy The Undertakers, Sommer Contemporary Art, Tel Aviv, Israel 2019 Yael Bartana. Cast Off, Fondazione Modena Arte Visive, Modena, Italy The Graveyard, Capitain Petzel, Berlin, Germany The Graveyard, Sommer Contemporary Art, Tel Aviv, Israel The Graveyard, Annet Gelink Gallery, Amsterdam, The Netherlands 2018 And Europe Will Be Stunned, Phildadelphia Musuem of Art, Philadelphia, USA What If Women Ruled The World, Volksbühne, Berlin, Germany 2017 Pre-Enactments, Goethe-Institut / Max Mueller Bhavan, Mumbai, India What If Women Rueld The World, Aarhus 2017 European Capitai of Culture, Denmark What If Women Rueld The World, Manchaster International Festival, Manchester, UK And Europe Will Be Stunned, Golden Thread Gallery, Belfast, UK Trembling Times, Musée cantonal des Beaux-Arts, Lausanne, Switzerland 2016 The Banff Centre, Alberta, Canada Philadelphia Museum of Art, Philadelphia, USA 2015 Sommer Contemporary Art, Tel Aviv, Israel Petzel Gallery, New York, USA Capitain Petzel, Berlin,
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  • Presseinformation (20° Helv
    Press release YAEL BARTANA Wenn Ihr wollt, ist es kein Traum (If you will it, it is not a dream) December 7, 2012—February 10, 2013 Opening: Thursday, December 6, 2012, 7 am Press conference: Thursday, December 6, 2012, 10 am QUESTIONS FOR FREUD AND HERZL Performance accompanying Yael Bartana’s exhibition Wenn Ihr wollt, ist es kein Traum Thursday, December 6, 2012, 8.15 pm and Friday, December 7, 2012, 5 pm approx. 45 mins. Performer: Susanne Sachsse Live sound processing: Daniel Meir Light design: Jackie Shemesh Text: Gish Amit and Yael Bartana “Are we bound forever to remain suspended in the limbo of the endless issues of our identity?” This is one of the questions put to Theodor Herzl and Sigmund Freud during the performance accompanying the opening of Yael Bartana’s exhibition Wenn Ihr wollt, ist es kein Traum (If you will it, it is not a dream). Here, Yael Bartana addresses the spirits of two pioneers, Sigmund Freud and Theodor Herzl who, in different approaches sought to bring redemption to the individual and to the collective – and whom she declares the spiritual gods of the Jewish Renaissance Movement in Poland (JRMiP), which she founded in 2007. The founder of modern psychoanalysis and the visionary of a state for Jews lived just a couple of houses away from each other on Berggasse in Vienna, yet their paths never crossed. Yael Bartana thus brings them together in her installation Wenn Ihr wollt, ist es kein Traum – a temple of Utopia – to create a moment of collective consciousness and awake the ghost of history to hopefully get some answers.
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  • Yael Bartana 1970 Born in Kfar Yehezkel, Israel Currently Lives and Works in Amsterdam and Berlin
    Yael Bartana 1970 born in Kfar Yehezkel, Israel currently lives and works in Amsterdam and Berlin Education 2000–01 Rijksakademie van Beeldende Kunsten, Amsterdam, NL 1999 MFA studies, School of Visual Arts, New York, US 1992–96 BFA, The Bezalel Academy of Arts and Design, Jerusalem, IL Prizes 2010 Artes Mundi 4, Wales, UK Principal Prize by the International Jury and the Prize of the Ecumenical Jury at the Oberhausen Short Film Festival, DE Häagendaismo, Madrid, ES 2009 Prix Dazibao, Montreal, CAN 2007 Gottesdiener Foundation Israeli Art Prize 2006, IL 2006 Recipient of the 2006 Ministry of Science, Culture and Sport Prize, Israel, IL 2005 Dorothea von Stetten-Kunstpreis, Kunstmuseum Bonn, DE Prix de Rome, 2nd award winner, Rijksakademie, Amsterdam, NL 2003 Anselm Kiefer Prize, The Wolf Foundation, IL 1996 The Samuel Prize, for the video / sound installation ‘Ant-Bulb, Bezalel Academy of Art and Design, Jerusalem, IL Residencies / Fellowships / Stipends 2009 Center for Curatorial Studies, Bard Collage, Annandale-on-Hudson, NY, US 2007 Fonds BKVB, Amsterdam, NL 2006 Foksal Gallery Foundation, Warsaw, PL 2005 Platform Garanti, Istanbul, TR 2003 Rooseum – Center for Contemporary Art, Malmo, SE 2002 Jerusalem Center for Visual Arts (JCVA), Jerusalem, IL 2001 NUFFIC, NL Rijksakademie van beeldende kunsten / Dutch Ministry of Education, Culture and Science, NL 2000 Stichting Schürmann-Krant, NL Stichting Trustfonds Rijksakademie, Amsterdam, NL Gallery representations Annet Gelink Gallery, Amsterdam, NL Sommer Contemporary Art, Tel Aviv, IL
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  • Settler Sublime: Reparation and Return in Yael Bartana's Polish Trilogy
    PhiN-Beiheft 13/2017: 220 Joshua Synenko (Trent University) Settler Sublime: Reparation and Return in Yael Bartana's Polish Trilogy In a trilogy of internationally acclaimed art videos featured at the Venice Biennale's Polish Pavilion in 2011, the Israeli artist Yael Bartana illustrates a utopian political movement based on an eclectic pairing of visual and historical texts, including European settler colonialism, diaspora nationalism, political Zi- onism and Socialist Realism. The movement as described by its leader Sławomir Sierakowski calls for three million Jews to return to Poland, and for an end to all forms of ethnic violence. Within this frame- work, Bartana manages to raise important questions for the politics of cohabitation within a divided Europe. However, by making a conscious departure from the ongoing dynamics of intergenerational violence and reparation that are rooted in the genocidal crimes of the 20th century, Bartana's completed work offers a way out from the specific narrative closures that appear to serve as its inspiration. In effect, Bartana manages to transform what would otherwise be a jumble of political, historical and academic discourses into a strongly aspirational and post-national vision in which Europe is finally able to over- come the traumas of its past. Though I provide a critical and detailed analysis of each video to provide a context for this vision, the purpose of my article is to situate Bartana's work in relation to theoretical debates surrounding contemporary European politics, focusing specifically on issues of citizenship, na- tionalism and migration. I use this theoretical framework as a way to highlight the affective content of Bartana's story as it unfolds on the screen, and to assess Bartana's attempt at linking expressions of utopian affect to the historical imagination.
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  • Yael Bartana Reference Monograph
    Yael Bartana Reference monograph Program This first monograph dedicated to the work of Yael Bartana (*1970 in Monographs & Artists’ Books Kfar Yehezkel, Israel; lives and works in Amsterdam, Berlin, and Tel Aviv) ______________________________________ gives a comprehensive overview of the artist’s films, installations, performative projects, photographs, and sound works of the past 15 Edited by years. Nicole Schweizer ______________________________________ From Bartana’s early video vignettes to her most recent project "What if Authors Women Ruled the World?" (2017), by way of her monumental trilogy "And Emmanuel Alloa Europe Will Be Stunned" (2007–2011) with which she represented Nora M. Alter Poland at the 54th Venice Biennale, the book highlights the artist’s Erika Balsom fascination with the ways in which social rituals shape both individual Yael Bartana identities and collective memory. Far from a mode of direct Juli Carson documentation, Bartana’s works are themselves modeled on the Gil Z. Hochberg aesthetics of the ritual, and are therefore, above all, performative Nicole Schweizer works, which unapologetically seduce us. Her films draw attention to the ______________________________________ fact that cinema is a ritual, and that the camera, perhaps better than any other device, mimics the ritualistic in its ability to fetishize, seduce, Edition and draw us into the ceremony we are watching. English/French May 2017 Essays by Emmanuel Alloa (Research Leader in Philosophy at the ISBN: 978-3-03764-492-8 University of St. Gallen and Lecturer in Aesthetics at the University of Softcover, 237 x 286 mm Paris 8-Saint Denis), Nora M. Alter (Professor of Comparative Film and 160 pages Media at Temple University, Philadelphia), Juli Carson (Professor at the Images 120 color University of California, Irvine, Director of the Critical and Curatorial CHF 50 / EUR 40 / £ 30 / US 55 Studies Program and The University Art Galleries) and Gil Z.
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  • Art of Forgetfulness.Pdf
    designed the first modern turnpike and a significant portion of the Interstate Highway System.’ HNTB <http://www.hntb.com/about-us/ The ART of history> [accessed 19 April 2011] 8. Court rulings such as Sierra Club v. Lyng have expanded the possible FORGETFULNESS, interpretations of ‘harm’ to an endangered species. Since 1981, ‘harm’ can mean management practices that result in: (1) modification of habitat, (2) isolation that prohibits breeding, (3) diminished food supply, and (4) the TRAUMA of MEMORY: reduction of viable habitats. Steven G. Davidson,‘Alteration of Wildlife Habitat as a Prohibited Taking Under the Endangered Species Act’, s.v. YAEL BARTANA and ‘V. Fish and Wildlife Services 1981 Redefinition of “Harm”’, Journal of Land Use Environmental Law (1995). <http://www.law.fsu.edu/journals/ landuse/vol102/2davison.html#FNR113> [accessed 19 April 2011] ARTUR Z˙ MIJEWSKI 9. $80 million from the 2006 bond program will be repurposed for the repair of the levees to meet the Federal Emergency Management Agency’s Noah Simblist hundred-year-flood protection standards by 2012. An additional ‘$15 million will come from bond funds set aside for construction of the Trinity toll road’. Rudolph Bush, ‘Dallas unveils $150 million plan to repair Trinity levees’, Dallas Morning News (17 April 2010)<http://www. dallasnews.com/news/community-news/dallas/headlines/20100417- Now an icon for the worst of humanity, the Holocaust is a Dallas-unveils-150- million-plan-4677.ece> [accessed 19 April 2011] reminder that any discussion of religious, ethnic, or racial 10. See ‘The Trinity Trust: Reclaiming Our River’ website for a calendar of essentialism has a logical endgame to which we can point in the celebratory events related to the Margaret Hunt Hill Bridge.
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  • Afterimage Notices / 02.29.2012
    AFTERIMAGE NOTICES / 02.29.2012 EXHIBITIONS ARIZONA Scottsdale: Scottsdale Museum of Contemporary Art, 7374 E. 2nd St. I Myself Have Seen It: Photography and Kiki Smith. Through May 20. www.smoca.org. Tempe: Arizona State University Art Museum, Mill Ave and 10th St. Performing for the Camera. Through May 19. asuartmuseum.asu.edu. Tempe: Arizona State University Herberger Institute for Design and the Arts, Northlight Gallery, S. Forest Ave. & E. Tyler Mall. Manifest Destiny. Through March 31. http://art.asu.edu/gallery/northlight. CALIFORNIA Claremont: Ruth Chandler Williamson Gallery, Scripps College, 11th St. and Columbia Ave. Clay’s Tectonic Shift: John Mason, Ken Price and Peter Voulkos, 1956–1968. Through April 8. rcwg.scrippscollege.edu. Culver City: Carmichael Gallery, 5795 Washington Blvd. www.carmichaelgallery.com. Davis: The Nelson/The Pence, 212 D St. Selections from the Fine Arts Collection. Through March 18. www.pencegallery.org. Long Beach: University Art Museum, College of the Arts, Cal State Long Beach, 1250 Bellflower Blvd. Rhona Bitner: Static Noise. Through April 15. www.csulb.edu/org/uam. Los Angeles: Regen Projects II, 9016 Santa Monica Blvd. James Welling: Geometric Abstraction. Through March 31. www.regenprojects.com. Los Angeles: USC Fisher Museum of Art, 823 Exposition Blvd. Pacific Standard Time. Through April 7. http://fisher.usc.edu. Oakland: Krowswork, 480 23rd St. Lowell Darling: This is Your Life. Through March 24. www.krowswork.com. San Diego: Museum of Photographic Arts, 1649 El Prado. Holly Roberts: Unusual Suspects. Through May 6. Eyes of a Nation: A Century of American Photography. Through May 13. www.mopa.org.
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  • Artist Yael Bartana Taps Into the Zeitgeist of the Jewish Diaspora
    8 Tuesday, February 10, 2015 | Haaretz weighty issues such as geno- ludicrous than what she dis- Marisa Fox-Bevilacqua cide, in between the cack- covered as she was having a erhaps the boldest im- les and the folkloric kitsch. fictional map of Jerusalem age in Yael Bartana’s Bartana was commissioned drawn to accompany “In- P bracing new exhibit to create a work exploring ferno” at the gallery. The at the Friedrich Petzel Finnish national identity. map is a playful sendup of Gallery in New York (also She created an experiment the classic map of Jerusalem showing concurrently in in communal living with by Heinrich Bunting, a 16th- Berlin) is a self-portrait of eight ethnically diverse par- century cartographer and the artist as Nazi propagan- ticipants, examining whether pastor from Hannover, Ger- dist Leni Riefenstahl. It’s a sublimating their identities many – not far from where startling picture, and not was a prerequisite to forging Bartana resides. because it’s sweeping and a national one. “He had never been to Je- grand, like her cinematic For “Inferno,” she de- rusalem and based the map videos or neon sculpture camped to Sao Paolo to film of the Old City on a flower of beaming, “Black stars shed a facsimile of the Temple Hannover, a clover, with three no light” as you enter. of Solomon being built by petals that symbolize the holy This subdued self-portrait, the Universal Church of the Trinity,” she explains. monochromatic save for a Kingdom of Christ. Like shock of hot-red lipstick, most of her work, Bartana makes a statement mostly used a real-life occurrence because it is dark and seduc- as a springboard for her mus- Bartana: ‘We tend tive – and displayed at a time ings.
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  • Yael Bartana Express The
    Press Release Berlin, 28.5.20 Works by the Israeli artist Yael Bartana express the relationship between personal responsibility and col- lective action. Her videos, installations and photo- , video still, graphs combine documentary aspects with poetic 2014 alienation and investigate the role of images in spreading ideologies. The artist explores how ritu- als and festivals foster identity and how symbols can represent and manipulate ways of thinking. Recent works address patriarchy as a form of control, ques- tioning existing power structures and challenging Yael Bartana, Pardes (Orchard), Bartana, (Orchard), Pardes Yael courtesy of Capitain Petzel, Berlin binary definitions of male and female. „Pardes (Orchard)“, 2014, 71 min. Yael Bartana This film documents a journey by an Israeli artist to the Amazon rain forest in Brazil. Although the In the IBB-Video space protagonist is a sceptic who rejects all organised religion, he is on a constant quest for deeper mean- 3.6. – 29.6.20 ing. Guided by the local shaman Dona Francisca, he undergoes an Ayahuasca ritual and drinks a psyche- delic potion. Dona Francisca belongs to Santo Daime, a syncretic religious movement founded in Brazil in the 1930s. It fuses elements from different traditions, including Catholicism, Spiritism, animism and indigenous shamanism. “Pardes”, a reference to Jew- ish exegetic tradition in the study of the Torah, is a film about trust and about the desire to obtain deeper insights and immerse oneself in one’s own being. Yael Bartana (1970, Israel) studied at the Bezalel Academy of Art and Design, Jerusalem, and the School of Visual Arts, New York.
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  • Art and American Democracy to Coincide with the Presidential Election
    MOODY CENTER FOR THE ARTS ANNOUNCES ITS FALL 2020 SEASON STATES OF MIND: ART AND AMERICAN DEMOCRACY TO COINCIDE WITH THE PRESIDENTIAL ELECTION Rodney McMillian, Untitled (The Supreme Court Painting), 2004–06, Acrylic on canvas, 216 x 216 inches. Courtesy of the artist and Vielmetter Los Angeles. © 2020 the artist. Photo: Gene Ogami. (HOUSTON, TX – July 29, 2020) Alison Weaver, the Suzanne Deal Booth Executive Director of the Moody Center for the Arts at Rice University, announced today the reopening of the galleries on September 18 with the fall exhibition States of Mind: Art and American Democracy, on view through December 19, 2020. Reflecting on some of the most pressing topics facing American democracy, States of Mind is timed to coincide with the 2020 presidential election in order to encourage dialogue around current social and political issues. Many of the works on view examine the status of our country’s founding principles of freedom and equality, while others engage with questions of voting access, gun control, and immigration policies—three issues that are common throughout the United States and of particular concern to Texas. States of Mind does not attempt to cover the myriad complexities of a democratic government but rather to invite viewers to consider timely yet recurrent questions around these themes. Each artist in States of Mind offers a discrete and potent account of how political issues directly affect our daily lives. By illuminating challenging, often entrenched policies, they seek to stimulate discourse and propose social change. States of Mind reflects the Moody’s mission to cultivate interdisciplinary conversation through the arts.
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  • CV Yael Bartana Selected Jan 2021
    annet gelink gallery YAEL BARTANA 1970 Born in Kfar Yehezkel, Israel Currently lives and works in Amsterdam and Berlin Education 2001 Rijksakademie van Beeldende Kunsten, Amsterdam, NL 1999 MFA studies, School of Visual Arts, New York, US 1996 BFA, The Bezalel Academy of Arts and Design, Jerusalem, IL Solo Exhibitions 2020 Jewish Museum Berlin, Berlin, DE Patriarchy is History, Galleria Raffaella Cortese, Milano, IT Yael Bartana, Fondazione Modena Arte Visive, Modena, IT The Undertakers, Sommer Contemporary, Tel Aviv, IL 2019 The Undertakers, Annet Gelink Gallery, Amsterdam, NL The Graveyard, Capitain Petzel, Berlin, DE 2018 And Europe Will Be Stunned, Philadelphia Museum of Art, US What if Women Ruled the World, Volksbühne Berlin, DE 2017 What if Women Ruled the World, Aarhus 2017 European Capital of Culture, DK What if Women Ruled the World, Manchester International Festival, UK Trembling Times, Musée cantonal des Beaux-Arts, Lausanne, CH 2015 Yael Bartana, Petzel Gallery, New York, US 2014 True Finn – Tosi suomalainen, Annet Gelink Gallery, Amsterdam, NL IHME Contemporary Art Festival, Helsinki, FI Inferno, Stedelijk Museum, Amsterdam, NL 2013 Inferno, Pérez Art Museum, Miami, US 2012 Wenn Ihr wollt, ist es kein Traum, Secession, Vienna, AT And Europe Will Be Stunned, Tel Aviv Museum of Art, Tel Aviv, IL And Europe Will Be Stunned, Van Abbemuseum, Eindhoven, NL And Europe Will Be Stunned, Louisiana Museum of Modern Art, Humlebæk, DK 2011 And Europe Will Be Stunned, 54th Venice Biennial, Polish Pavilion, Venice, IT 2010 And Europe Will
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  • Yael Bartana's Mary Koszmary and Galut Melancholy
    of the character of “Elie.” She told the Washing- suggest, is enhanced rather than diminished surrounding Imagining Madoff simply calls our ton Post that she chose Wiesel as a natural foil by the struggle to maintain it. By contrast, it attention to this fact. to Madoff because, “his name is synonymous is Madoff’s desire for a clear and easy answer In the many public conversations about with decency, morality, the struggle for human that has led him astray. In this sense, Imagining Margolin’s play, the artistic merit of the piece dignity and kindness, and in contrast to the Madoff is less about What Elie Would Say to was never in question. When the revised most notorious financial criminal in the past Bernie than about whether thinking critically version premiered sans Elie, it received rave 200 years. That’s why he was there, and I felt I about Jewishness can be understood as a dem- reviews. Laurence Klavan, writing in the For- had treated his character with great respect— onstration of one’s commitment to it. ward, called Imagining Madoff “provocative the respect that I genuinely have felt for him.” How we answer this question is of crucial and compelling . the meeting of two abiding Ironically, it was because of the playwright’s importance to all Jewish theaters, not just The- and opposing Jewish prototypes: the scholar respect for Wiesel that she had sent him an ater J. The organizations and donors that sup- and the street tough; philanthropist and ganef; advance copy of the script, never imagining port such theaters tend to do so out of a desire those who respond to hardship by learning his negative reaction.
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