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In the Middle of What Exactly?
Wafa Hourani, "Qalandia 2047" Exhibition titles are always interesting indicators to assess a show. Ideally they express or capture the curatorial gesture, and give a hint of the show’s flavour....
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Any Women in the Directors’ Room?
Many people believe that art is special and exempt from conventional scrutiny. While art may be transcendent, the art world should be subject to the same standards as anywhere else. We think there’s a...
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Act of State: A photographed history of occupation
This text is segments from Introduction of the book, Act of State – A Photographed History of the Israeli Occupation. The book is based on a photographic exhibition on the history of the occupation...
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Facing Klone: The Address of a Voice in Tel-Aviv’s Street Art
Their presence on the streets of Tel-Aviv has become so clear in the last two years: what is the kind of voice that enunciates itself in Klone’s images? How do Klone’s human-alien-predators speak to...
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SLOT MOBILITY!
The art project SCHLEUSER.NET and the question who has the right to speak in the name of another. Schleuser.net, is the abbreviation and the internet-domain of the German “Federal Trade Association for...
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A Participant Observer: Dealing with Political Voice in William Kentbridge’s...
William Kentridge, «Felix in Exile», 1994 (Videostill) William Kentridge’s works are overtly political; his entire oeuvre revolves around South Africa’s troubled history and torn identity. But as an...
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Curatorial Responsibility and the Exhibition of Israeli and Palestinian...
This essay was written for the catalogue of Overlapping Voices, Israeli and Palestinian Artists, 16/05/2008 – 26/10/2008. Essl Museum, Exhibition Hall. Curators: Karin Schneider, Friedemann Derschmidt,...
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The Politics of Aesthetics Between Bil’in and Tel Aviv
Enacting art means displacing the borders of art, just as enacting politics means displacing the borders of what is recognized as the sphere of the political (Jacques Rancière 2005) An enormous black...
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