Film & Video (Film & Video)

Yael Bartana’s video work A Declaration was shot in southern Tel Aviv, on the visible border between that city and Jaffa. It begins with the sound of waves and the image of the Israeli flag that fills the entire screen. This is followed by the whirring sounds of a helicopter.

Film & Video (Film & Video)

Yael Bartana received great international attention for the trilogy series And Europe Will be Stunned (2007 – 2011). The series, which includes the films Mary Koszmary (Nightmare) (2007) , Mur i wieza (Wall and Tower) (2009), and Zamach (Assassination) (2011), centers on a young Polish politician’s call for the return of 3.3 million Jewish people who emigrated to Palestine. The films employ the same techniques of Leni Riefenstahl’s Nazi propaganda films, combining fact and fiction with the past and the present.

Film & Video (Film & Video)

“Untitled” is inspired by the movie “Opening Night” by John Cassavetes with Gena Rowlands playing the role of a fallen woman, anguished by her distressed life. In the film, we witness the drama of a blended family, heightened by adultery and finally murder. For the film’s decor, Cytter, instead of filming a domestic interior, uses a theater stage, a place of representation by excellence.

Film & Video (Film & Video)

Hershman Leeson’s documentary, Women Art Revolution (W. A. R.) draws from hundreds of hours of intimate interviews with her contemporaries—visionary artists, historians, curators and critics—who recount their fight to break down the barriers facing women both in the art world and society at large. The film features an original score by Carrie Brownstein, formerly of the band Sleater-Kinney.

Film & Video (Film & Video)

In Beyond Guilt the two artists create a portrait of our generation in three parts. In Tel Aviv, in confined spaces such as toilets or bar of hotel rooms, they create situations in which participants answer questions and describe themselves. Camera in hand, there is little editing in their works, leaving a rather crude result.

Photography (Photography)

Having a press card allowed Viktor Kochetov to photograph freely in public places, access to which was strictly regulated for amateurs. Seeking a way to transgress the reportage canon, the Kochetovs employed a method of taking images of large gatherings that emphasize the structure and “patterns” of the imaginary collective body. His 1978 photo of women sorting corn, titled Working women, builders of communism, are sorting corn… , is organized on this principle: the scarfs on the workers’ heads are perceived as an element of uniform, which creates a visual rhythm.

Sculpture (Sculpture)

The installation work Men from Hyperion and Women from Phoebe (2011), for examples, features six guitars mounted on steel crossbar stands and connected to one another with slack wires. The electric guitars’ faceplates have been removed, revealing the built-in circuitry and electric pick-ups hidden under the surface. A DIY electronic circuit controls various sounds produced by the installation, while a pair of headphones allows participants encounter the work to engage on a different sensorial level.

Photography (Photography)

Untitled (Women) (2011) presents a startlingly succinct history of violently romanticized femininity. Matt Lipps created this diptych by photographing a single arrangement of cutouts. As in his analogous portrait of men, the middle section appears twice, on either side of the split, signaling a stutter, a caesura, or a schizophrenic break.

Drawing & Print (Drawing & Print)

Kubra Khademi’s work celebrates the female body and in her detailed drawings and paintings she portrays female bodies floating on white paper. Specifically she portrays the two bodies she had access to when she learned how to draw: herself and on occasion her mother. She represents women as warriors, goddesses and shameless playful heroines in search of pleasure and discovery.

Installation (Installation)

Tughra is a protocol by Sharif Waked that reproduces the sixteenth century calligraphic monogram for tughra ; also known as the signature of Suleiman the Magnificent. Under Suleiman’s reign, at the beginning of the 16th century, the Ottoman empire achieved its apex both in terms of territorial extension and cultural creation. Suleiman personally instituted major judicial changes relating to society, education, taxation, and criminal law, as such he is often referred to as ‘The Lawgiver’.

Film & Video (Film & Video)

Bath Time by Sharif Waked is a short video based on the tragi-comic outcome of the Israeli Blockade and the wars in Gaza. The story tells about how, after a war and the ongoing economic pressure, the Gaza Zoo lost several of their animals, and decided that they could paint a donkey so that it could pose as a zebra. The video imagines the donkey in the shower after a shift impersonating a zebra at the Gaza Zoo, as the hot water slowly washes its faux stripes away.

Film & Video (Film & Video)

This dyptich installation is coming from a research/ installation Sa koša ke lerole (2016 – ongoing) started during the Montreal biennale (curated by Philippe Pirotte), then recently exhibited at Grahamstown National Arts Festival. The Polokwane Chorale Society, which was previously called Seshego Chorale Society, is based in Polokwane, Limpopo Province, South Africa. It has been in existence since 1978 – the first and longest livingadult choir in the Limpopo region.

Sculpture (Sculpture)

For the work Wigan Pit-Brow Women: Intersections with the Caribbean (mobile) , Candice Lin studied English Victorian Arthur Munby’s racialized and masculinized drawings of working-class white female miners. Specifically, Lin’s work critically addresses Munby’s observations about the laborers’ femininity that was more concerned with the modesty of the women, than that they toiled in life-threatening situations. “Pit brow women” or “pit brow lasses” were female surface laborers at British collieries.

Photography (Photography)

A young settler girl, dressed in a bridal outfit for Purim, stands in a street in Hebron waiting, perhaps for her parents or other children to join her. In the background three soldiers scan the buildings and the rooftops for threatening presences. Turning her back to the soldiers, the little girl pays no attention to what surrounds her.

Film & Video (Film & Video)

Shot from the rooftop of her house in Majdal Shams, through a complex construction of moving mirrors, this video connects both sides of the border which has cut through Syrian Golan heights since the 1967 Six-Day war. Located on the cease-fire line, residents of Majdal Shams are reminded of this tragic separation on a daily basis. During the war the majority of the local population were exiled to Syria.

Film & Video (Film & Video)

The absurd condition of human survival under environmental degradation and geonational balkanization is taken as a starting point for WA’AD by YOUNG-HAE CHANG HEAVY INDUSTRIES. The work’s premise is a confessional narrative emerging from a Palestinian astronaut on a desperate international flight mission to colonize Mars. That there is also an Israeli astronaut on the same mission plays into the complexities of the landed history of ethnic antagonism between Israel and Palestine, which has stretched on for centuries.

Film & Video (Film & Video)

A woman meticulously tidies up the room of a ruined house in the village of Ain Fit in the occupied Syrian Golan. The village was destroyed by the Israeli forces in 1967, as was the case for many other villages. Inhabitants were prevented from returning to their homes, fleeing to Syria’s refugee camps, separated from the rest of their families.

Sculpture (Sculpture)

Oren Pinhassi’s work examines the relationship between the human figure and the built environment. His hybrid sculptures, often somewhat emaciated, hover between the figurative and the architectural. In the case of The Crowd , a series of sculptures which evince architectures of control – where humans act and exert power – we find voting booths, segregation cells, institutional desks, places where bureaucratic exchange become spaces of bodily desire, complete with sexual appendages.

Installation (Installation)

In this work, Omer Fast probes the feelings experienced by young people involved in an acts of war. Four monitors installed in the form a chariot of war relay the words and faces of four young Israeli soldiers. The installation shows a young generation confronted by the reality of danger, whether being attacked or facing death.

Film & Video (Film & Video)

By Way of Revolution is a series of works by Helina Metaferia that addresses the inherited histories of protest that inform contemporary social movements. In the project, Metaferia works intrinsically with female descendants of prominent historical black activists to produce video art; with women of color organizations to produce socially engaged work; with “radicalism” archives and performance stills to produce works on paper and tapestries; and with museum, gallery, and public spaces to produce participatory performances. The Call is an ongoing video project of performances by descendants of prominent civil rights activists across the United States.

Photography (Photography)

Fathers #18 and Fathers #27 is part of a series of photographs and videos made in recent years in Gaza. Batniji addresses the representation of the over-identified human and physical space with the geographical and political situation in the region. He distinguishes himself from the fictions that have been previously created in the Middle East and offers a quieter and more retained vision of the of the intertwining tensions and oppositions in this area.

Film & Video (Film & Video)

Part of a series of videos called LIFE, where Shay Arik videos that re-enact iconic journalistic photographs. As explained by the video’s title, the departure point for LIFE #1 is the iconic 1943 photograph published by Life magazine that captures Japanese officer Yasuno Chikao from the Imperial Japanese Navy as he raises his sword, seconds before publically beheading Australian war commando Leonard Siffleet in the shores of Papua New Guinea. In Arick’s restaging there are no onlookers in the scene, the only two figures represented are Chikao and Siffleet: the perpetrator and victim of this fatal act of violence.

Film & Video (Film & Video)

Leyla Stevens’s two-channel video Patiwangi, the death of fragrance is an immersive video installation that addresses erased histories. In the left channel, set in a fine museum storage facility, art conservators unfurl and inspect modernist Balinese paintings, prints, and sculptures. In the right channel, Javanese-Australian dancers, Ade Suharto and Melanie Lane, echo each other’s movements.

Film & Video (Film & Video)

The chapter Ayousha , of Judith Barry’s Cairo Stories , is a portrait-like work that consists of one plasma screen and one framed photograph. The project developed out of oral archives made from 215 interviews, which Barry conducted with women of varying social and economic classes in Cairo between 2003 and 2011. Her research started at the beginning of the Iraq War and concluded just after the Arab Spring.

Film & Video (Film & Video)

In May 2014, Israeli soldiers shot and killed two teenagers, Nadeem Nawara and Mohamad Abu Daher in occupied Palestine (West Bank). Through the Forensic Architecture program, the human rights organization Defence for Children International worked with Abu Hamdan to investigate the incident. The case hinged upon an audio-ballistic analysis of the recorded gunshots to determine whether the soldiers had used rubber bullets, as they asserted, or broken the law by firing live ammunition at the two unarmed teenagers.

Drawing & Print (Drawing & Print)

In her new series titled Ninas Peruanas Cusquenas , Teresa Burga depicts young indigenous women from Peru’s Andean region, dressed in traditional garments. Sourcing imagery from the internet, the drawings recall an untitled series of drawings from 1974, in which Burga selected images of women at random from various print media, and then rendered the images on paper. Those drawings, like the newer ones, suggest the perils of images without context––how assumptions are made, stereotypes are formed, and knowledge is gathered.

Painting (Painting)

Dindga McCannon created the radiant portrait Ima: Real Estate Mogul from the Harlem Women’s Series by first stitching material together with a sewing machine and then using more traditional painting techniques to render a portrait of Ima, a woman from Harlem who was a real estate developer from the 20th century. As with other works in the series, McCannon completes the portrait by hand beading a personal and cultural iconography of signs and symbols around the edges of the canvas. The work is spiritual in the sense that it has an energy that comes from its directness and from the human hand.

Painting (Painting)

Got Your Back by Gisela McDaniel depicts two women of color from different ethnic backgrounds who share similar violent experiences. However, the sitters never met and were depicted separately by artist Gisela McDaniel. The painting is thus an artificial construct, whose warm, gentle and seemingly benign look Is undermined by the accompanying soundtrack detailing their horrific experiences.

Painting (Painting)

Rojas’s two pieces in the Kadist Collection— Untitled (four-legged…) and Untitled (Bird’s Eyes) —are representative of her pictorial style which uses bold colorful blocks of paint and female and animal characters. While Untitled (Bird’s Eyes) does not depict any actual women, it nevertheless alludes to gender roles and the power of the female gaze. Apparently playful, this scene of two animals has an ominous quality: A bird and a hedgehog confront at each other and the bird appears to be poking, even eating the hedgehog’s eye.

Painting (Painting)

Rojas’s two pieces in the Kadist Collection— Untitled (four-legged…) and Untitled (Bird’s Eyes) —are representative of her pictorial style which uses bold colorful blocks of paint and female and animal characters. While Untitled (Bird’s Eyes) does not depict any actual women, it nevertheless alludes to gender roles and the power of the female gaze. Apparently playful, this scene of two animals has an ominous quality: A bird and a hedgehog confront at each other and the bird appears to be poking, even eating the hedgehog’s eye.