48/ Act of State 1967-2007 – A Photographed History of The Occupation / Akt Państwa 1967-2007 – Sfotografowana Historia Okupacji Azoulay Curated by Matthias Reichelt _ Ariella (Izrael/Israel) Urodzona w 1962 w Tel Awiwie, Izrael. Tytuł doktora otrzymała na uniwersytecie w Tel Awiwie. Wykłada kulturę wizualną i filozofię współczesną w ramach specjalnego programu uniwersytetu Bar Ilan. Jej dorobek naukowy obejmuje wiele pozycji, m.in. Civil Imagination: The Political Ontology of Photography (2010); Constituent Violence 1947-1950 (2009), Act of State (2008); The Civil Contract of Photography (2008); Once Upon A Time: Photography following Walter Benjamin (2006), Death’s Showcase, (2001) – laureatka nagrody Affinity Award ICP oraz TRAining for ART (Hakibutz Hameuchad i The Porter Institut Publishers, 2000). Kuratorka wystaw, m.in.: Untaken Photographs (2010); The Moderna galerija, Ljubljana, Zochrot, Tel Awiw, Constituent Violence 1947- 1950 (Zochrot, Tel Awiw), Architecture of Destruction (Zochrot, Tel Aviv), Act of State: 1967-2007 (Minshar Gallery, 2007), Everything Could Be Seen (Um Al Fahem Gallery, 2004), The Angel of History (Hertzela Museum of Art, Mishkan Le-Omanut, Ein Harod, 2001). Reżyser filmów dokumentalnych: At Nightfall (2005), I Also Dwell Among Your Own People: Conversations (nakręcony we współpracy z Azmi Bishara (2004), The Chain Food (2004), The Angel of History (2000) oraz A Sign from Heaven (1999). _ Born in 1962, Tel Aviv, Israel. She has PHD Tel Aviv university. She teaches visual culture and contemporary philosophy at the Program for Culture and Interpretation, Bar Ilan University. She is the author of Civil Imagination: The Political Ontology of Photography (2010, in hebrew, Resling), Constituent Violence 1947-1950 (Resling in Hebrew), Act of State (2008, in Hebrew – Etgar publisher, Atto di Stato in Italian Bruno Mondadori), The Civil Contract of Photography (2008, Zone Books, 2007 Resling), Once Upon A Time: Photography following Walter Benjamin (Bar Ilan University Press, 2006, in Hebrew), Death’s Showcase (MIT Press, 2001 – Winner of The Affinity Award, ICP) and TRAining for ART (Hakibutz Hameuchad and The Porter Institut Publishers, 2000, in Hebrew). Curator of Untaken Photographs (2010, The Moderna galerija, Lubliana, Zochrot, Tel Aviv), Constituent Violence 1947-1950 (Zochrot, Tel Aviv), Architecture of Destruction (Zochrot, Tel Aviv), Act of State: 1967-2007 (Minshar Gallery, 2007), Everything Could Be Seen (Um Al Fahem Gallery, 2004), The Angel of History (Hertzela Museum of Art, Mishkan Le-Omanut, Ein Harod, 2001). Director of documentary films, At Nightfall (2005), I Also Dwell Among Your Own People: Conversations with Azmi Bishara (2004), The Chain Food (2004), The Angel of History (2000) and A Sign from Heaven (1999). Ariella Azoulay Wystawa Act of State (Akt Państwa) jest pierwszą w swoim rodzaju próbą opisania za pomocą fotografii historii okupacji izraelskiej na terytorium Palestyny. Ta historia styka się z pisanymi dziejami okupacji – opisywanymi w przeszłości i obecnie – w wielu punktach, lecz jest inna, dlatego że jej punktem wyjścia są fotografie. Sfotografowana historia jest opowiadana za ich pomocą oraz przez nie same. Historia zawsze jest dwoista; okupacja jako kwestia polityczna i jej fotograficzna obecność jako problem kulturowo-historyczny. Kluczowym zagadnieniem projektu Act of State jest pokazanie fotografii jako dokumentów równocześnie politycznych i historycznych. Fotografie są dokumentami politycznymi, które otwierają lub prezentują cywilny punkt widzenia, w którym widzowie uznają osoby sfotografowane za cywili, nawet jeżeli ich obywatelstwo zostało im odebrane przez siłę rządzącą, której podlegają; fotografie są także dokumentami historycznymi, nie ilustracjami na marginesach rodzinnej księgi historii, lecz śladami momentów historycznych, które są rekonstruowane i badane i które budują narrację historyczną inną od tych powszechnie znanych. Istotny jest także fakt, że ta jedna wystawa stwarza nową przestrzeń pozwalającą na zbadanie okupacji i jej historii. Wystawa zawiera ok. 700 fotografii zrobionych przez 80 różnych fotografów, stając się rodzajem archiwum okupacji. The exhibition Act of State, is an attempt – first of its kind – to outline a photographed history of the Israeli Occupation of the Palestinian Territories. Such a history interfaces the Occupation’s written history – written in the past as well as nowadays – at many points, but it is different in that its points of departure are the photographs themselves. The photographed history is told through and by them. This is always a dual history: of the Occupation as a political issue, and of the photographed presence of the Occupation as a cultural-historical issue. Hence the central interest of the project Act of State: presenting photographs as documents that are at once political and historical. The photographs are political documents that open or offer a civil vista, in which the spectators acknowledge the persons photographed as citizens, even if their citizenship has been denied by the ruling power to which they are subject; the photographs are also historical documents, not illustrations for the margins of a familiar history book, but rather traces of historical moments that are to be reconstructed and investigated and which yield a historical narrative different from the commonly familiar one. Through the exhibition, a new space is created for examining the Occupation and its history. The exhibition contains about 700 photographs taken by over 80 different photographers, and devised as a kind of historical archive of the Occupation. POZNAŃ / BRATYSŁAWA
FOT. A. Zakai Anat Zakai, Huwwara Checkpoint, 2004 Kiedy kilka metrów przed żołnierzem w budce strażniczej mężczyzna (drugi od lewej) pokazał swoje dokumenty artystce, pokazał tym samym i jej, i nam automatyzm oraz absurdalność tego gestu. Każdy z trzech mężczyzn widocznych na fotografii wyraża inny stosunek wobec jego gestu: pierwszy uśmiecha się, drugi nie jest rozbawiony, trzeci jest podejrzliwy. When the second man on the left presents his ID to the photographer, some meters before reaching the soldier at the checkpoint, he presents to her – and to us – the automatism of this gesture, as well as its absurdity. Each of the other three men seen with him in the same frame expresses a different attitude towards his gesture. The first smiles, the second is not amused, the third is suspicious. /49
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