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Yael Bartana’s work "Wall and Tower" is the second in the yet unfinished “Polish Trilogy” following her earlier film "Nightmares" from 2007. In "Nightmares" Sławomir Sierakowski, editor-in-chief of "Krytyka Polityczna", spoke to the empty Dziesięciolecia Stadium, encouraging 3 million Jews to return to Poland.

This prophecy is fulfilled in "Wall and Tower", where Jewish settlers build an isolated settlement in the square facing the Monument to the Ghetto Heroes in Warsaw. The work presents a vision for the future of Zionism and the Jewish People in which the European-diasporic possibility is re-introduced to the current agenda.

On the other hand, the fulfillment of this vision, in many respects contradicts the Zionist ethos of a national Jewish center in the land of Israel / Palestine, is implemented by the reenactment of the Zionist early settlement in Palestine.

Thus, using models and procedures from the 1930s in Palestine, Bartana’s work emphasizes a certain impossibility in imagining a future detached from the Zionist past.

 

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 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
 

And Europe Will Be Stunned /Wall and Tower

Yael Bartana’s work "Wall and Tower" is the second in the yet unfinished “Polish Trilogy” following her earlier film "Nightmares" from 2007. In "Nightmares" Sławomir Sierakowski, editor-in-chief of "Krytyka Polityczna", spoke to the empty Dziesięciolecia Stadium, encouraging 3 million Jews to return to Poland.

This prophecy is fulfilled in "Wall and Tower", where Jewish settlers build an isolated settlement in the square facing the Monument to the Ghetto Heroes in Warsaw. The work presents a vision for the future of Zionism and the Jewish People in which the European-diasporic possibility is re-introduced to the current agenda.

On the other hand, the fulfillment of this vision, in many respects contradicts the Zionist ethos of a national Jewish center in the land of Israel / Palestine, is implemented by the reenactment of the Zionist early settlement in Palestine.

Thus, using models and procedures from the 1930s in Palestine, Bartana’s work emphasizes a certain impossibility in imagining a future detached from the Zionist past.

 

 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
 

 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis