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The Spectator of Photography Can Undermine the National Foundations of the Modern Museum
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catalog number
Sanhedrin 1153
Medium
Length
26'20''
Year
2008
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A lecture from the conference, “Sanhedrin.” The conference wishes to question the connection between the museum and the nation state, through the examination of divergent museum models, at a time when the status of the nation state is being undermined by influences of neo-liberal economics. 

In Azoulay’s presentation, she will draw the contours of the civil spectator and will ask what makes possible a civil point of view upon images. Her presupposition will be that such a point of view refuses to see photographed persons as mere objects of photographs, and will argue that this is not enough. In the context of the occupation - which will be her case study - a civil spectator should transcend not only the rules of the professional space but also those of the national space. Transcending these rules she will find herself in the space of photography where those who have been forced into statelessness and deprived of citizenship, become citizens – citizens of the citizenry of photography. Through photography, the photographed persons demand their right to political speech, gaze and action and invite the spectators to reinstate with them the political space of which they have been dispossessed.

 

Displacement         Documentary         Israeli Palestinian relations         Memory         Occupation         Perception         Politics         Power         Art         Nationalism

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

The Spectator of Photography Can Undermine the National Foundations of the Modern Museum

A lecture from the conference, “Sanhedrin.” The conference wishes to question the connection between the museum and the nation state, through the examination of divergent museum models, at a time when the status of the nation state is being undermined by influences of neo-liberal economics. 

In Azoulay’s presentation, she will draw the contours of the civil spectator and will ask what makes possible a civil point of view upon images. Her presupposition will be that such a point of view refuses to see photographed persons as mere objects of photographs, and will argue that this is not enough. In the context of the occupation - which will be her case study - a civil spectator should transcend not only the rules of the professional space but also those of the national space. Transcending these rules she will find herself in the space of photography where those who have been forced into statelessness and deprived of citizenship, become citizens – citizens of the citizenry of photography. Through photography, the photographed persons demand their right to political speech, gaze and action and invite the spectators to reinstate with them the political space of which they have been dispossessed.

 

Displacement         Documentary         Israeli Palestinian relations         Memory         Occupation         Perception         Politics         Power         Art         Nationalism

 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
 

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