I'm a photographer and digital media artist whose practice examines the politics of image-making in contested geographies, particularly Israel/Palestine. I work across 3D modeling, mapping, drone photography, and archival research to examine photography's entanglements with colonial and territorial politics.
I'm an Assistant Professor of Photography at Parsons School of Design, The New School.
An Abridged Draft for a Letter to Leila Khaled reconstruct the landscape of Palestine before the Nakba, as it is depicted in the Palmach Aerial Photographs Collection. It uses a flight simulator to create a flight tour of the reconstructed collection, superimposing it on the satellite views of modern Israel.
The Palmach Aerial Photographs Collection includes more than 600 images, taken by the Zionist Paramilitary organization during the 1947-1948 civil war in Palestine, before the Palestinian Nakba (lit. catastrophe, the displacement of Palestinian from their homeland).
While the collection was created in an aerial reconnaissance effort, today it provides a rare documentation of Palestinian landscape – depicted on the verge of its imminent erasure. The collection is stored within three archives in Israel, yet it is largely inaccessible for viewing, especially for Palestinians.
The work was finalized as a response to the censoring of Leila Khaled from a virtual conference held by the San Francisco State University in September 2020. Ms. Khaled participation was cancelled by Zoom in response to pressure mounted at the company by Jewish Pro-Zionist organizations. Ms. Khaled censoring is an extension to the limitation of travel she’s been experiencing for the last few decades.
The video work serves as a letter to Ms. Khaled, an invitation to pilot the virtual flight tour, in order to challenge the limitation on communication, vision, and travel being placed on Ms. Khaled. Communication with Ms. Khaled over the work has been initiated and awaiting progress.
While I recognize the importance and impact of direct action against Israeli cultural institutions, I see my role in working to mobilize shame from within. I feel compelled to remain in conversation with that place and those who must reckon with it, even as each opportunity involves its own shame.
In this article, Noam Gal pays tribute to Allan Sekula’s essay “The Body and the Archive” (1986), analyzing the creative practice of two contemporary camera artists, Tomoko Sawada and Shabtai Pinchevsky, and the various social concerns their works evoke.
Can a Self-Driving Car Navigate an Apatheid Road will be screened at the Artport Artist Film Festival in Tel Aviv and Jerusalem.
The First Trail will be exhibited as part of Counter Landscape, curated by Karmit Galili, at Magasin III in Jaffa.