I’m a photographer and digital media artist working at the intersection of architecture, archives, technology, and politics. In my works, I use 3D modeling, mapping, internet-based tools, and more to examine archival photographic materials and their relations to geographies of conflict and displacement, especially in Palestine. My practice is engaged with issues of social justice, human rights, and anti-colonialism, and their application in art and media.
Artist Statement / CV
If the Fire within Our Eyes
“There used to be, among the philosphers of the ancient world, two conflicting understadings of the way our eyes works.
The proponent of the extramission theory believed that the eye contains a burning fire - a fire that casts if flames upon the world, almost as if stretching its arms in order to touch and caress the surfaces in front of it, to form an image of them in our minds.
If the fire withing our eyes can touch and caress, could it also control, change, destroy, or suspend?”
At the heart of the exhibition is a two-channel video work in the form of an imaginary commencement speech given at the Hebrew University theater on top of Mount Scopus. The campus is shared by the Hebrew University and the Bezalel Academy, which moved there in 1990. Since the university was inaugurated in 1925, the theater and its scenery have served as a backdrop for events with national-Zionist significance – held first by the Zionist establishment and later by the State of Israel. This "primeval" landscape, stretching east to the Judean Desert, the Dead Sea and the Jordanian Highlands, figures largely in local and Western painting and photography in the 19th and 20th centuries. The video work is based on visual research into the history of photography on Mount Scopus, and uses a 3D model of the theater created by Pinchevsky to discuss the role of landscape imagery throughout the Zionist project.
The title of the exhibition, "If the Fire within Our Eyes", is taken from the performative text written by Pinchevsky, that accompanies the video work. The phrase references ancient theories of human vision, which understood vision as a tactile sense, and the eye an organ that “probes” the world. These theories are mentioned in relation to a discussion of the role of landscape imagery in a political and cultural space in which “the view” is an asset used to promote settlement and control.
The video work is accompanied by a sculptural installation made up of stereoscopes that Pinchevsky built. These optical devices for viewing 3D images were a popular means of entertainment and "virtual" tourism in the early 20th century. The same optical principles govern contemporary media devices such as VR glasses. The stereoscopes shown in the exhibition are variations on Charles Wheatstone's original design from 1832. The device was first introduced to the public in Great Britain a year before the invention of photography was announced in France. The stereoscopes in the exhibition will display architectural and geographical drawings by Pinchevsky, which offer a geometrical and geophysical analysis of the relationship between seeing and controlling that exists between Mount Scopus and its environs.
Curator Prof. Dor Guez