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While we can, we cross

The wall that has been erected between Israel and territories of the Palestinian Authority and inside them, transforms the parameters of the term “border".

Like any barrier or boundary, the wall generates strategies for its rupture, tactics by which to defy its rules. And what are its rules? How will this enormously intrusive physical presence with its geographic, political, economic, cultural and operative aspects impact and shape the future?

Adopting the role of an observer or a witness, the titles I gave the photographs are not intended to represent a political opinion or stance. They are descriptive, and in several cases, they are simple translations of the Hebrew or transcriptions of the English graffiti on the wall.

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Mientras
se pueda, pasamos.

El muro que se ha venido levantando entre Israel y los Territorios de la Autoridad Palestina remueve todos los parámetros del concepto de la frontera. Aspectos geográficos, políticos, económicos, operativos y culturales se entretejen y se contradicen. Como toda barrera, genera estrategias de incumplimiento y ruptura de reglas. ¿Y cómo son las reglas? ¿Cuál es la proyección del trazado limítrofe de alta y fuerte presencia física en el tiempo?¿Cómo incide en el presente? Qué significará para el futuro?

Los títulos que les dí a las fotografías no representan opinión alguna. Son descriptivos y sirven, en varios casos, para traducir los grafitis que salen en hebreo o transcribir los escritos en inglés. Soy observadora

While we can, we cross
While we can, we cross

In recent years, the work of Lihie Talmor has been like a progressive conquest of artistic space: from the two-dimensional plane of the etched page, with its illusionary spaces

s it necessary to have the proper distance so as to see the full picture? And how does one know what the proper distance is?

In recent years, the work of Lihie Talmor has been like a progressive conquest of artistic space: from the two-dimensional plane of the etched page, with its illusionary spaces

s it necessary to have the proper distance so as to see the full picture? And how does one know what the proper distance is?

It is not difficult to see in Lihie Talmor's work the expression of a sensitivity in its utmost development, that the artist knows how to communicate assertively

There exist an overriding need to distinguish between the ephemeral and the essential; the ephemeral wounds, the essential yet endures; until the day when the ephemeral will have corroded the essential, will have destroyed its very nucleus, its hard nucleus…

In a country where oblivion is who gathers the remains of the city, where the blanks of collective memory decide about the changes in power and the markets, the work of LIHIE TALMOR functions as a film of the subversive unconscious.

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