Toronto Launch with Ariella Azoulay and Public Studio
612 Markham Street, Toronto, CA
Tuesday, May 1, 2012, 11:00 am - Tuesday, May 1, 2012, 1:00 pm
Fillip is pleased to present a special launch for its sixteenth issue with contributing writers Ariella Azoulay (Israel), Elle Flanders (Toronto), and Tamira Sawatzky (Toronto) and Fillip Associate Editor Kate Steinmann (Chicago). Join us for an evening of film, food, and conversation at Beit Zatoun, a Toronto-based Palestinian cultural centre.
Azoulay, a renowned photography historian, curator, writer, and filmmaker, will show an excerpt from her recently completed film Civil Alliance, Palestine, 1947–1948 (2012), which reconstructs what can be described as a civil race against the clock that took place in Palestine in the months leading up to the founding of the State of Israel, in May 1948.
Award-winning Toronto-area architect-filmmakers Flanders and Sawatzky (Public Studio) will screen an excerpt from their acclaimed film Road Movie (2011), which takes viewers on journeys along the segregated roads of the West Bank. Flanders and Sawatzky will also present excerpts from their new project West Bank Atlas, commissioned for Fillip 16.
Azoulay's, Flanders's, and Sawatzky's contributions to Fillip 16 are part of the ongoing series Apparatus, Capture, Trace: Photography and Biopolitics, edited by Steinmann, who will introduce these special guests.
Copies of Fillip 16 will be available at the launch, as will copies of Azoulay's visual essay Different Ways not to Say Deportation, published as part of Apparatus, Capture, Trace in a supplement to Fillip 16.
Ariella Azoulay teaches visual culture and political philosophy. She is the director of Photo-Lexic Research Group at Minerva Humanities Center, Tel Aviv University. Among her recent books are Civil Imagination: The Political Ontology of Photography (forthcoming, Verso, 2012) and From Palestine to Israel: A Photographic Record of Destruction and State Formation, 1947–1950 (Pluto Press, 2011). She is Curator of Potential History (2012, Stuk/Artefact, Louven), Untaken Photographs (2010, Igor Zabel Award, the Moderna galerija, Lubljana; Zochrot, Tel Aviv), and Everything Could Be Seen (2004, Umm el-Fahem Gallery of Art), and is a director of documentary films, among them I Also Dwell Among Your Own People: Conversations with Azmi Bishara (2004) and The Chain Food (2004). For more information, see http://cargocollective.com/AriellaAzoulay.
Elle Flanders is a filmmaker and artist based in Toronto. She was raised in Montreal and Jerusalem and holds both an MA in Critical Theory and an MFA from Rutgers University. Her work has been exhibited at museums and festivals internationally, including the Museum of Modern Art (MoMA), New York, and the Berlin International Film Festival. She directed the award-winning feature documentary Zero Degrees of Separation (2005), which has screened and been broadcast worldwide. Flanders is a PhD candidate in the Visual Arts Studio Program at York University, where she also teaches.
Tamira Sawatzky is an award-winning architect and artist working in Toronto. Her work has been exhibited at the Museum of Contemporary Canadian Art, the Art Gallery at York University (AGYU), and Flux Factory, New York. Together with Elle Flanders, she founded Public Studio; their recent works include Kino Pravda 3G (2010–11), a multi-channel video installation, and What Isn’t There (2011), a photo installation.
Kate Steinmann is Associate Editor at Fillip and Director of Publications at the Museum of Contemporary Art Chicago. She holds an MA in art history from the University of British Columbia, where she is currently a PhD candidate in art history, pursuing studies in contemporary photography. She is also Associate Editor at Yishu Journal of Contemporary Chinese Art, Vancouver.
Born in 1962, Tel Aviv, Israel – Lives in Tel Aviv, Israel
Image theorist, curator, documentary filmmaker and author of numerous works on photography, Ariella Azoulay presents a series of 24 collages for Intense Proximitycomposed of drawings and texts, tools for investigting the beginings of the Isreal-Palestinian conflict, between 1947 and 1950, spanning the four-year transformation of Palestine into Israel. Inspired by the photography archive of the International Committee of the Red Cross, the drawings are accompanied by their original legends in French. These drawings, based on the photographs, are for the creator a way of circumventing the ICRC’s ban on associating these comments with these images, in an attempt to control the use of this public archive—however historical it may be. The comments decode the intrinsic violence that inform relations between Israeli-Jews and Palestinians as well as tending to suspend the offical paradigm of “two camps”—Isreali and Palestine.The text is listed in two columns: on the left, a precise description of the image, its facts and circumstances; on the right, in italics, a succession of questions on the unresolved points of the emergency unfolding under the auspices of the ICRC. The title of the series, Unshowable Photographs/Different Ways Not To Say Deportation is evidence of Ariella Azoulay’s position on this complex history, prefering the term “deportation” or “expulsion” to that of “population transfers” or “repatriation” used in the offical legends of the ICRC—using the offical miltary and diplomatic jargon of the Israelis—that attempted to minimize the violence and tragic consequences of events. Supporting a detailed iconographic analysis, these images become a testimony—some indirectly and inadvertantly—as a kind of invisible resident to this history and the territories of which Ariella Azoulay renders this incomplete character.