Under Dor Guez’s Bed: Scenes from the “Christian Palestinian Archive”

Rozental, Rotem

doi:10.1080/17540763.2016.1138993

Cited by 1 publication

(1 citation statement)

References 7 publications

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“…2.4. Discussion: Archival Art, Re-Enactment Art, and Visual Culture: The Case of Vered Nissim Israeli art scholars used the postcolonial paradigm to analyze archival art practices mainly in reference to artworks by Ashkenazi or Palestinian artists who return "to the silenced moments of Nakba and undermine systems that preserved prevalent narratives, such as institutional photographic archives" (Rozental 2016). Yet, there is no equivalent discussion in the context of Mizrahi art.…”

Section: Visual Culturementioning

confidence: 99%

A Natural-Worker Leaves the Colonial Visual Archive: The Art of Vered Nissim

Shtang

2023

Arts

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The colonial visual archive has occupied in recent decades the work of scholars and artists from indigenous and racial minority communities, who revealed it as a major apparatus of historical meta-narratives. This article aims at pushing forward this preoccupation by revealing an additional scene: the art of Mizrahi women, descendants of Jewish communities of Arab and Muslim countries. Relying on a visual culture approach and focusing on an analysis of artworks by Mizrahi artist Vered Nissim, as well as on photographs of Mizrahi women, fund in Zionist archives, I demonstrate how Nissim’s work challenges the racial category of Mizrahi women as “natural workers”, constructed in the Zionist historical meta-narrative. Nissim does so by re-enacting the category’s paradigmatic visual image—the Mizrahi women cleaning worker—in a different way, visually and discursively. Body, voice, and visual image, three instances of the subjectivity of Mizrahi women cleaning workers that were separated, shaped, and mediated through Zionist colonial visual archives unite in Nissim’s work when embodied by a real Mizrahi woman cleaning worker: her mother, Esther Nissim. By casting her mother to play herself over the past twenty years, Nissim creates political conditions for the appearance of her mother as the author of her own history as she orally, bodily, and visually writes it in front of her daughter’s camera. Thus, Nissim joins a transnational phenomenon of global south artists who create political conditions enabling the self-imaging of colonized peoples, empowering the reading of colonial imagery and the historical meta-narratives attached to it through their situated knowledge and lived experience and, thus, constructing a counter history communicated visually.

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Section: Visual Culturementioning

confidence: 99%

A Natural-Worker Leaves the Colonial Visual Archive: The Art of Vered Nissim

Shtang

2023

Arts

View full text Add to dashboard Cite

show abstract

Under Dor Guez’s Bed: Scenes from the “Christian Palestinian Archive”

Cited by 1 publication

References 7 publications

A Natural-Worker Leaves the Colonial Visual Archive: The Art of Vered Nissim

A Natural-Worker Leaves the Colonial Visual Archive: The Art of Vered Nissim

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