In a very personal writing style, Liz Rosenfeld writes about relationships, memorials, illness, love, the queer body and the experience of transitions.
In 2020, Zoya Cherkassky and her daughter entered self-isolation. This series of drawings describes their experience, which was new at the time.
Khalil Barakat has written an essay about love for Tohu's special issue: about the love affairs of the French novelist Marguerite Duras, his love for her, love between men, and love in the shadow of the pandemic.
Rula Jiryis spoke with the Palestinian artist Lamees Khoury about belonging and identity, memory and intuition, and how form, voice, and movement appear in her artworks.
The artist Shasha Dothan has recently curated a virtual show of works addressing the sense of alienation experienced by immigrants, of which she is one. Hagai Ulrich spoke with her about the show and her works, in which she rows a canoe across her living room, invites a male stripper to an apartment, and erects a tent-installation where she hosts works by immigrant women.
Before it arrived to the Tel Aviv Museum of Art, Yayoi Kusama's retrospective was shown at Gropius Bau in Berlin. Michal B. Ron visited the Berlin show and shares her thoughts on reflection, reconstruction, art history, and letters against apartheid.
How can the constant bombardment of shock and emergency and suffering in our world be harnessed as a source of power and collective strength? How do we act and unite in a world that constantly isolates and shocks us, destroying the very ecological and social systems in which we survive? Post Brothers examines how dissociated social interactions are translated into value and yellow coal channels emotions as a form of power.
After their collaborative project “Cat Chat,” discussing the interview Marcel Broodthaers conducted with a cat, Michal B. Ron initiates an online studio visit at Noa Ginzburg’s studio, with Hannah Bruckmüller. They talk about the idea of Radical Coziness, domesticity, extra ocular objects, and jumping in public places.
In an era of social distancing, an exhibition about ecology turns into a meditation on human connections. Michal B. Ron reviews the recent “Down to Earth” exhibition at Gropius Bau.
In the third chapter of her column, Goni Riskin takes advantage of the easing of the restrictions to make a series of portraits, with styling and makeup. As a precaution, she works on a rooftop, in natural light and open air. She uses a no-contact thermometer to take the temperature of her sitters, the makeup artist, and herself. She keeps the styling down to clothes from the sitters' closets, with outside loans of items when absolutely necessary.