Arcadia

Art History, 2017

S. Nalbantian, P.M. Matthews and J.L. McClelland (eds.), The Memory Process: Neuroscientific and Humanistic Perspectives, 2011

The aim of this study is to understand whether or not art can convey or pass on the memories (specifically of trauma) of the creator to the viewer and do these transmitted memories get absorbed by the viewers as their own personal memories.

HAU: Journal of Ethnographic Theory, 2012

Objects of Memory, 2018

Since the mid-1980s, I have been working on a project that explores my family history, memories and current life. This long-running project consists of what I am calling a ‘Family Photo Diary’ – a collection of hundreds of photographs, art works, documents, interviews, movies, books and other publications portraying different aspects of my family. My idea throughout the project has been to regard the various ‘chapters’ of my ‘biography’ through the family’s history and the issues that surfaced in each as a labyrinth, in which each ‘chapter’ is connected to the other, vertically and horizontally, and where the past and present are connected and have obvious implications for the present and the future. This approach stands in contrast to the usual approach seen in ‘formal’ or institutional-state archives, as well as in private family archives, which tend to follow a chronological history. Throughout the years, I have worked on projects and exhibitions dealing with the different chapters of this ongoing project. Each chapter led organically to the next and many questions arose – questions relating to Jewish and Israeli identity, culture and religion and to attitudes toward the Holocaust and its after-effects, including the possibility and extent of dialogue with the descendants of those on the ‘opposite’ side.

craft + design enquiry, 2014

Photographies, 2010