Edited with text by Nicole Schweizer. Texts by Emmanuel Alloa, Nora M. Alter, Erika Balsom, Juli Carson, Gil Z. Hochberg.
This first monograph dedicated to the work of Israeli-born artist Yael Bartana (born 1970) gives a comprehensive overview of the artist’s films, installations, performative projects, photographs, and sound works of the past 15 years.
From Bartana’s early video vignettes to her most recent project What if Women Ruled the World? (2017), by way of her monumental trilogy And Europe Will Be Stunned (2007–11) with which she represented Poland at the 54th Venice Biennale, the book highlights the artist’s fascination with the ways that social rituals shape both individual identities and collective memory. Bartana’s works are themselves modeled on the aesthetics of the ritual, and are therefore performances that unapologetically seduce us. Her films draw attention to the fact that cinema is a ritual, and that the camera, perhaps better than any other device, mimics the ritualistic in its ability to fetishize, seduce and draw us into the ceremony we are watching.
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FORMAT: Pbk, 9.25 x 11.25 in. / 160 pgs / 120 color. LIST PRICE: U.S. $55.00 LIST PRICE: CANADA $72.5 GBP £30.00 ISBN: 9783037644928 PUBLISHER: JRP|Ringier AVAILABLE: 8/22/2017 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: WORLD Excl FR DE AU CH
Published by JRP|Ringier. Edited with text by Nicole Schweizer. Texts by Emmanuel Alloa, Nora M. Alter, Erika Balsom, Juli Carson, Gil Z. Hochberg.
This first monograph dedicated to the work of Israeli-born artist Yael Bartana (born 1970) gives a comprehensive overview of the artist’s films, installations, performative projects, photographs, and sound works of the past 15 years.
From Bartana’s early video vignettes to her most recent project What if Women Ruled the World? (2017), by way of her monumental trilogy And Europe Will Be Stunned (2007–11) with which she represented Poland at the 54th Venice Biennale, the book highlights the artist’s fascination with the ways that social rituals shape both individual identities and collective memory. Bartana’s works are themselves modeled on the aesthetics of the ritual, and are therefore performances that unapologetically seduce us. Her films draw attention to the fact that cinema is a ritual, and that the camera, perhaps better than any other device, mimics the ritualistic in its ability to fetishize, seduce and draw us into the ceremony we are watching.
