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yael bartana

biography

Yael Bartana was born in 1970 in Kfar Yehezkel, Israel. She currently lives and works in Amsterdam and Berlin.

Yael Bartana’s films, installations, sculptures, and photographs explore the imagery of identity and the politics of memory. Her starting point is the national consciousness propagated by her native country, Israel. Central to the work are meanings implied by terms like “homeland”, “return” and “belonging”. Bartana investigates these through ceremonies, public rituals and social diversions that are intended to reaffirm the collective identity of the nation state.

In her Israeli projects, Bartana dealt with the impact of war, military rituals and a sense of threat on every‑day life. Between 2006 and 2011, she worked in Poland, creating the trilogy And Europe Will Be Stunned, a project on the history of Polish-Jewish relations and its influence on the contemporary Polish identity. The trilogy represented Poland at the 54th International Art Exhibition in Venice (2011).

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Yael Bartana was born in 1970 in Kfar Yehezkel, Israel. She currently lives and works in Amsterdam and Berlin.

Yael Bartana’s films, installations, sculptures, and photographs explore the imagery of identity and the politics of memory. Her starting point is the national consciousness propagated by her native country, Israel. Central to the work are meanings implied by terms like “homeland”, “return” and “belonging”. Bartana investigates these through ceremonies, public rituals and social diversions that are intended to reaffirm the collective identity of the nation state.

In her Israeli projects, Bartana dealt with the impact of war, military rituals and a sense of threat on every‑day life. Between 2006 and 2011, she worked in Poland, creating the trilogy And Europe Will Be Stunned, a project on the history of Polish-Jewish relations and its influence on the contemporary Polish identity. The trilogy represented Poland at the 54th International Art Exhibition in Venice (2011).

A number of solo exhibitions have been devoted to Bartana, including: Yael Bartana. Cast Off, Fondazione Modena Arte Visive, Modena (2019); And Europe Will Be Stunned, Philadelphia Museum of Art, Philadelphia (2018); What if Women Ruled the World, Manchester International Festival, Manchester and Aarhus 2017 European Capital of Culture Aarhus (2017); Trembling Times, Musée cantonal des Beaux-Arts, Lausanne (2017); On Cohabitation, The Banff Centre, Alberta (2016); Wenn Ihr wollt, ist es kein Traum, Secession, Vienna (2012); ...and Europe will be stunned, Moderna Museet, Malmö (2010); Trembling Time, Kings of the Hill, PS1, New York (2008).

She has also taken part in several group exhibitions, among which: Histories of Women / Feminist Histories, MASP / Casa de Povo, Sao Paulo (2019); Reality... is more absurd than any film, Marta Herford Museum, Herford (2019); The Street. Where the World is Made, MAXXI, Rome (2018); Freedom of Movement, Stedelijk Museum, Amsterdam (2018); Scenes from the Collection, Jewish Museum New York (2018); Place Relations, CEPA Gallery, Buffalo (2017); The Body Extended: Sculpture and Prosthetic, Henry Moore Institute, Leeds (2016); Summer guests,Calouste Gulbenkian Foundation, Lisboa (2016); How to (...) things that don’t exist, Serralves Museum of Contemporary Art, Porto (2015); La disparition des lucioles, La Collection Lambert, Avignon (2014); Carnegie International, Carnegie Museum of Art, Pittsburgh (2013).

In 2005 she took part in the 9th Istanbul Biennial; in 2012 the 7th Berlin Biennial; in 2014 the 19th Biennale of Sydney and the  31st Sao Paolo Biennial. In 2011 she represented Poland in the 54th Venice Biennale.

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images

R.I.P. Thompson M1, 2019

Pigmented relief casting ceramic powder

6 × 64 × 107 cm; Pedestal and plexiglass case: 80 × 140 × 80 cm

Photo: t-space studio

R.I.P. Winchester, 2019

Pigmented relief casting ceramic powder

9 × 59 × 122 cm; Pedestal and plexiglass case: 80 × 140 × 80 cm

Photo: t-space studio

R.I.P. Glock, 2019

Pigmented relief casting ceramic powder

4 × 32 × 47 cm; Pedestal and plexiglass case: 60 × 90 × 40 cm each

Photo: t-space studio

Patriarchy is History, 2019

Neon

198,4 × 185,3 cm

Photo: t-space studio

Patriarchy is History, 2019

Neon

198,4 × 185,3 cm

Photo: t-space studio

Trembling Times, 2017

Neon

177 × 250 cm

Photo: Nora Rupp / Musée cantonal des Beaux-Arts, Lausanne

Next Year in New Jerusalem,, 2014

Neon

105,3 × 104,4 cm

Bury Our Weapons, Not Our Bodies! (14), 2018

Color photograph

45 × 67,5 cm; 57,5 × 80 cm framed

Bury Our Weapons, Not Our Bodies! (13), 2018

Color photograph

45 × 67,5 cm; 57,5 × 80 cm framed

Bury Our Weapons, Not Our Bodies! (4), 2018

Color photograph

45 × 30 cm; 57,5 × 42,5 cm framed

Bury Our Weapons, Not Our Bodies! (10), 2018

Color photograph

45 × 30 cm; 57,5 × 42,5 cm framed

Bury Our Weapons, Not Our Bodies! (2), 2018

Color photograph

20 × 30 cm; 32,5 × 42,5 cm framed

Cast Off (1), 2017

Color photograph, fine art print. Canson Platine FibreRag 310 g mounted on Dibond 3mm

75 × 50 cm

Cast Off (3), 2017

Color photograph, fine art print. Canson Platine FibreRag 310 g mounted on Dibond 3mm

75 × 50 cm

Cast Off (5), 2017

Color photograph, fine art print. Canson Platine FibreRag 310 g mounted on Dibond 3mm

75 × 50 cm

Pardes (1), 2015

Black and white photograph

35 × 52,5 cm

Pardes (5), 2015

Black and white photograph

35 × 52,5 cm

Pardes (8), 2015

Black and white photograph

35 × 52,5 cm

Herzl (I–III), 2015

Color photograph, fine art print (paper: Canson Platine FibreRag 310 g)

60 × 40 cm each

Stalag

Stalag – The Photographer (II), 2015

Color photograph, fine art print

60 × 40 cm

Stalag - The Officer, 2015

Color photograph, fine art print

42 × 28 cm

The Recorder Player from Sheikh Jarrah, 2011

Black and white photograph

30 × 45 cm

The Recorder Player from Sheikh Jarrah, 2011

Black and white photograph

30 × 45 cm

The Recorder Player from Sheikh Jarrah, 2011

Black and white photograph

30 × 45 cm

The Missing Negatives of the Sonnenfeld Collection (17), 2008

Black and white photograph

40,4 × 50,6 cm

The Missing Negatives of the Sonnenfeld Collection (19), 2008

Black and white photograph

40,4 × 50,6 cm

The Missing Negatives of the Sonnenfeld Collection (20), 2008

Black and white photograph

40,4 × 50,6 cm

Untitled (Andromeda's Rock), 2006-2010

inkjet print on paper

43 × 58 cm

The Undertaker, 2019

Single channel 2k video. Color, sound

Duration: 13'

Pardes (Orchard), 2015

video and sound installation

Duration: 71'

Pardes (Orchard), 2015

Video and sound installation

Duration: 71'

True Finn, 2014

One channel video and sound installation

Duration: 50'

True Finn, 2014

One channel video and sound installation

Duration: 50'

The Recorder Player from Sheikh Jarrah, 2010

One channel video and sound installation

Duration: 7'20''

Profile, 2000

One channel video and sound installation, monitor, headphones - video/colour/sound

Duration: 3' loop

public exhibitions

FMAV - Fondazione Modena Arti Visive

Modena

Yael Bartana. Cast Off

15.11.2019 – 13.4.2020

Photo: Rolando Paolo Guerzoni

FMAV - Fondazione Modena Arti Visive

Modena

Yael Bartana. Cast Off

15.11.2019 – 13.4.2020

Photo: Rolando Paolo Guerzoni

FMAV - Fondazione Modena Arti Visive

Modena

Yael Bartana. Cast Off

15.11.2019 – 13.4.2020

Photo: Rolando Paolo Guerzoni

MASP

São Paolo

Feminist Histories: Artists After 2000

23.8 – 17.11.2019

Photo: Eduardo Ortega

Philadelphia Museum of Art

Philadelphia

And Europe Will Be Stunned

21.9.2018 – 1.1.2019

Photo Timothy Tiebout

Philadelphia Museum of Art

Philadelphia

And Europe Will Be Stunned

21.9.2018 – 1.1.2019

Photo Timothy Tiebout

Philadelphia Museum of Art

Philadelphia

And Europe Will Be Stunned

21.9.2018 – 1.1.2019

Photo: Timothy Tiebout

Stedelijk Museum

Amsterdam

Freedom of Movement

25.11.2018 – 17.3.2019

Photo: Peter Tijhuis

What if Women Ruled the World?

2.7.2020

Photo: Birgit Kaulfuss

What if Women Ruled the World?

2.7.2020

Photo: Birgit Kaulfuss

What if Women Ruled the World?

2.7.2020

Photo: Birgit Kaulfuss

Musée Cantonal des Beaux-Arts

Lausanne

Trembling Times

19.5 – 20.8.2017

Photo: Nora Rupp

Musée Cantonal des Beaux-Arts

Lausanne

Trembling Times

19.5 – 20.8.2017

Photo: Nora Rupp

press

Yael Bartana

Galleria Raffaella Cortese

Maria Chiara Valacchi

Artforum

April 14, 2020

Interview with Yael Bartana | Patriarchy is History

Sara Benaglia, Mauro Zanchi

ATP Diary

March 13, 2020

Yael Bartana Proclaims that Patriarchy is History at Galleria Raffaella Cortese

Balasz Takac

Widewalls

February 22, 2020

The best art of the 21st century

Adrian Searle, Jonathan Jones, Sean O’Hagan and Hettie Judah

The Guardian

September 17, 2019

"The Street"

Museo Nazionale delle Arti del XXI secolo, Rome

Ida Panicelli

Artforum

March 2019

Yael Bartana

Philadelphia Museum Of Art

Hannah Stamler

Artforum

January 2019

Yael Bartana: And Europe Will Be Stunned; Elizabeth Price: Here – review

Laura Cumming

The Guardian

May 13, 2012

Yael Bartana

Luigi Fassi

Klat Magazine

Autumn 2010

publications

Yael Bartana

Nicole Schweizer

JRP Editions

Zurich

2017

If you will it, it is not a dream / Wenn ihr wollt, ist es kein Traum

Revolver

Berlin

2013

And Europe Will Be Stunned – The Polish Trilogy

James Lingwood, Eleanor Nairne

Artangel

London

2012

A Cookbook for Political Imagination

Sebastian Cichocki, Galit Eilat

Sternberg Press

Berlin

2011

And Europe Will Be Stunned

Joa Ljungberg, Andreas Nilsson, Magnus Jensner, Joa Ljungberg, Joshua Simon

Revolver Publishing

Berlin

2010

Yael Bartana

Edited by Yilmaz Dziewior

Hatje Cantz

Berlin

2007

Dateline Israel – New Photography and Video Art

Susan Tumarkin Goodman, Andy Grundberg, Nissan N. Perez

Yale University Press

New Haven

2007

video


Yael Bartana – Patriarchy is History

Online preview of the artist's third solo exhibition at the gallery, on view starting Friday, February 27, 2020


Yael Bartana: Returning 3.3 Million Jews

Yael Bartana was interviewed by Michael Juul Holm at Louisiana Museum of Modern Art in 2011. Camera & editing: Sonja Strange. Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2013.