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Yael Bartana
Photographer & Video Artist |
| IcExcellence chosen artist since 2007 |
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"...coherent and high-level artistic expression....'Wild Seeds' has the quality of a great art work, that tricks one into seeing something which creates insecurity and questions what is play and what is real. The addition of the sound track is brilliant. "
David Neuman, Juror, The Gottesdiener Israeli Art Prize, TA Museum of Art, 2007
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Yael Bartana, born in Afula in 1970, graduated from the Bezalel Academy in Jerusalem, The School of Visual Arts in New York, and the Rijksakademie van Beeldende Kunsten, in Amsterdam, The Netherlands. Now, as she divides her time living and working in both Tel Aviv and Amsterdam, her unique and impressive works are gradually gaining a great deal of attention from critics and the public alike. She already has several impressive achievements to her name, such as participating in the biennales of Liverpool, Istanbul and Sao Paulo. Her newest work has been chosen for presentation at the prestigious Documenta12 in Kassel this summer.
Yael's video projects include Summer Camp in 2007; A Declaration in 2006; Sirens Song, Wild Seeds and Odds and Ends in 2005; You could be Lucky, Low Relief II and Short Memory in 2004; When Adar Enters, Ad D'elo Yada, Freedom Border and Kings of the Hill in 2003; and Trembling Time, Disembodying the National Army Tune and Profile in 2001. Her work has been featured in solo and group exhibitions, and participated in film and video festivals, throughout the world. Over the past seven years, she has received various residencies, fellowships and stipends from art centers and official bodies in Israel, The Netherlands, Turkey and Sweden.
For more information please visit: www.annetgelink.nl or www.sommergallery.com
IcExcellence is supporting Yael in various tailor-made artistic programs, and providing special career advancement consulting.
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| Prizes |
| 2007 |
The Gottesdiener Foundation Israeli Art Prize 2006 |
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| 2006 |
Israel Ministry of Science, Culture and Sport Prize |
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| 2005 |
Dorothea von Stetten-Kunstpreis, Kunstmuseum Bonn, Germany
Prix de Rome, 2nd prize, Rijksakademie, Amsterdam, The Netherlands
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| 2003 |
Anselm Kiefer Prize, The Wolf Foundation, Israel |
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| 1996 |
The Samuel Prize, for video/sound installation Ant-Bulb, Bezalel Academy, Jerusalem |
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| Selected Solo Exhibitions |
| 2007 |
The Power Plant, Toronto, Canada
Annet Gelink Gallery, Amsterdam, The Netherlands
Foksal Gallery, Warsaw, Poland
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| 2006 |
Museum Fridericianum, Amateur Anthropologist Kassel, Germany
Kunstverein Hamburg, Hamburg, Germany
Stedelijk van Abbemuseum, Eindhoven, The Netherlands
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| 2005 |
Museum St.Gallen, Wild Seeds, St.Gallen, Switzerland
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| 2004 |
Sommer Contemporary Art, You Could Be Lucky, Tel Aviv
MIT, List Visual Arts Center, Cambridge, Massachusetts
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| 2003 |
P.S.1 Contemporary Art Center, Kings of the Hill, New York
Herzliya Museum for Contemporary Art, Herzliya, Israel
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Selected Group Exhibitions
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| 2007 |
Documenta 12, Kassel, Germany
Dateline Israel: Recent Photography and Video, The Jewish Museum, New York
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| 2006 |
27th Bienal de São Paulo, Brazil
Tapies Foundaion, Records and Habits. The Time Machine/Images of Space, Barcelona, Spain
7th Werkleitz Biennial, Halle, Germany
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| 2005 |
9th Istanbul Biennial, Istanbul Biennial, Wild Seeds, Turkey
Prix de Rome.NL, Stichting de Appel, Amsterdam, The Netherlands
The Hebrews - 100 Years of Culture in Israel, The Israel Museum and Martin Gropius Bau, Berlin, Germany
Dorothea von Stetten Kunstpreis, Kunstmuseum BONN, Germany
CCA Wattis Institute for Contemporary, Irreducible, San Francisco
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| 2004 |
Time Zones: recent film and video, Tate Modern, Kings of the Hill, London, UK
Wherever I am, Modern Art Oxford, Oxford, UK
The 3rd Liverpool Biennial, UK
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| 2003 |
Witte De With, Territories, Rotterdam, The Netherlands
Neue Gesellschaft für Bildende Kunst, Wonderyears, Berlin. Germany
KW-Berlin, Territories, Germany
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| 2002 |
Musee d'Art Contemporain de Lyon, Rendez-Vous, Lyon, France
Manifesta 4, European Biennial of Contemporary Art, Frankfurt am Main, Germany
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| Press Reviews |
"Another piece that merited a great deal of interest is by Yael Bartana, who won the last Gottesdiener Prize; her work even had the honor of appearing on last week's cover of the German magazine Der Spiegel. Her installation Summer Camp, like Bartana's previous works, is very professionally made, with regard to both the editing and the excellent accompanying sound..."
Dana Gilerman, Haaretz, June 17, 2007
"In her works Bartana takes an anthropological stance. Through various photography and editing techniques she reinforces specific aspects of reality, exposing the rituals, ceremonies and symbols consecrated by Israeli society."
Galit Eilat
"She has an exceptionally sensitive eye for public ritual and ceremony, both organized and spontaneous. Her videos document such moments, often slowing them down or editing them in ways that focus on the intimate actions that define a person's public persona and private uncertainties."
Charles Esche, From the cover of Yael Bartana: Videos & Photographs
"Yael Bartana's contribution to the exhibition shows a coherent and high-level artistic expression. 'Low Relief II' is an extraordinary work with reference to the history of Israel, to photography and to the moving image. 'Wild Seeds' has the quality of a great art work, that tricks one into seeing something which creates insecurity and questions what is play and what is real. The addition of the sound track is brilliant. 'A Declaration' is a performative video work with meaning about history and life."
David Neuman, Juror, The Gottesdiener Israeli Art Prize, TA Museum of Art, 2007
Human Dramas with a Mythological Overtone
"Bartana's video works look from the outside inward, into current Israeli affairs. The three video works of hers exhibited at the museum represent three different relationships between the camera as mediator and reality. What the three have in common is the ability to turn local political topics into human dramas with a mythological overtone."
Tali Cohen-Garbuz, Mar. 1, 2007
"Bartana has demonstrated the same seriousness in these new works which underline the integrity of her mission: simply to understand ...from an intelligent distance. Bartana's videos express the weight of this situation, and the intensity and the strangeness of certain moments which emerge from it....The soundtrack accompanying the Purim procession distorts the jubilation to the point where it becomes distressing, creating a parallel reality and a deepened understanding of the tense atmosphere."
Art Review, Oct. 2003, p. 102
"Bartana shows individual identity subsumed by ritual action, and in doing so makes the viewer aware of how social power structures exercise a control as omnipresent as a shadow."
Jens Asthoff, Artforum, July 28, 2006
"She works within the photographed space like a choreographer, creating the dance in her work out of the movement, out of the shooting angles from outside what is happening...surprisingly lovely...sometimes she lifts them up to mythological heights, although always with feminine irony - in the perpetual search for the beautiful, for the almost cinematic."
Uzi Tzur, Haaretz, Dec. 15, 2006
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