• Yael Bartana, "True Finn – Tosi suomalainen", 2014, one channel video and sound installation, 50 min, © the artist
  • Yael Bartana, "True Finn – Tosi suomalainen", 2014, one channel video and sound installation, 50 min, © the artist
  • Yael Bartana, "True Finn – Tosi suomalainen", 2014, one channel video and sound installation, 50 min, © the artist
  • Yael Bartana, "Inferno", 2013, one channel video and sound installation, 22 min, © the artist
  • Yael Bartana, "Inferno", 2013, one channel video and sound installation, 22 min, © the artist
  • Yael Bartana, "Inferno", 2013, one channel video and sound installation, 22 min, © the artist
  • Yael Bartana, "And Europe Will Be Stunned", 2012, installation view Louisiana Museum of Modern Art, photo: Poul Buchard
  • Yael Bartana, "And Europe Will Be Stunned", 2012, installation view Louisiana Museum of Modern Art, DK, photo: Poul Buchard
  • Yael Bartana, "And Europe Will Be Stunned", 2012, installation view Van Abbemuseum, Eindhoven
  • Yael Bartana, "And Europe Will Be Stunned", 2012, installation view Van Abbemuseum, Eindhoven
  • Yael Bartana, "And Europe Will Be Stunned", 2011, installation view Polish Pavilion, Venice Biennale, photo: Ilya Rabinovich
  • Yael Bartana, "And Europe Will Be Stunned", 2011, installation view Polish Pavilion, Venice Biennale, photo: Ilya Rabinovich
  • Yael Bartana, "And Europe Will Be Stunned / Zamach (assassination)", 2011, one channel video and sound installation, 35 min, © the artist
  • Yael Bartana, "And Europe Will Be Stunned / Zamach (assassination)", 2011, one channel video and sound installation, 35 min, © the artist
  • Yael Bartana, "Entartete Kunst Lebt" , 2010, Animation, one channel video and sound installation, 5 min, © the artist
  • Yael Bartana, "Entartete Kunst Lebt" , 2010, Animation, one channel video and sound installation, 5 min, © the artist
  • Yael Bartana, "And Europe Will Be Stunned / Mur i wieza (Wall and Tower)", 2009, one channel video and sound installation, 15 min, © the artist
  • Yael Bartana, "And Europe Will Be Stunned / Mur i wieza (Wall and Tower)", 2009, one channel video and sound installation, 15 min, © the artist
  • Yael Bartana, "And Europe Will Be Stunned / Mur i wieza (Wall and Tower)", 2009, one channel video and sound installation, 15 min, © the artist
  • Yael Bartana, "Pioneers of the Jewish Renaissance Movement in Poland (2)", 2011, Colour photograph on dibond, 120 x 80 cm, © the artist
  • Yael Barta, "And Europe Will Be Stunned / Mary Koszmary (Nightmares)", 2007, one channel video and sound installation, 11 min, © the artist
  • Yael Barta, "And Europe Will Be Stunned / Mary Koszmary (Nightmares)", 2007, one channel video and sound installation, 11 min, © the artist
  • Yael Barta, "And Europe Will Be Stunned / Mary Koszmary (Nightmares)", 2007, one channel video and sound installation, 11 min, © the artist
  • Yael Bartana, "Summer Camp", 2007, installation view Neue Galerie, Documenta 12, Kassel
  • Yael Bartana, "Summer Camp / Awodah", 2007, Two Channel video and sound installation, 12 min, © the artist
  • Yael Bartana, "Summer Camp / Awodah", 2007, Two Channel video and sound installation, 12 min, © the artist
  • Yael Bartana, "Summer Camp / Awodah", 2007, Two Channel video and sound installation, 12 min, © the artist

Throughout her artistic practice, Yael Bartana has dealt with the imagery of identity and the politics of memory. With her point of departure being the national consciousness propagated by her native Israel, Bartana has become fascinated by the ceremonies, public rituals and social diversions that exist to reaffirm collective identities across different nation states. Her recent work Bury Our Weapons, Not Our Bodies! which took the form of a military funeral throughout the streets of the birthplace of American democracy represents one of many examples of such fascination.

 

Constantly seeking to create alternative fictional realities in commentary to existing narratives, Yael Bartana has been known for staging situations and introducing fictive moments in her works. Her film Inferno for example takes Solomon’s Temple in São Paolo as a starting point; she imagines its inauguration, its destruction and the subsequent worship of its debris in a critique of the rising influence of evangelical churches in Brazil. Similarly, in What If Women Ruled the World, Bartana imagines a hypothetical union of female governors and experts on a mission to avert impending disaster.

 

Yael Bartana (b. 1970, Kfar-Yehezkel, Israel, lives and works in Amsterdam and Berlin) was formally trained at the Bezalel Academy of Arts and Design, Jerusalem, the School of Visual Arts, New York and the Rijksakademie in Amsterdam. Through primarily dealing with film and collective performance, in recent years the artist has been experimenting with different mediums and expanding her body of work with sculptures and prints.

 

Bartana was nominated to represent Poland at the 54th Venice Biennial (2011) with her acclaimed trilogy And Europe Will Be Stunned. This widely-exhibited film explores the history of Polish-Jewish relations and its influence on the contemporary Polish identity. By employing symbols of both Poland’s and Israel’s past, Bartana reconstructs a context, and raises important issues of displacement and assimilation. Her works have been shown across a number of important institutions, such as the Philadelphia Museum of Art, Philadelphia (2018); the Musée cantonal des Beaux-Arts, Lausanne (2017); the Stedelijk Museum, Amsterdam (2014); the Secession, Vienna (2012); and the Louisiana Museum of Modern Art, Humlebæk (2012). In 2020, Yael Bartana will hold a solo show at the Jewish Museum Berlin with a new commissioned work for the museum, The Redemption.

Monopol
In Berlin zertrümmert Yael Bartana den Tempel Salomos, by Jens Hinrichsen, Monopol März 2015

The Brooklyn Rail
Yael Bartana in conversation with Sara Roffino, The Brooklyn Rail, February 2015

IHME Contemporary Art Festival
Maria Lind and Yael Bartana, “Conversation on the IHME Project 2014: True Finn,” IHME Contemporary Art Festival 2014, exh. cat.

 

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