Ariella Azoulay

"Since the start of the occupation of Palestinian territories in 1967, Israel's domination of the Palestinians has deprived an entire population of any political status or protection. But even decades on, most people speak of this rule - both in everyday political discussion and in legal and academic debates - as temporary, as a state of affairs incidental and external to the Israeli regime. In The One-State Condition, Ariella Azoulay and Adi Ophir directly challenge this belief. Looking closely at the history and contemporary formation of the ruling apparatus - the technologies and operations of the Israeli army, the General Security Services, and the legal system imposed in the Occupied Territories - Azoulay and Ophir outline the one-state condition of Israel/Palestine: the grounding principle of Israeli governance is the perpetuation of differential rule over populations of differing status. Israeli citizenship is shaped through the active denial of Palestinian citizenship and civil rights. Though many Israelis, on both political right and left, agree that the occupation constitutes a problem for Israeli democracy, few ultimately admit that Israel is no democracy or question the very structure of the Israeli regime itself. Too frequently ignored are the lasting effects of the deceptive denial of the events of 1948 and 1967, and the ways in which the resulting occupation has reinforced the sweeping militarization and recent racialization of Israeli society. Azoulay and Ophir show that acknowledgment of the one-state condition is not only a prerequisite for considering a one- or two-state solution; it is a prerequisite for advancing new ideas to move beyond the trap of this false dilemma." -- Publisher's description.

This is an account of the power relations that sustain and make possible photographic meanings, with special attention to photographs of Palestinian noncitizens of Israel and women in Western societies. "Azoulay argues that photography is a particular set of relations between individuals to the power that governs them, and, at the same time, a form of relations among equal individuals that constrains this power. Her book shows how anyone, even a stateless person, who addresses others through photographs or occupies the position of a photograph's addressee, is or can become a citizen in the citizenry of photography. The civil contract of photography enables him or her to share with others the claim made or addressed by the photograph. But the crucial arguments of the book concern two groups whose vulnerability and flawed citizenship have been rendered invisible due to their state of exception: the Palestinian noncitizens of Israel and women in Western societies. What they share is an exposure to injuries of various kinds and the impossibility of photographic statements of their plight from ever becoming claims of emergency and calls for protection. Thus one of her leading questions is the following: Under what legal, political or cultural conditions does it become possible to see and to show disaster that befalls those flawed citizens in states of exception? The book brilliantly examines key texts in the history of modern citizenship, such as the Declaration of the Rights of Man and of the Citizen, together with relevant works by Giorgio Agamben, Hannah Arendt, Olympe de Gouges, and Jean-Franç̧ois Lyotard; it rigorously analyzes Israeli photographs of violent episodes in the Occupied Territories--work by Miki Kratsman, Michal Heiman, and Aïm Deüelle Lüski--and it interpretively engages photographs of women from those of Muybridge to recent images from Abu Ghraib prison. At the same time Azoulay provides new critical perspectives on well-known texts such as Susan Sontag's Regarding the Pain of Others and Roland Barthes's Camera Lucida." -- Publisher's description.

From theory-inspired poetry to technocratic desires concealed behind razorblades; from anarchy to mass-entertainment; from the collapse of binary distinctions of scale to post-human architecture; from the vibratory power of sound and vision to crowds, to the rejection of natural essentialism, materialist universality, and the haunted houses of the Anthropocene, all can be found in Deep Scroll. Edited by the artist Anne de Vries in collaboration with an AI text generator, this book offers an offline domain in which a network of artistic gestures and theoretical contributions are collected for your scrolling needs. Comprising a range of scrolling pathways that serve as hyperlinks and references to past art projects, sketches, research, and documentation, this book overflows with texts and collages that generate ambiguous algorithms that fleetingly capture the focus of our configurations. All content smoothly flows, driving an accelerated state of correlation to the point of its collapse. Deep Scroll is designed to be reactive; it may induce an epiphany, or to leave the reader at the nadir of a cognitive abyss. 'Deep Scroll' is an artist publication produced in collaboration with AISSystem and Onomatopee. This limited edition contains contributions by Ariella Azoulay, Alain Badiou, Iain Hamilton Grant, Amelia Groom, Nicholas Korody, AI text generators, and many others.

Miki Kratsman (born 1959) has worked as a photojournalist in the Palestinian Occupied Territories for over three decades. Originally created in the context of daily news, his photographs look at both "wanted men"--Individuals sought by the Israeli state--and the everyman and everywoman on the street who, by virtue of being Palestinian in a particular time and place, can be seen as a "suspect." Kratsman has also provoked long-term interaction around the images on social media, creating a Facebook page on which viewers are invited to identify the individuals portrayed and comment on their "fate." This complex project is chronicled in this book in more than 300 images that powerfully implicate the viewer. A text by Ariella Azoulay explores the ways in which the shadow of death is an actual threat that hovers over Kratsman's subjects, and a supplemental booklet contains hundreds of portraits and evocative messages from Kratsman's Facebook project.

"This is a book about the public display of death in contemporary culture. It consists of a series of essays on specific cases in which death is displayed in museums and in photography. The essays focus mainly on representations of violence and death in events in recent Israeli history, including the assassination of Yitzhak Rabin and the Palestinian Intifada, and on the visual presence of traumatic events in Israeli culture throughout the twentieth century. They show how images of these events both shape and aestheticize the viewer's experience of death."--BOOK JACKET.

This volume is a collection of drawings and captions for "unshowable" photographs taken in Palestine in 1947-50, gathered from the International Committee of the Red Cross archives in Geneva.