Gal Amiram

My artistic practice is rooted in the research of historical events. I am interested in places, people, and moments that occur in the corollaries of colonialism, and were impacted by the Western Perspective. I am especially interested in upending the lingering dominance of these ideologies in the field of photography, the concept of the gaze, and their confluence in the context of Israel-Palestine.

I work with visual technologies – understood in its broadest sense as the organized collection of knowledge, techniques, skills, methods, and processes used for production – such as cameras, digital imaging, exhibitions design, virtual reality, panoramas and printers. I use the images and representations that are the product of technology “inappropriately” and against their intended use as impermanent, malleable, or sculptural material. This misusing of technology exposes the limits of the tool, but more profoundly points at the social constructs that direct and limit its use. This process hits at the way aesthetics are used to mediate power and render it invisible, to which my work is positioned. It reuses devices and tools of power to brings into focus the invisible mediation through exposing the seams, the gaps, the glitches, the serendipitous, the human mistakes, the errors, and the unintended.

Usually, photography is my main tool of work. I create large scale, multi-image digital compositions that are produced as site specific three-dimensional objects and two-dimensional images, made with photographic prints. These compositions are made by digitally stitching dozens or hundreds of photographs, captured and found, to produce images that defy technological limitations and dominant norms – such as hyper realistic surfaces, multiple scales of detail, conflicting perspectives, mixed temporalities, and impossible proportions. Yet my images retain some sense of reality and as such become realistic trompe l’oeils.

In my current project, No Go Zone, I’m assembling images of the now-eight-months-long Gaza border protests using photos captured from Israel, to compile a single representation of a political event that never ended. I superimposed on the still accumulating mural, magnified images of protestors to expose people that are beyond social visibility. The horizon is disrupted by photographs from different angles of the sky that is occupied with drones, smoke, and projectiles that confuse the viewer’s orientation. This collapse of time, space, and perspective point to the failures of the representation of political and historical events..

In Take A Spin, I deconstructed the way contemporary western journalisms employs technology to reify the universalist gaze. I constructed a site specific three-dimensional installation of the migrant camp in Calais, France with images displayed in New York Times’s 360 VR.  Fixing the digital images, virtual space, and the temporality of the “immersive environment” on the gallery’s walls, exposed the technological glitches, visual seams, and inadequacies of representation both literally and metaphorically.

In the future, I wish to continue to engage with the politics of the gaze, both as it pertain to the specific Israeli-Palestine conflict, my own identity, and in the local context of Los Angeles and find more intersectionality between the two locations. I am interested in extending my research to look and subvert at the way algorithms have become a dominant yet invisible way to govern, detect, predict, identify and categorize and human behavior. This plays out through massive audience simulation that mimics social relations. I am also exploring more materialistic ways in which invisibilization is carried out, such as the case with different technologies deployed by the Israeli army to eliminate sight, sound, and smell of the ongoing conflict.

In both my past work and future project, I undermine the technological tools that are used to meditate and make invisible forces that limit and control society. I believe that disruption, misuse and critique can extract its liberating potential. By tracing mediation of power through aesthetics, I am exposing unseen forces and breaking paradigms of hegemony in order to enrich and augment the artistic and political discourse in my communities in Israel, Los Angeles, the digital and virtual, and elsewhere.

 

 

Education:

 

2017 MFA Art Center College of Design, Pasadena, CA

2015 School of the Art Institute of Chicago, IL

2013 BFA Fine Arts, Shenkar College, Ramat-Gan, Israel

 

Exhibitions:

 

2018

Into the Deep, The Israeli Center for Digital Art , Holon, Israel

This Is Not Halfway, American Jewish University (AJU), Los Angeles, CA (Duo Exhibition)

The Trick That Has Never Been Done, Angels Gate Cultural Center, San Pedro, CA (Solo project)

Juried Exhibition 2018, Los Angeles Municipal Art Gallery, Los Angeles, CA

The Dangerous Professors, Flatland Gallery, Houston, TX

 

2017

This Isn’t Even My Final Form, Keystone Gallery, Los Angeles, CA

Take A Spin, ArtCenter, Pasadena, CA (Solo)

GLAMFA #10, CalState Long Beach, Long Beach, CA

 

2016

Doubles, ArtCenter, Pasadena, CA (Solo)

Refresh, Galerie La Croix, Pasadena, CA

 

2014

Fresh Paint 7,  Tel Aviv, Israel

Waiting List, Feinberg Projects gallery, Tel-Aviv, Israel

Turning the Tables BAAD Gallery, Tel-Aviv, Israel

The Art Law, Anti Mehikon Collective group exhibition, Gevirol Gallery, Tel-Aviv, Israel

 

2013

Anti Mehikon, Anti Mehikon Collective group exhibition, Hakir Gallery, Tel-Aviv, Israel

100 Meter Radius, STA Gallery, Tel Aviv, Israel

The Floor Under the Floor, Shenkar College, Ramat-Gan, Israel

 

Prizes and Awards:

2018 Artis Residency Grant

2018 Vermont Studio Center Merit Grant

2015 Carol Becker Dean’s Merit Scholarship (School of the Art Institute Chicago)

2015 Shapiro Fellowship Award (School of the Art Institute Chicago)

2014 The Yehoshua Rabinovich Tel Aviv Foundation for the Arts Project Grant

2012 Aba Fromchenko, Excellence in photography award (Shenkar)

2011 Multidisciplinary Art Department Excellence award (Shenkar)

 

Residencies:

 

2019 Museum of Contemporary Art, Tucson, Arizona (forthcoming)

2018 Vermont Studio Center (with VSC Merit Grant and Artis Residency Grant)

 

Lectures & Artist Talks:

2018 Museum of Contemporary Art, Tucson, Arizona (forthcoming)

2018 American Jewish University (AJU), Los Angeles, CA, This Is Not Halfway

2017 Artis Contemporary, Los Angeles, CA