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of body socialization through two main fields of inquiry. First, she examines the "encoding" of the body through the language, new for the women, that is used in the set of institutions they have to deal with, for instance administrative, medical and juridical institutions. Second, she looks into the "narrative" of the body or the way the women represent and perform their body at the crossroads of their own culture and the culture of the host society.
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is an ongoing and multimedia project (photos, interviews, sound installations, objects, drawings, archive documents). The first phase was developed in the framework of a fellowship at IMĂ©RA (Institut d'Ă©tudes avancĂ©es d'Aix-Marseille, Exploratoire MĂ©diterranĂ©en de lâInterdisciplinaritĂ©) in
Marseilles
497:
is a multidisciplinary study of the bodies of aging migrant women in their host countries through bodily and spoken language. The project seeks to reflect different cultural, social, political, biological and ritual perspectives on the aging of migrant women. Salama Ortar is concerned with the notion
365:
Civic
Performance Art engages such diverse fields as philosophy, history, anthropology, and political science along with media, cultural theory, memory, and trauma. It revolves around three key objectives: to make visible stories that were erased and activate them as site specific performance, to
357:
Civic
Performance Art includes projects realized on site over periods of several months or years. It involves research, installation, drawing, painting, performance, experimental video, documentary filmmaking, and architectural model. Civic Performance Art examines the effects on individuals,
481:
covers two time periods: the first is a journey into the past via a flashback to his childhood, the second focuses on his progress in the present. Both border areas described in the works were or are under
Israeli control and experienced war. They subsist in a constant state of emergency, or
348:
works have been exhibited in Israel (University of Haifa, Israel Museum, Tel Aviv Museum of Art, Artistsâ House
Jerusalem), France (Renos Xippas Gallery, Paris), United States (Marge Goldwater Gallery and Drawing Center Soho, New York City) and the Netherlands (Forum Gallery, Amsterdam).
396:. It made visible memory layers of the city and brought the mixed population of Haifa to exchange around them. It was based on collecting testimonies via questionnaires and interviews, and creating installations and performances in downtown Haifa public spaces.
415:
Through excavations conducted with the local population, architectural reconstruction, sound installation, mappings, drawings, and interviews, the different projects explored the history and architectural structure of the transit camp Le Grand Arénas.
503:
in 2015. It was initially based on a series of workshops organized in partnership with the association AMPIL (the association provides social and health services for the elderly from the
Mediterranean as well as social integration through housing).
319:
Ortar won a fellowship at IMĂ©RA, Aix-Marseilles in 2015. Ortar was awarded the
Israeli Lottery Award for Visual Arts (2012/2014) and the Prize of the Ministry of Education in Israel for Visual Arts (2006).
340:
writing/painting of the canvas reflect the city's building and rebuilding, and the sedimentation process by which its successive identities are projected onto material and immaterial elements.
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for regulating postwar population movements. It served in the 1950s as transit camp for Jews from Arab countries and
Holocaust survivors, and later on as settlement for
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that pervades all levels of people's experience when they are displaced physically (immigrants), socially (in rundown districts) or politically (by war and occupation).
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focused on the unilateral transfer of fertile soil from an area under
Israeli Defense Forces control in Southern Lebanon to Northern Israel in 1995â1998.
300:
From 1975 to 1988 she worked as curator of the Art
Gallery, University of Haifa. From 1996 to 2011 she has been teaching at the School of Communication,
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Ilana Salama Ortar was born in Alexandria, Egypt, in 1949. Forced to leave Egypt with a one-way pass in 1952, Ortar and her parents migrated to
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is a series of paintings, works on paper, and photography (photogram) that deal with the issue of erased memories in the urban fabric. The
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316:. From 2008 to 2011 she was the Head of Visual Art in the Department of Visual Art, Literature and Music, Academic College, Safed.
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Hanadi Loubani and Sara Matthews, "Land without soil: Art without artwork: Interview with Ilana Salama Ortar and Stephen Wright",
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Sophie Wahnich, âHaĂŻfa: Des installations artistiques contemporaines comme archĂ©ologie dâune tradition interculturelle.â In
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Ilana Salama Ortar, âLa Tour des ProphĂštes et la Villa Khury Wadi Nis-Nas, Haifa, Israel: Un Projet dâArt Civique,â In
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In 2008, she was awarded a PhD degree with her thesis "Civic Performance Art and Architecture of Emergencyâ at the
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edited by Roselyne de Villanova, Marie-Antoinette Hilly and Gabrielle Varro (Paris: lâHarmattan, 2001), 271-289.
858:
Sophie Wahnich, âLe territoire comme matiĂšre sensible, l'art comme archĂ©ologie, de HaĂŻfa Ă Marseille 1995-1999.â
477:
man who had lost half his body in a landmine explosion when he was fourteen. He asked her to film him. The movie
737:
the FRAC (Fonds RĂ©gional d'Art Contemporain) Poitou-Charentes, and * the FRAC PACA (Provence-Alpes-CĂŽte-dâAzur).
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Philippe Duboy, âLe Temps en chantier: Ilana Salama Ortarâs âUrban Tracesâ ou le refoulĂ© de la table rase.â
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migrants and social outcasts until it was destroyed in the 1960s. Ilana Salama Ortar published the book
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Level stone: conceptual crossing of the border between Israel and South Lebanon, photo made in 2000
366:
produce visual critical documentation, and to create spaces of dialogue between local communities.
881:
edited by Philippe Cyroulnik (MontbĂ©liard: CRAC, Centre RĂ©gional dâArt Contemporain, 2007), 68-73.
358:
communities, cities, and landscapes of situations of arbitrariness and domination. It exposes the
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Nissim Gal, âBare Life: The refugee in contemporary Israeli art and critical discourse,â
409:
Reconstruction of a barrack of Le Grand Arénas in the exhibition at Herzliya Museum, 2005
432:
392:
at the very place of the Villa Khury, an emblematic site of Arab resistance during the
382:
Model of the Villa Khury and Prophets Tower used in the installation at the mall, 1995
1027:
388:
The project focused on the Prophetsâ Tower, a glass-and-steel mall built in 1979 in
378:
281:, near Marseilles in France. She studied Art History and French Literature at the
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The work combined two projects dealing with the notion of bare life, drawn after
389:
168:
544:. Contentious material about living people that is unsourced or poorly sourced
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While realizing a documentary movie on the subject, Ortar came upon a young
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The work of Ilana Salama Ortar is included in the public collection of
405:
143:) is an interdisciplinary visual artist whose work focuses on issues of
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894:(Marseille: Images en ManĆuvre Editions/Carta Blanca Editions, 2001).
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Ilana Salama Ortar and Stephen Wright. âInadvertent monuments.â
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from the article and its talk page, especially if potentially
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20 (April 2011), Bezalel Academy, History and Theory Journal"
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Special issue 80-81 (London: Routledge. 2006), pp. 373-376.
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The camp was built near Marseilles in 1945 by architect
907:(Tel Aviv: HaKibbutz Hameuchad Publishing House, 2005)
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Construire lâInterculture? De la Notion aux Pratiques,
403:, Le Grand Arénas Transit Camp, Marseilles (1998-2013)
860:
Sciences de la Société, Art, Mémoire et Territoire,
431:in 2005, with texts by Yona Fischer, Zvi Efrat and
1004:Fonds RĂ©gional d'Art Contemporain Poitou-Charentes
920:: Negotiating Dissent Vol. 26 No.4. (2003), 26-35.
890:Ilana Salama Ortar, "ĂlĂ©menterre-ĂlĂ©mentaire" in
715:the Metropolitan Museum of Art in New York City,
369:The main projects of Civic Performance Art are:
803:""Berlin Diary: Journal (intime) de Berlin" in
688:Urban Traces: Villa Khury / The Prophetsâ Tower
892:PrĂ©/Occupation dâEspace: JĂ©rusalem au Pluriel
8:
937:""Land Without Earth and Corporeal Memory."
464:borders between Israel and Lebanon and Syria
197:. Unsourced material may be challenged and
285:in Jerusalem and graduated M.A. in 1986.
53:about living persons that is unsourced or
608:Learn how and when to remove this message
261:Learn how and when to remove this message
124:Learn how and when to remove this message
1079:Academic staff of Sapir Academic College
374:Villa Khury / The Prophetsâ Tower, Haifa
848:, Vol. 68, No. 4. (Winter 2009), 24-43.
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277:in Israel. They transited via the camp
1069:Alumni of the University of Roehampton
1074:Hebrew University of Jerusalem alumni
7:
353:Civic performance art (1995-present)
195:adding citations to reliable sources
724:the Museum of Fine Arts in Houston,
1089:21st-century Israeli women artists
1084:20th-century Israeli women artists
834:(French and English, 2000), 86-89.
727:the Stedelijk Museum in Amsterdam,
664:The Camp of the Jews (Testimonies)
14:
732:Fonds National dâArt Contemporain
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721:the Philadelphia Museum of Art,
706:the Haifa Museum of Modern Art,
703:the Israel Museum in Jerusalem,
155:and architecture of emergency.
970:The Metropolitan Museum of Art
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767:"CollÚge Académique de Safed"
755:Holon Institute of Technology
670:LâIncurable mĂ©moire des corps
314:Holon Institute of Technology
832:LâArchitecture dâAujourdâhui
622:Foreign Body: Ima. Oum. MĂšre
526:biography of a living person
31:biography of a living person
718:the Brooklyn Museum of Art,
546:must be removed immediately
490:Foreign Body (2015-present)
329:Urban Traces (1985-present)
58:must be removed immediately
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903:Ilana Salama Ortar et al.
440:Adamot, Land without Earth
1054:Interdisciplinary artists
879:DĂ©chirures de lâHistoire,
658:ArrĂȘt Barre Chicago, Lyon
310:Tel Hai Academic College
290:University of Roehampton
1044:Artists from Alexandria
709:Tel Aviv Museum of Art,
462:, and referring to the
1064:Israeli women painters
712:the Yad Vashem Museum,
540:Please help by adding
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302:Sapir Academic College
45:Please help by adding
1059:Israeli photographers
1049:Artists from Tel Aviv
535:references or sources
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394:1948 Arab-Israeli war
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344:is her latest series.
191:improve this section
905:The Camp of the Jews
640:Territorial Intimacy
634:Foreseer of the Past
557:"Ilana Salama Ortar"
429:The Camp of the Jews
401:The Camp of the Jews
210:"Ilana Salama Ortar"
73:"Ilana Salama Ortar"
51:Contentious material
805:Point Contemporain
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1034:1949 births
975:26 November
846:Art Journal
734:) in Paris,
695:Collections
682:Body Memory
446:(1989-2010)
390:Wadi Nisnas
376:(1995-2001)
1028:Categories
951:2013-07-23
924:Third Text
817:2017-08-16
777:2013-09-22
742:References
730:the FNAC (
568:newspapers
312:, and the
251:April 2024
221:newspapers
84:newspapers
939:Protocols
529:does not
178:does not
149:uprooting
145:migration
36:citations
624:, 7 min.
598:May 2018
114:May 2018
62:libelous
807:, 2016"
582:scholar
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425:Maghreb
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184:sources
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575:books
475:Druze
275:Haifa
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91:books
29:This
977:2023
561:news
533:any
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182:any
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159:Life
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