Oraib Toukan Read Bio Collapse
Oraib Toukan is an artist and a post-doctoral EUME fellow at the Forum Transregionale Studien, Berlin. Using post-production as a medium, she is currently working with photography, film, and speech to study representations of encounters with violence. Toukan holds a PhD in Fine Arts from Oxford University, Ruskin School of Art. Until fall 2015, she was head of the Arts Division and Media Studies program at Al-Quds Bard College, Palestine, and visiting faculty at the International Academy of Fine Arts, Ramallah. She is author of Sundry Modernism: Materials for a Study of Palestinian Modernism (Sternberg Press, 2017).
Navigation begins where the map becomes indecipherable. Navigation operates on a plane of immanence in constant motion. Instead of framing or representing the world, the art of navigation continuously updates and adjusts multiple frames from viewpoints within and beyond the world. Navigation is thus an operational practice of synthesizing various orders of magnitude.
Screening and discussion: Ana Vaz, Oraib Toukan, Deimantas Narkevičius, and Martha Rosler
Here and Elsewhere: Horizons of Resistance from Palestine
# 101
There is a fracture in the depth of field at which images of suffering are being viewed. The question is not how suffering is represented to us, but at what depth these images can be navigated—in their singular form, and as powerful expanses of understanding. Taking the Palestinian quest for representation as an example of an historic flow of images striving for clarity, I ask: Can another depth of field be utilized that better embodies the mechanics of the digital gaze? If so, how does the gaze get channeled digitally?
e-flux journal and Harun Farocki Institut present: “Art After Culture: Navigation Beyond Vision” at Haus der Kulturen der Welt
# 96
Wars have evolved to many more frames per second in the years since the war on Iraq began (and have indeed accelerated because of that war), and we continue to participate in them no matter how undecided, baffled, or distant we are towards them—and no matter who “we” are (just yet). We participate in war because we consume its cruel images, and often at a mediated distance. The Lebanese writer and translator Lina Mounzer profoundly wrote in 2015: “I have buried seven husbands, three fiancés, fifteen sons, and a two-week-old daughter … I have watched my city, Maarrat al-Numan, burn, I have watched my city, Raqqa, burn, I have fled Aleppo … All this I have watched from my living room in Beirut.”
Films, Facts, and Fiction
