Arts | Special Issue : Contemporary Visual Culture in Conflict Zones and Contested Territories

Research

15 pages, 2028 KB

Open AccessArticle

The Body Remembers: Embodied Trauma, Resilience, and Matrilineal Healing in Contemporary Art

by Alexandria Zlatar and Hala Georges

Arts 2026, 15(4), 83; https://doi.org/10.3390/arts15040083 - 15 Apr 2026

Viewed by 81

This paper explores the intersection of embodied trauma, resilience, and healing as represented in contemporary art, focusing on a case study analysis of the autoethnographic practice as a reflexive methodology that integrates personal lived experience with cultural, political, and artistic analysis of the [...] Read more.

This paper explores the intersection of embodied trauma, resilience, and healing as represented in contemporary art, focusing on a case study analysis of the autoethnographic practice as a reflexive methodology that integrates personal lived experience with cultural, political, and artistic analysis of the works of Zlatar. Central to this study is examining the notion of rematriation, which calls for the reclamation of women’s histories and the restoration of knowledge passed down through generations. Through a series of her paintings, including works from her series A Serbian Renaissance, Refuge For the Oppressed Body, and The Minotaur Came and I Surrendered, Zlatar interrogates the transmission of trauma across generations of women, from Balkan origins, focusing on issues such as gender-based violence, displacement, and identity formation. These works challenge dominant narratives by centring women’s experiences not through externalized indicators or representations of healing, but mediating how mind–body relationships have dialogue, and her art employs this concept as spaces for memory, survival, and meaning-making. Drawing on feminist philosophy, artwork analysis and trauma studies, this paper situates Zlatar’s art to address historical inequities in women’s healing and the ongoing struggle for women’s agency and safety in contemporary society. Full article

(This article belongs to the Special Issue Contemporary Visual Culture in Conflict Zones and Contested Territories)

► Show Figures

Figure 1

22 pages, 6766 KB

Open AccessArticle

Erasure as Visibility: The Israeli Gaze and the Politics of Heritage in the Gaza Envelope

by Ronit Milano

Arts 2026, 15(3), 56; https://doi.org/10.3390/arts15030056 - 16 Mar 2026

Viewed by 353

Abstract

This article examines the politics of visuality in Israel through the case study of Alami House, a Palestinian home in the village of Hiribya that became the nucleus of Kibbutz Ziqim in 1949 and was later transformed into a heritage site near the [...] Read more.

This article examines the politics of visuality in Israel through the case study of Alami House, a Palestinian home in the village of Hiribya that became the nucleus of Kibbutz Ziqim in 1949 and was later transformed into a heritage site near the Gaza border. Drawing on theories of visual culture, affect, and heritage, the study traces the shifting visual and ideological functions of the site—from its early use as a kibbutz “watchtower,” through its renovation and rebranding as a heritage museum and wine bar, to its symbolic role during and after the Gaza War. It argues that the Israeli gaze toward the Palestinian—manifested in both the spatial design and the performative experience of the site—embodies a dual operation of seeing and unseeing, whereby the Palestinian is simultaneously acknowledged and erased. The essay introduces the concept of disciplined visuality to describe this politically orchestrated management of what may be seen, remembered, or forgotten. By analyzing Alami House as a microcosm of Israeli heritage-making, the article reveals how visuality functions as a tool of power, shaping both the material and conceptual landscape of the Israeli–Palestinian conflict. Full article

(This article belongs to the Special Issue Contemporary Visual Culture in Conflict Zones and Contested Territories)

► Show Figures

Figure 1

11 pages, 195 KB

Open AccessArticle

Claiming Place Through Visual Sovereignty—Articulations of Khoisan Belonging in Contemporary Cape Town

by Alta Steenkamp

Arts 2026, 15(2), 29; https://doi.org/10.3390/arts15020029 - 3 Feb 2026

Viewed by 799

Abstract

This article explores the reclamation of Khoisan identities in South Africa as a multifaceted process of cultural, spatial, and political resurgence. Framed within the country’s constitutional vision of a “Nation of Nations,” the research examines how Khoisan communities—historically marginalised and classified under apartheid [...] Read more.

This article explores the reclamation of Khoisan identities in South Africa as a multifaceted process of cultural, spatial, and political resurgence. Framed within the country’s constitutional vision of a “Nation of Nations,” the research examines how Khoisan communities—historically marginalised and classified under apartheid as “Coloured”—are reasserting their Indigenous heritage through acts of cultural revival and place-based activism. Centred on Cape Town, the ancestral homeland and symbolic epicentre of both colonial encounter and Indigenous resurgence, the article theoretically investigates how creativity, heritage, and activism intersect in processes of reimagining, renaming, and retaking of place. Drawing on theories of visual sovereignty and re-placement, it analyses how visual and performative practices—ranging from protest art and language revitalisation to heritage occupations—function as decolonial acts that reclaim both the image and meaning of place. The article situates the Khoisan revival within broader global movements of Indigenous self-representation and argues that reclaiming place constitutes a living form of sovereignty, restoring relational networks between people, land, and identity. Ultimately, it demonstrates that contemporary Khoisan activism transforms visibility into agency, using culture and creativity as tools to rewrite belonging and to decolonise South Africa’s cultural landscape. Full article

(This article belongs to the Special Issue Contemporary Visual Culture in Conflict Zones and Contested Territories)

27 pages, 7479 KB

Open AccessArticle

To Boldly Remember: Memorials and Mnemonic Technologies from Star Trek’s Vision to Israeli Commemoration

by Inbal Ben-Asher Gitler and Bar Leshem

Arts 2026, 15(1), 3; https://doi.org/10.3390/arts15010003 - 31 Dec 2025

Viewed by 1038

Abstract

This article examines memory and monuments in the science fiction Star Trek franchise as a lens for understanding commemoration technologies and how futuristic visions of memorials anticipated real ones, especially during times of conflict. To understand the cultural reciprocity of sci-fi television and [...] Read more.

This article examines memory and monuments in the science fiction Star Trek franchise as a lens for understanding commemoration technologies and how futuristic visions of memorials anticipated real ones, especially during times of conflict. To understand the cultural reciprocity of sci-fi television and contemporary commemoration of war and trauma, we investigate the interactive website produced by the Israeli Public Broadcasting Corporation, Kan, titled Kan 7.10.360, which commemorates the victims of the 7 October 2023 Hamas massacre of civilians, soldiers, and policemen in Israel’s Gaza Envelope region. The 7.10.360 website employs advanced technologies to create what we identify as a digital “counter-monument.” By applying the concept of metamemorial science fiction relating to the Shoah, investigating its victims’ commemoration and examining the globital turn in memory work, we demonstrate that the Kan project realizes digital mnemonic practices engaged in Star Trek. We argue that the renowned series performs and anticipates three aspects of globital memory work and novel digital commemoration, also prevalent in the Kan 7.10.360 website: the personalization of memory using images; televisual testimony or documentation that mediates personal experience; and the display of objects that symbolize quotidian aspects of the victims’ lives. Full article

(This article belongs to the Special Issue Contemporary Visual Culture in Conflict Zones and Contested Territories)

► Show Figures

Graphical abstract

14 pages, 709 KB

Open AccessArticle

Operative Creativity: Art at the Intersection of Simulation and Realization

by Maayan Amir

Arts 2025, 14(5), 99; https://doi.org/10.3390/arts14050099 - 27 Aug 2025

Viewed by 1104

Abstract

This essay proposes operative creativity as a conceptual and artistic response to the shifting roles of images in the age of algorithmic perception. Departing from Harun Farocki’s seminal artwork Eye/Machine, which first introduced the operative image as functioning not to represent but [...] Read more.

This essay proposes operative creativity as a conceptual and artistic response to the shifting roles of images in the age of algorithmic perception. Departing from Harun Farocki’s seminal artwork Eye/Machine, which first introduced the operative image as functioning not to represent but to activate within machinic processes, it traces the transformation of images from representational devices to machinic agents embedded in systems of simulation and realization. Although operative images were initially engineered for strictly technological functions, they have, from their inception, been subject to repurposing for human perception and interpretation. Drawing on literature theorizing the redirection of operative images within military, computational, and epistemic domains, the essay does not attempt a comprehensive survey. Instead, it opens a conceptual aperture within the framework, expanding it to illuminate the secondary redeployment of operative images in contemporary visual culture. Concluding with the artwork Terms and Conditions, co-created by Ruti Sela and the author, it examines how artistic gestures might neutralize the weaponized gaze, offering a mode of operative creativity that troubles machinic vision and reclaims a space for human opacity. Full article

(This article belongs to the Special Issue Contemporary Visual Culture in Conflict Zones and Contested Territories)

► Show Figures

Figure 1

28 pages, 2781 KB

Open AccessArticle

Curatorial Re-Action in Israel Post October 7th: The Approach of Empathy

by Tamar Mayer

Arts 2025, 14(5), 100; https://doi.org/10.3390/arts14050100 - 27 Aug 2025

Cited by 2 | Viewed by 1796

Abstract

This article analyzes responses of museums and art institutions in Israel to the events of October 7th. It stresses the public role of museums in times of crisis, and the ways that diverse curatorial choices reflect upon their institutions’ pursuits. It focuses on [...] Read more.

This article analyzes responses of museums and art institutions in Israel to the events of October 7th. It stresses the public role of museums in times of crisis, and the ways that diverse curatorial choices reflect upon their institutions’ pursuits. It focuses on the case study of curatorial empathy, enacted at the Tel Aviv University Art Gallery, noting its aptness at times of crisis and trauma. The article claims that in a society that experiences both internal and external conflicts, the approach of empathy offers flexibility and openness that allow the museum to respond to public need on the one hand, and poses challenging questions on the other. Such questions are explored through the method of artistic-scientific dialogue. As contentions multiply, overlap, and contrast, the expansion of circles of identification becomes a key strategy in addressing this crisis. This essay argues that empathy is a more thoughtful and productive curatorial approach, because it emphasizes connection rather than only identity. From this perspective, the crisis that started on October 7th is not only that of war, loss, and grief, but also that of a threat to humanness under extreme angst. Full article

(This article belongs to the Special Issue Contemporary Visual Culture in Conflict Zones and Contested Territories)

► Show Figures

Figure 1

10 pages, 264 KB

Open AccessArticle

Кoнец фильма: Ruins, Remnants, and Remains of the USSR Army in Borne Sulinowo as an Inspiration for Performance Artists

by Małgorzata Kaźmierczak

Arts 2025, 14(4), 75; https://doi.org/10.3390/arts14040075 - 11 Jul 2025

Cited by 1 | Viewed by 1324

Abstract

This article analyzes the significance of the ruins and remnants of the Soviet Army in Borne Sulinowo, a former secret Soviet military base in Western Pomerania (Poland), as a source of inspiration for performance artists. This study draws from a variety of theoretical [...] Read more.

This article analyzes the significance of the ruins and remnants of the Soviet Army in Borne Sulinowo, a former secret Soviet military base in Western Pomerania (Poland), as a source of inspiration for performance artists. This study draws from a variety of theoretical frameworks, including performance art theory, new materialism, and the thing theory. Additionally, it draws from the ideas of Carl Lavery, Richard Gough, Ann Laura Stoler, and Georg Simmel. This text delves into the notion that the transient character of performance art mirrors the fleeting nature of power, particularly in the context of the dissolution of the Soviet regime. Following the Polish reacquisition of the site in the early 1990s, artists such as Władysław Kaźmierczak and Brian Connolly transformed found objects and the decaying environment into performance art. This article analyzes performances such as Kaźmierczak’s кoнец фильма (The End of the Movie) and Connolly’s Frieze Frame. It discusses how these works captured the emotional and intellectual responses to the remnants of military occupation. The performances demonstrate the interplay between decay, memory, and historical consciousness, employing the ruins as a medium for reflecting on the collapse of Soviet influence in Poland and the shifting geopolitical landscape. Full article

(This article belongs to the Special Issue Contemporary Visual Culture in Conflict Zones and Contested Territories)

25 pages, 1556 KB

Open AccessArticle

Queering Militarism in Israeli Photography

by Nissim Gal

Arts 2025, 14(1), 5; https://doi.org/10.3390/arts14010005 - 8 Jan 2025

Cited by 1 | Viewed by 2967

Abstract

This article, Queering Militarism in Israeli Photography, examines Adi Nes’s Soldiers series, a body of work that interrogates the intersections of queerness, militarism, and nationalism within Israeli society. By employing a distinctive “military circus” aesthetic, Nes challenges the rigid heteronormative and hyper-masculine [...] Read more.

This article, Queering Militarism in Israeli Photography, examines Adi Nes’s Soldiers series, a body of work that interrogates the intersections of queerness, militarism, and nationalism within Israeli society. By employing a distinctive “military circus” aesthetic, Nes challenges the rigid heteronormative and hyper-masculine archetypes embedded in Israeli military identity. His staged photographs depict soldiers in circus-inspired performative poses, blending military discipline with elements of the carnivalesque to subvert conventional representations of military masculinity. This approach creates spaces where queerness, vulnerability, and fluid identity defy the rigid confines of nationalist narratives. Using queer studies frameworks, performance theory, and postcolonial critique, this article analyzes Nes’s depiction of soldiers as both military subjects and circus performers, examining how these representations disrupt the “naturalness” of gender, power, and identity within the Israeli national ethos. Through a close reading of key images—such as the fire-breathing soldier, the acrobat on a tightrope, and the strongman figure—this article argues that Nes critiques homonationalism and exposes the co-optation of LGBTQ+ identities into militaristic frameworks. His images juxtapose exaggerated masculinity with homoerotic and introspective vulnerability, positioning the queer body as both a participant in and a subverter of the national narrative. Drawing on contemporary queer theory—including José Esteban Muñoz’s concept of “disidentification”, Eve Kosofsky Sedgwick’s theories of queer shame and performativity, and perspectives on temporality, failure, and counterpublics following Elizabeth Freeman, Jack Halberstam, Michael Warner, and Sara Ahmed—this article frames queerness as an active site of resistance and creative transformation within the Israeli military complex. The analysis reveals how Nes’s work disrupts Zionist masculinities and traditional militaristic structures through a hybrid aesthetic of military and circus life. By reimagining Israeli identity as an inclusive, multi-dimensional construct, Nes expands queer possibilities beyond heteronormative confines and homonationalist alignments. This merging of critical queer perspectives—from the destabilizing of discipline and shame to the public visibility of non-normative bodies—posits that queer identities can permeate and reshape state power itself, challenging not only the norms of militaristic nationalism but also the boundaries of Israeli selfhood. Full article

(This article belongs to the Special Issue Contemporary Visual Culture in Conflict Zones and Contested Territories)

► Show Figures

Figure 1

Journal Menu

Journal Browser

Contemporary Visual Culture in Conflict Zones and Contested Territories

Share This Special Issue

Special Issue Editor

Special Issue Information

Keywords

Benefits of Publishing in a Special Issue

Published Papers (8 papers)

Research

Further Information

Guidelines

MDPI Initiatives

Follow MDPI