Gal Amiram גל עמירם
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WHERE IT ALL BEGAN (WIP)

Where it All Began, visually investigates the nexus of territoriality and landscape in the architecture of Israeli archaeological parks in Palestinian Occupied Territories. The City of David in East Jerusalem, Susya near Hebron, Herodium near Bethlehem, and The City of Shiloh are archaeological sites which ostensibly contain evidence of a Jewish claim to a biblical past, yet are located on Palestinian land. These sites have become flashpoints for political struggle, not merely for their contested historical narratives, but mostly as they construct a colonial way of looking which removes Palestinian life from the landscape. This gaze and its territorial power stem from the built environment: specific construction materials that distinguish it from its surrounding, ethnically restricted access, and most critically, positioning the viewer in a hierarchical relation to the land. This project uses photography to study this regime of (in)visibility and its politics of looking, landscape, and architectural space.

2020 - Ongoing








No Go Zone

In No Go Zone, titled after the IDF buffer zone to which entry risks maiming, I created three wall-sized panoramas of three locations of the Gaza border protests (2018-2019). Each image is digitally composed from dozens of news-media images taken over the course of a year and a half, from military designated vantage points on the Israeli side of the border. New photos were added as the protests continued to compile a single representation of a political event that never ended. These Panoramas compile fractured, atomized, and time-bound images to make present the endlessness, scale, and span of the protests while defying limitations on documentations.

2018 - 2020










This Is A Crowd Simulation

In This Is a Crowd Simulation, I continue to focus on political protests and how technology is used to “see” and “understand” it, specifically on Crowd Simulation Software that employs behavior emulating algorithms. My project explores the gap between the binary understandings of humanness in the software and its users, with the complexity and specificity of political protest. I focus on the underlying assumptions of the software, and the way confined, and aestheticized crowd simulation obfuscate the political agency of people.

2019 - Ongoing




Take A Spin

In Take A Spin, I used the New York Times’ 360 virtual reality video of the Calais migrant camp in France to subvert its Universalist gaze. I “toured” the video against its dictated narrative and space, to capture the edges of the virtual scenes – full of distortions, trash, and glitches. I used the images to produce three-dimensional objects to reconstruct the camp’s virtual environment. Unlike the VR experience, the installation is visually nonsensical, incredibly misshapen, full of visual errors, and lacks temporality or narrative, pointing to the technological inadequacies of representation. 

2017















Doubles

In Doubles I staged and photographed reenactments of injuries, falls, and victorious moments from tennis games, examining the blur between moments of triumph and catastrophe.

Tennis net: Inkjet print, 44"X288" / 111X730 cm
Tennis ball: Inkjet print, 11"X11" / 28X28 cm

2016