Arab-Israeli Conflict

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Portfolio by Jungjin Lee
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From Unnamed Road, 2010–15, a series of photographs taken in Israel and Palestine.

Basma Alsharif by Aily Nash
Basma Alsharif 01

Working with, and through, conflict.

Portfolio by Ofri Cnaani

My Untranslated Feed

Eyal Weizman’s The Least of All Possible Evils by Legacy Russell
Weizman 1

It was Eyal Weizman’s collaboration with fellow architects and geopolitical theorists Sandi Hilal and Alessandro Petti that first caught my attention years ago and incited my enduring admiration.

Robert Wyatt by Shadia Mansour
Robert Wyatt

Musician and composer Robert Wyatt, renowned for his vocals and complex blends of pop, jazz, and world music, bridges the generation gap with the emerging “first lady of Arabic hip-hop” Shadia Mansour.

Margot Singer’s The Pale of Settlement and Peter LaSalle’s Tell Borges If You See Him by Betsy Sussler
Singer Lasalle Body

The Pale of Settlement was once the swath of land designated by Imperial Russia as the only legitimate home of their Jewish population, one they reluctantly inherited after partitioning the Polish-Lithuanian Commonwealth. 

Yehuda “Judd” Ne’eman by Janet Burstein
Ne Eman 01 Body

I learned early to differentiate art from politics. But the best Israeli films are inseparable from the political forces that shape them. 

Poets of the Levant by Lee Smith

A decade ago, with the 500th anniversary of Columbus’s voyage to the New World, a lively academic debate centered on whether the date should be celebrated, or, for all that the New World’s native inhabitants had suffered, remembered in mourning. 

Mahmoud Darwish by Raja Shehadeh
Darwish 01 Body

Mahmoud Darwish was the 2001 winner of the Lannan Prize for Cultural Freedom. He is considered one of the foremost poets of the Arab world. 

Amos Gitai by Minna Proctor
Gitai 01 Body

With his new film Kippur, eminent Israeli director Amos Gitai plunges into the chaos of war, its exhausting senselessness, its rupture.

From a Sealed Room by Rachel Kadish

Every few days Fanya made some motion to leave; she began to gather the cosmetics she had spread over the dresser-top in Tami’s and Nachum’s bedroom, or she asked for the telephone number of a taxi company for the Jerusalem/Tel Aviv route.

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