Yael Bartana
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Biography
Born 1970 in Kfar Yehezkel, Israel
Lives and works in Berlin and AmsterdamYael Bartana is an observer of the contemporary and a pre-enactor. She employs art as a scalpel inside the mechanisms of power structures and navigates the fine and crackled line between the sociological and the imagination. Over the past twenty years, she has dealt with some of the dark dreams of the collective unconscious and reactivated the collective imagination, dissected group identities and (an-)aesthetic means of persuasion. In her films, installations, photographs, staged performances and public monuments Yael Bartana investigates subjects like national identity, trauma, and displacement, often through ceremonies, memorials, public rituals and collective gatherings.
Under the title Thresholds, Bartana co-represented Germany alongside theatre director Ersan Mondtag at the Venice Biennale 2024. This is the second time Bartana is representing a country other than Israel in the Biennale, following the exhibition of …and Europe will be stunned as the official Polish participation at the 54th Biennale in 2011. Bartana was also awarded the Rome Prize of the Villa Massimo in 2023/24, where she was in residency in 2023/24.
In 2025 Bartana will present a solo exhibition at the North Norwegian Art Center, Lofoten, Norway. In 2024 the artist held solo exhibitions in Weserburg Museum of Modern Art, Bremen and Gammel Strand, Copenhagen as well as in the National Museum of Contemporary Art in Athens. Further recent solo exhibitions include Center for Digital Art (CDA) in Holon (2023), Philadelphia Museum of Art (2021/ 2018), Jewish Museum Berlin (2021), Fondazione Modena Arte Visive in Modena (2019), Musée cantonal des Beaux-Arts in Lausanne (2017), Stedelijk Museum in Amsterdam (2014), Secession in Vienna (2012) and Louisiana Museum of Modern Art in Humlebæk, Denmark (2012).
Yael Bartana‘s works are part of various permanent collections, such as Jewish Museum, Berlin, Tate Modern, London, Jewish Museum, New York, Guggenheim, New York and Abu Dhabi, Centre Pompidou, Paris, Hammer Museum, Los Angeles, San Francisco Museum of Modern Art, Museum of Modern Art, Warsaw, Israel Museum, Jerusalem, Kunstmuseum St. Gallen, Van Abbemuseum, Eindhoven, Stedelijk Museum, Amsterdam, Magasin III – Museum for Contemporary Art, Stockholm and The German Federal Collection of Contemporary Art.
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News
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The imagery of identity and the politics of memory are the themes which form the core of Yael Bartana‘s artistic practice. Constantly seeking to create alternative fictional realities in commentary to existing narratives, Yael Bartana stages speculative situations and introduces fictive moments and futures in her works. Though known for her films and collective performances, the artist works across many various media, including sculpture, light ojects, installation and photography.
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WorksOpen a larger version of the following image in a popup:
Yael Bartana, Malka Germania, Art Basel Unlimited, 2022
Yael Bartana
Malka Germania, 2021Three channel video and sound installation38 minEdition of 6 + 2 APYBARTANA-.21-0008The video work Malka Germania, commissioned by the Jewish Museum Berlin, investigates the longing for collective redemption as a response to an age of anxiety. An androgynous messianic figure, Malka...The video work Malka Germania, commissioned by the Jewish Museum Berlin, investigates the longing for collective redemption as a response to an age of anxiety. An androgynous messianic figure, Malka Germania, arrives in Berlin and brings about a series of changes in the city: the past and future implode into an alternative present.
Malka Germania is Hebrew for “Queen Germania.” The name makes reference to an unusual female designation for the Messiah: “Malka Meshichah,” or the “Annointed Queen.” The Messiah has come to Berlin and thus to the historic epicenter of Jewish, Israeli, and German collective memory. Instead of experiencing immediate redemption, as the exhibition’s title might imply, the city is haunted by its residents’ collective subconscious: their dreams, fears, and memories. The piece portrays subconscious elements, gray areas, and ambiguities of contemporary German-Jewish experience through the artistic medium. At the same time, it attempts to disrupt a fixed iconography and to deconstruct identities.
Bartana leaves the question of who is to be redeemed ambiguous. Perhaps it is people trying to shake off the Nazi past? Or others who want to move on from the trauma of the Holocaust? Or does she mean all humankind as the beneficiaries of a messianic age? The commissioned work shows how impossible it is to break away from personal or inherited pasts. At the same time, it preserves the tension of redemption, which is a core element of national myths and collective identities.
Beyond the video installation itself, Bartana adds another layer of public engagement with savior figures. A vitrine cabinet recessed in the video wall reveals a collection of statuettes of Malka Germania with an eagle. Resembling a museum storage facility, this display raises the prospect of Malka being historicized and commercialized as a cultural icon. The association between the savior figure and the national symbol combines religious expectations with political ones. The liberation of the eagle by the Messiah, as depicted on the exhibition poster, stands allegorically for the moment of redemption.Exhibitions
Yael Bartana, UTOPIA NOW!, Weserburg Museum, Bremen, 2024I am resisting and will not tire, Museumsquartier Osnabrück, Osnabrück 2023
Art Basel Unlimited, Basel, 2022
Yael Bartana Redemption Now, Jewish Museum Berlin, June 4 - October 10, 2021
Literature
Nikki Shaner-Bradford, Elenore Condo, Gisela Williams, and Alwa Cooper, “The T List: Five Things We Recommend This Week,” The New York Times Style Magazine, August 5, 2021 (ill.).
Shany Littman, “Israeli Artist Who Filmed IDF Soldiers Occupying Berlin Can’t Imagine Living in Israel,” Haaretz, July 27, 2021 (ill.).
Boaz levin, “Yael Bartana on the Politics of Collective Redemption,” Frieze, July 21, 2021 (ill.).
Sonja Zekri, "Und erlöse uns von der Geschichte," Süddeutsche Zeitung, July 1, 2021 (ill.).
Daniel Horn, “Interviews: Yael Bartana on Messianic Myth, Redemption, and the ‘Jewish Question,’” Artforum, June 30, 2021 (ill.).
Andreas Kilb, "Eine unverzeihliche historische Naivitat," Frankfurter Allgemeine Zeitung, June 14, 2021 (ill.).
Torsten Landsberg, “The search for Redemption: Yael Bartana at the Jewish Museum,” Deutsche Welle, June 10, 2021 (ill.).
Jewish Museum Berlin, “Redemption at Last: Yael Bartana’s Solo Exhibition Opens at the Jewish Museum Berlin,” Hyperallergic, June 7, 2021 (ill.).
“Zur Eröffnug komt der Messias,” Der Tagesspiegel, June 4, 2021 (ill.).
Elke Buhr, “Erlöse uns!” Monopol, May 2021, pp. 50-60 (ill.).
Gisela Williams, “The T List: Five Things We Recommend This Week,” T: The New York Times Style Magazine, August 5, 2021 (ill.).
Boaz Levin, “What to See in Europe this August,” Frieze, August 4, 2021 (ill.).
Peter Kunitzky, “Yael Bartana: Redemption Now,” Eikon, #115 Fall 2021, pp. 78- 29 (ill.).
Stoeber, Michael. "YAEL BARTANA. Utopia Now!". Kunstforum International, 297, August 2024, p. 224-227. (ill.).
ExhibitionsExternal ExhibitionsPressPublicationsVideoArtist Yael Bartana: Imagine Something Different | Louisiana Channel, 2024
Artist Talk Yael Bartana: Redemption Now | Jewish Museum Berlin, 2021