Under Dor Guez's Bed: Scenes from the Christian Palestinian Archive

Photographies 9 no. 1 (spring 2016): 3-29. 


Shortly after Israel declared independence in 1948, local Arab communities endured violent annexations, deportation and displacements.[i] Currently, local practitioners return to those silenced moments of catastrophe, of Nakba, to examine the systems that orchestrated these events. The impulse for Dor Guez’s on-going Christian Palestinian Archive project can be traced to the aftermath of the Nakba, and the devastation of social, geographical and personal identities.[ii] By analysing Guez’s archival practises and the constant movement of photographs to and from the archive, this essay suggests his archive does not re-construct a lost national identity: it narrates and maintains the image of the individual disaster, and by so doing exposes the systems that aim to disregard these bodies, but fail to prevent their inevitable emergence.



[i] Mitra Abbaspour, ‘Photographs, Like a Sort of Embodied, Physical Subconscious: Mitra Abbaspour in conversation with Dor Guez,’ in 40 Days, published in conjunction with the exhibition Dor Guez-40 Days, shown at the Mosaic Rooms, London, April12-May 31, 2013, London: A. M. Qattan Foundation, 2013.

[ii] Susanne Pfeffer, ‘Susanne Pfeffer in Conversation with Dor Guez,’ in Dor Guez Al-Lydd, published in conjunction with the exhibition of the same name, KW Institute for Contemporary Art Berlin, September 12 – November 7, 2010, Berlin: Germany, 2010, 39-52.



Source: http://www.tandfonline.com/toc/rpho20/current

The Camera and the Collecting Gene

Philosophy of Photography vol. 3 no. 2 (December 2012): 349-357. 

The merging of the positions of photographer and collector defines the drive of a certain kind of photographic work, for which the camera becomes a collecting device, accumulating a collection that speaks the subjectivity of its author – the photographer. There are, however, two impulses at work here: the photographer-as-collector and the collector-as-photographer. Both are present in the work of Martin Parr, who has openly admitted that he has ‘the collecting gene’, but also, somewhat earlier, in the work of Walker Evans whose obsession with collectibles and whose mode of photographic collecting provide a striking historical precedent for Parr’s compulsive practice. My article explores the collecting impulse that motivates these photographers and, more particularly, shapes a new mode of making photographs and cataloguing social life that seem to escape established genre categories, including especially the category of documentary.

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