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In this controversial work, the artist uses his own body in a photographic installation, together with six Israelis. Managing to convince six Israelis to take their clothes off, (including himself), and because the work is exhibited on opposite walls, the installation raises many questions on the nature of the Palestinian Israeli conflict.

It is interesting to point out that in Search artwork in 1997 Sabella shies away from Identity to a constructed imagined and invisible world, where as in 2009 he comes down to earth to Settlement – Six Israelis & One Palestinian, a project where the artist confronts 'his identity' in a thought provocative visual debate and installation.  

 

 

   
To shed more light on this project download the short interview (Q & A). Download Interview.
 

 

 

S   E   T   T   L   E   M   E   N   T

s i x    i s r a e l i s      &     o n e    p a l e s t i n i a n
2008 / 2010
Installation of life size images. The image of the Palestinian faces
the six Israelis. That is, the work hangs on two opposite facing walls.


limited edition of 3 + 2 AP
230 cm / 164 cm each
mounted on aluminum + 5 cm aluminum edge


This work has been commissioned for MATHAF Arab Museum of Modern Art in Doha Qatar
as part of the exhibition Told Untold Retold curated by Sam Bardaouil & Till Fellrath


Watch a VIDEO of the INSTALLATION -
click here
 

          
steve sabella mathaf
 
 
 
 
 
 
 
 

MATHAF Steve Sabella

Image Curtesy of Haupt & Binder

 

The image of the Palestinian faces the six Israelis. That is, the work hangs on two opposite facing walls. See a VIDEO to get a feel of the installation.

 


There is a frank austerity in the work by Steve Sabella. the kind that appeals for time to be suspended. Despite the obviousness of the referent, Steve does not slide into the kind of kitsch one usually encounters in artworks that take it upon themselves to preach politics, and clarifies that his installation "could also be considered an act of Introspection and interrogation that will create a clash between the two words 'Identity' and 'Identification'. By creating this visual and opposite imbalance and as the wall segments unite together to form a massive wall, this work will trigger many questions and inevitably reactions."

Sabella defies our entrenched associations with the topic at hand, and the correlations we have accumulated. Consequently, when we step inside this confrontational green-line that he has created, we find our bodies physically rotating in the space in order to get a better visual grip of either one of the two sides.

With this, he wants us to realize that assuming any neutrality within the charged space that he has built is simply not feasible. We are forced to constantly navigate from one side to the other to maintain a complete physical detachment. Paradoxically, constant action becomes the symbol for no action, a metaphor for an eternal state of exile.

Sam Bardaouil
Told Untold Retold exhibition catalogue / book for MATHAF: Arab Museum of Modern Art. SKIRA PUBLICATION


 
 
 
 
 
SEVEN THOUGHTS

Thought 1 – RIVALRY
By having such an installation of six Israelis facing one Palestinian, we are not only confronting each other’s ‘Otherness’—face-to-face, and right to the core, but as male bodies who might have fought several wars, we are suddenly engaged in a complex visual challenge.

The spectator who will stand in the middle of the installation cannot see both sides at the same time.

The spectator must make a critical choice.

The work could be read, and since we are all wearing underwear as if we are ‘adult infants', people who suddenly realized the existence of the Other. The fragments of six Israelis form one body (me), and my image is fragmented into six bodies. Hence, such an installation creates a problematic concept, which is unsettling.


Thought 2 - IDENTIFICATION
This installation, which could also be considered an act of introspection and interrogation, will create a clash between the two words ‘Identity’ and ‘Identification’. By creating this visual and opposite imbalance and as the wall segments unite together to form a massive wall, this work will trigger many questions and inevitably reactions.


Thought 3 – CONCRETE
We live on the same land but it is as if we live on foreign lands. Artificial hills are built to hide the Israeli Separation Wall, and sometimes it is painted in the color of the land to disguise it. But can one really ignore who lives behind the Wall?

The image of the concrete wall not only acts as a metaphor of separation but also as an imagined dichotomy of superiority and inferiority. It is the concrete visualization of a psychological barrier.


Thought 4 – PARANOIA
‘Paranoia’?
‘Paranoia’?

The writer Tami Freiman, the daughter of Holocaust survivors, writes how Israel’s anxiety was transformed into an ideological instrument justifying the oppression of others. How the nation has the Holocaust breathing down on its necks, in fear that it might happen again. Hence, ‘victory’ for Israel against Arabs was always crucial.

In everyday use, ‘paranoia’ means a feeling of persecution unjustified in reality. Israel is a state that lives in fear. Does this one Palestinian pause a threat?


Thought 5 – ESSENCE
The work aims at getting rid of nostalgic kitsch layers that have coated political artworks. Getting rid of the clothes signals the need to go back to the essence.


Thought 6 – BEGINNING
We entered a war of emotions and representation, where each side wants to show the world the might of the Other. The settlement lies in going back to the basics, and to the origin of the Palestinian and Israeli dilemma.


Thought 7 – SETTLEMENT
The name of the project “Settlement”, in the English language has many connotations. Settlement could mean to settle accounts, or to reach a resolution, or to the colonial settlement on the ground.

 
 
 
 
 
 
REVIEWS
 
 

A Smithsonian in the Sand. With the opening of Mathaf, the first Arab Museum of Modern Art, Qatar is racing to turn itself into the cultural hub of the Middle East.

The Economist

the economist

“Told, Untold, Retold”, the third show, brings together work by 23 contemporary artists. Among the most interesting are Jerusalem-born Steve Sabella’s photographs of Israeli and Palestinian men hardly distinguishable in their boxer shorts and the paintings on paper by Marwan Sahmarani, a Lebanese painter who was inspired by a famous 16th-century engraving by Albrecht Dürer."

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Painting the Middle East with too Broad of a Brush?
Wall Street Journal
Richard Holledge

wall street journal

Steve Sabella's installation, "Settlement" (2010), has six Israelis opposite one Palestinian, all seven clad in underwear, facing each other with a neutral stare. Their eyes also meet the gaze of the viewer, making him a discomfited witness.

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Steve Sabella
Retrospective by Martina Corgnati
Review Contemporary Practices Journal, VI, 2010

contemporary practices


His latest project called Settlement – Six Israelis & One Palestinian. The title itself is problematic, and the problem grows when the viewer finds himself in the middle of a narrow gap between two walls, surrounded by the image of two concrete walls, and in front of them the life size pictures of six men (on one side) and another (on the other side), all wearing just underpants. The title informs us about their identity that would obviously be left unknown, since all the superstructures, and the accessories that give shape to the world displaying one’s identity, have been swept away...

With his work Sabella has been able to go beyond every cliché ; as he himself says, he got rid of all the "nostalgic layers that gave shape to many works realized in Israel and Palestine", in order to push himself on to a different border; not an emotional border, but a border of consciousness. “... We are confronting each other’s‘Otherness’—face-to-face, and right to the core. The borders whether mental or physical, might move aside and a dialogue of a different nature might take place

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SETTLEMENT - Six Israelis & One Palestinian
International Gallerie Magazine

international gallerie

Convincing six Israelis to strip for him and stand in their underwear, Sabella creates an artwork that is uncommon in the region as it shifts from ubiquitous views of ‘Nostalgia’. Instead, it engages the viewer in a strong visual debate and thought.

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Steve Sabella - The Journey of Artistic Interrogation and Introspection
Retrospective Review by Yasmin El Rashidi
Contemporary Practices Journal, VI, 2010

contemporary practices


Sabella creates an experience that questions the viewer, prodding thought on the very nature of the Palestinian-Israeli conflict, and on the reality of the collective versus the individual. Raising questions about the nature of how our minds work in the face of conflict, and how paranoia is induced and fear of the other evoked, through this work Sabella urges viewers to step back and reconsiders the single self: The self, separate from the battlefield of stereotypes and visual myth.

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Zenith Magazine
Doerthe Engelcke
(in German)

zenith magazine

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