Dor Guez is an artist and a scholar. He was born in Jerusalem to a Palestinian family from Lydda on his mother's side and a family of Jewish immigrants from North Africa on his father's. Guez's photography, video installations, essays, and lecture-performances explore the relationship between art, narrative, trauma, memory, and displacement. Interrogating personal experiences and official accounts of the past, Guez raises questions about contemporary art's role in narrating unwritten histories and re-contextualizing visual and written documents. In the past 20 years, his studies and artistic work focus on archival materials and photographic practices of the Middle East and North Africa, as well as mapping traces of violence in the landscape.
Guez received his Ph.D. from Tel Aviv University in 2014 and earned his professorship from Bezalel Academy of the Arts and Design in 2018. He is the founder of the CPA (Christian-Palestinian Archive), and the Co-director of Seaport: Mediterranean Curatorial Residency.
To date, eight catalogues have been published internationally about Guez's practice. Publishers include Distanz, New England Press, and A.M Qattan Foundation. Guez's work has been displayed in over 40 solo exhibitions worldwide; MAN Museum, Nuoro (2018); DEPO, Istanbul (2017); the Museum for Islamic Art, Jerusalem (2017); the Museum of Contemporary Art, Detroit (2016); the Institute of Contemporary Arts, London (2015); the Center for Contemporary Art, Tel Aviv (2015); the Rose Art Museum, Brandeis University, Massachusetts (2013); Artpace, San Antonio (2013); the Mosaic Rooms, Centre for Contemporary Arab Culture & Art, London (2013); the KW Institute for Contemporary Art, Berlin (2010); and Petach Tikva Museum of Art, (2009). He has participated in numerous group exhibitions, including shows at the Buenos Aires Museum of Modern Art (2016); the North Coast Art Triennial, Denmark (2016); Weatherspoon Art Museum, Greensboro, North Carolina (2015); the 17th, 18th, and 19th International Contemporary Art Festival Videobrasil, São Paulo (2011, 2013, 2015); the 8th Berlin Biennale for Contemporary Art (2014); Cleveland Institute of Art (2014); Triennale Museum, Milan (2014); Centre of Contemporary Art, Torun (2014); Tokyo Metropolitan Museum of Photography (2014); Maxxi Museum, Rome (2013); Palais de Tokyo, Paris (2012); the 12th Istanbul Biennial (2011); and the Museum of Modern Art, Ljubljana (2010).
Guez shares his time between Jaffa and New York City. He is represented by Dvir Gallery, Tel Aviv/Brussels, Carlier-Gebauer Gallery, Berlin/Madrid, and Goodman Gallery, Johannesburg/Cape Town/London.
Based on an extended research of pressed-flower albums in the archive of the American Colony in Jerusalem, Guez’s series examines the link between nature and culture, copy and origin.
The project reconstructs American Colony photographer Lewis Larsson’s album of the 1915 locust plague in Palestine into a moving-image piece.(work in progress)
The Christian Palestinian Archive (CPA) is a growing collection of archival visual materials from the first half of the 20th century, documenting the personal histories of Christian Palestinian communities worldwide.
The project is centered on the story of Hagop, an Armenian composer whose family was expelled from Kütahya during World War I. "The Composer" point out a connection between the art of composition and Armenian topography.
The Installation focuses on 13 of Kemal's photographs from 1939 that document the Turkish Republic's Victory Day Parade in Ankara in August of the same year, and the funeral of the secularizing republic leader, Kemal Ataturk, that took place a few weeks later.
Entitled 'The Painter' this installation is the first of five from a new body of work, The Sick Man of Europe. Guez's project reflects on the military history and current political climate of the Middle East through the creative practices of individual soldiers from the region.
The project features the manuscript of a play written in the 1950's in pendant lettering, by an amateur Tunisian playwright.
This daily trek, almost a perfect parallel to the concrete scar of the separation wall, is built of the living footsteps of menial existences.
The installation relates to the Christian Palestinian cemetery in Lydd, which has been vandalized by other religious groups. The destruction reflects the position of the Christian Palestinians living in Israel as a minority within a minority.
Guez's camera captures the setting sun on a beach in the port city of Jaffa. The lull of waves accompanies Samira Monayer's narration of her childhood years in pre-1948 Jaffa, where she could walk just 100 steps to the Mediterranean from her family home.
Go West touches upon questions of ethnicity, multi-culturalism, and East-West relations, challenging binary perceptions which pose clear boundaries between different communities and cultures.
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