In the exhibition “Officers’ Pool,” Sharon Ya’ari continued his long-standing consideration of photography’s double capacity to function as both a documentary mechanism and an intervention in reality. Building on this paradoxical multivalence, the show investigated the complex relationship between image production and nation building by juxtaposing two distinct bodies of work featuring landscapes of Israel from different historical periods and geographical locations.
In the main space, the artist exhibited a series of photographs that originated as slides taken by anonymous amateur photographers, some of them soldiers, in the late 1960s and that were subsequently integrated into the Israeli army’s education department. (There is no further information about this chain of events or how Ya’ari eventually accessed them.) The subjects include the Sea of Galilee, a Golan iris, an arbutus
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