My works are self interrogations that are threaded into subjects of larger scale - the myths, landscapes, taboos, and images that form the foundations of identity and place in the country from which I come from. My domestic family life, and personal implications to these subjects, are the motivations for my work.

In my works, I tackle the involvement of the photographic medium in the history of colonization in Palestine and the creation of the Zionist sense of place. I work from the standpoint, and in an effort to implicate, that photography didn’t only contribute to these colonial projects, but was also affected by the tasks it lent itself to. As a photographer, I use my work to challenge what is perceived to be native and naive in the images made by others and myself.


︎ Artist statement(s)
︎ CV     ︎︎︎download pdf

︎︎︎ Vimeo
︎︎︎ Sketchfab



MFA candidate, Art, Theory, Practice, Northwestern University, Evanston, Illinois, USA

BFA Photography Program, Bezalel Academy of Art and Design, Jerusalem, Israel (graduated cum laude)

BArch Architecture Program, Bezalel Academy of Art and Design, Jerusalem, Israel

Solo Exhibitions

Anti-Mapping, w/ Miki Kratsman, Tel Aviv Museum of Art. Curated by Raz Samira

A Bruising Gaze on a Faltering Landscape (upcoming), w/ Katherine Reynolds, Block Museum of
Art, Evanston, Illinois

Interior Landscape (upcoming), Space p-11, Chicago, Illinois

Perpetual Motion of the Fourth Kind, The Printhouse Gallery, Tel Aviv. Curated by Etty Schwartz

Gas, Stun, Smoke, Gallery of Photographic Communications department, Hadassah Academic College, Jerusalem. Curated by Doron Altaratz


Tashlikh Atlas, w/ Efrat Hakimi, online project,

Selected Group Exhibitions

Visual Rights, with Miki Kratsman, Open Eye Gallery, Liverpool. Curated by Gary Bratchford

‘Mikdash Me’at’ (Small Senctuary), the MFA Gallery of Bezalel Academy, Tel Aviv. Curated by Avital Barak

‘Mishorim Haim’ (Living Plateaus), Bezalel Photography Gallery, Bezalel Academy of Art and Design, Jerusalem. Curated by Ilanit Konopny


‘Bikkurim’ (First Fruits), The New Gallery Artists’ Studios, Teddy, Jerusalem. Curated by Sally Haftel Naveh

Jerusalem in Detail, The Israel Museum, Jerusalem. Curated by Dan Handel

‘Parach (U’shav) Mizichroni’, Binyamin Gallery. Curated by Etty Schwartz

Islands, Jerusalem Design Week 2017. Curated by Tal Erez

Such a Landscape, 17th Media Art Biennale, WRO 2017 - “Draft System”, Wrocław

Room 404, Indie Photography Group Gallery, Tel Aviv. Curated by Keren Zaltz and Tal Nissim

Notes, Indie Photography Group Gallery, Tel Aviv. Curated by Orit Bartini Shavit, Keren Zaltz and Davi Barel

Black Box, art exhibition in public space, Jerusalem. Curated by Asaf Cohen and Izek Mizrahi

Vacuum, International Photography Festival, Jaffa. Curated by Rea Ben David and Etty Schwartz

Depth of Field, Beit HaGefen Art Gallery, Haifa. Curated by Dr. Dor Guez and Yeala Hazut

‘HaKol Galui’ (All is Revealed) - Interactive sound tour in the village Lifta, part of the Jerusalem Season of Culture, with Hadar Porat and Hila Zaksenberg

Grants & Awards

High Holidays Digital Art Grant, Asylum Arts, Brooklyn

Gérard Lévy Prize for a Young Photographer, The Israel Museum, Israel


Art Cube Artists’ Studios, long-term residency program, Jerusalem, Israel


Aerial Visibilities: Towards a Visual Sociology of the Sky, Gary Bratchford & Dennis Zuev, Introduction to the special issue, Visual Studies, January 2021

Miki Kratsman and Shabtai Pinchevsky: The Anti-Mapping project, Andrew Fisher, Philosophy of Photography, October 2020.

Anti-Mapping / Case: Khan al-Ahmar, Case: Nakba & The Green Line, Case: Unrecognized Bedouin Villages, Case: Urban Combat Training Centers. With Miki Kratsman. Produced for ‘Visual Rights’ at Open Ey Gallery, Liverpool.

Anti-Mapping: Khan al-Ahmar, with Miki Kratsman. Angle issue 24, Multipress, Norway. Curated by Hester Keiser

Too Big a Credit, Tal Niv. Haaretz Weekend Magazine, March 16, 2018

The Jefferson Grid. Phases Magazine, April 22, 2018

Orbital View: Where’d You Go, Jefferson Grid?, Chris Bodenner. The Atlantic, September 17, 2015

Even When You Go Off the Grid, You Might Still Be On It. The New York Times, September 3, 2015


Centre Pompidou, La Collection Du musée National D’Art Moderne


#WIP Photo Slideshow: Memory and Archive, Mana Contemporary, Chicago

Incorporating Spatial Analysis and Big Data in International Relations Studies and Conflict Research, Department of Geography, The Hebrew University of Jerusalem


Digital Art, Basis for Art & Culture, Herzliya

Shabtai Pinchevsky / Projects

The works in the exhibition is a product of a goal I set to myself - to complete a walk around the perimeter of Jerusalem. A course of walk that can be marked on a map, but is not a trail in itself. A walk that is the result of geographic principle, but is devoid of a topographical logic.

The research subject in Landscape in Continuum is a portion of land that sits between Isawiya and Abu Tor in East Jerusalem; unappropriated territory at the heart of a controversy between official authorities that seek to turn it into a national park - the Jerusalem Municipality, the Nature and Parks Authority, the Ministry of Interior, and the Ministry of Environmental Protection - and activists, politicians, urban planners, and residents of the area who wish to prevent this plan from being realized.

For my graduation project I propose to create the Cabinet of Curiosities of the “Israeli excursion”. Cabinet of Curiosities is usually translated to hebrew as “cabinet of wonders”, but I prefer the curiosity. While the wonder relates to the spectator’s experience, the curiosity describes the motivation of the collector. The collection and curation of knowledge are the subject of my project - the “knowledge of the land” (yedi'at ha'aretz). But my Cabinet of Curiosities will not ask to create any new knowledge, but to decipher an existing one - what it is we know - when we “know” the land?

The work is based on a collection of approximately 700 passport images found in the Yad Yizhak Ben Zvi Image Archive, Jerusalem. The images were taken at the Hashed immigration camp ('Geula'), Yemen, during the first wave of immigration of the 'On Wings of Eagles' operation (December 1948 - March 1949). Written on the verso of each picture are the names of the person photographed, date of photography, and one repeating name - Yechiel Shlomo Kessar.