Dror Harari
Biographic Data
| ID | 6609851 |
|---|---|
| NAME | Dror Harari |
| GIVEN NAMES | Dror |
| FAMILY NAME | Harari |
| SIGNATURE | HARARI D |
| AFFILIATIONS | Tel Aviv University |
| ORCID | 0000-0002-4607-1563 |
| VERIFIED | Yes |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 7 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2011 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Deconstructing “October 7”
Mekhrav Numag by the Israeli Ruth Kanner Theatre Group was created in response to the Hamas terrorist attack on 7 October 2023. This documentary theatre piece compiles diverse verbal reactions to the horrendous event and the subsequent war in Gaza. The work’s postdramatic kaleidoscopic texture and dramaturgy of excess emphasize the complexity of experiences following the attack, resisting confinement to a single voice or a unified perspective
The Afterlife of Life as Art
This article explores the work of Israeli conceptual artist Dov Or Ner (1927–2024), whose radical artistic practice consistently challenged the divide between art, life and death. Informed by his experience as a teenage Holocaust survivor whose parents were murdered in Auschwitz, Or Ner’s seven-decade body of work proposed a vision of existence as totality, in which apparent endings become metamorphic phases within abiding continuity. Framing his…
What Remains? A Critical Historiography of 1960s–70s Israeli Lost Performance-Based Works
To understand performance art of the past is to grapple with the fact that this art was designed to be lost. That is to say, it purposefully aspired to the condition of the lost work of art
From Object to Performance in Israeli Art
Israeli art of the 1960s–’70s was a thriving scene of performative art practices, of which very little is known to the international community of performance researchers. Evolving gradually in response to new trends on the American and European art scenes, these performative manifestations reacted to and reflected the specific local circumstances that would eventually result in a major change in the country’s life, culture, and art
Curator Yona Fischer and the transition from object to performance in Israeli art of the 1960s–1970s
Yona Fischer served as the curator of Israeli art in the Israel Museum from 1965 until 1990. This article traces the evolution of performance sensibility in his curatorial practice. It contends that his innovative curatorship allowed for performative modes of art to infiltrate the conservative sphere of the Israeli museal institution, replacing its “archival” logic with that of a “repertoire” of embodied praxis. It asserts that Fischer was not on…
Performing the Un-Chosen Israeli Body
Nataly Zukerman “comes out” in this autobiographical performance piece, exposing to the public eye the “invisibility” of her limp; an invisibility imposed on her by a society that insists on downplaying her disability in an attempt to normalize her. Her “other body” is set against not only the universally fabricated image of the privileged able body but also, quite specifically, the idealized, physically fit, heroic Israeli body
Laotang
Intimacy is explored and encountered in contemporary performances that feature one performer and one spectator/participant, including Laotang by Israeli choreographer Danielle Agami. The state (and possible future) of human relations lies at the heart of one-to-one live works, which draw attention to the idea that our subjective experience is not only embodied but inherently relational
No prominent works on this page.
Laotang
Intimacy is explored and encountered in contemporary performances that feature one performer and one spectator/participant, including Laotang by Israeli choreographer Danielle Agami. The state (and possible future) of human relations lies at the heart of one-to-one live works, which draw attention to the idea that our subjective experience is not only embodied but inherently relational
Performing the Un-Chosen Israeli Body
Nataly Zukerman “comes out” in this autobiographical performance piece, exposing to the public eye the “invisibility” of her limp; an invisibility imposed on her by a society that insists on downplaying her disability in an attempt to normalize her. Her “other body” is set against not only the universally fabricated image of the privileged able body but also, quite specifically, the idealized, physically fit, heroic Israeli body
Curator Yona Fischer and the transition from object to performance in Israeli art of the 1960s–1970s
Yona Fischer served as the curator of Israeli art in the Israel Museum from 1965 until 1990. This article traces the evolution of performance sensibility in his curatorial practice. It contends that his innovative curatorship allowed for performative modes of art to infiltrate the conservative sphere of the Israeli museal institution, replacing its “archival” logic with that of a “repertoire” of embodied praxis. It asserts that Fischer was not on…
From Object to Performance in Israeli Art
Israeli art of the 1960s–’70s was a thriving scene of performative art practices, of which very little is known to the international community of performance researchers. Evolving gradually in response to new trends on the American and European art scenes, these performative manifestations reacted to and reflected the specific local circumstances that would eventually result in a major change in the country’s life, culture, and art
What Remains? A Critical Historiography of 1960s–70s Israeli Lost Performance-Based Works
To understand performance art of the past is to grapple with the fact that this art was designed to be lost. That is to say, it purposefully aspired to the condition of the lost work of art
The Afterlife of Life as Art
This article explores the work of Israeli conceptual artist Dov Or Ner (1927–2024), whose radical artistic practice consistently challenged the divide between art, life and death. Informed by his experience as a teenage Holocaust survivor whose parents were murdered in Auschwitz, Or Ner’s seven-decade body of work proposed a vision of existence as totality, in which apparent endings become metamorphic phases within abiding continuity. Framing his…
Deconstructing “October 7”
Mekhrav Numag by the Israeli Ruth Kanner Theatre Group was created in response to the Hamas terrorist attack on 7 October 2023. This documentary theatre piece compiles diverse verbal reactions to the horrendous event and the subsequent war in Gaza. The work’s postdramatic kaleidoscopic texture and dramaturgy of excess emphasize the complexity of experiences following the attack, resisting confinement to a single voice or a unified perspective
Aesthetics (4 works) · Philosophy (4 works) · Sociology (4 works) · Art (3 works) · Embodied cognition (3 works) · Epistemology (3 works) · Visual arts (3 works) · Archaeology (2 works) · Art history (2 works) · Art, Politics, and Modernism (2 works)