El Museo de Israel, en Jerusalén ha distinguido a la artista Michal Heiman con el Premio Internacional Shpilman para Excelencia en Fotografía.
Michal Heiman es una de las artistas israelís más conocidas en el campo multimedia. Su trabajo se basa en estudios extensos de psicología y filosofía.
El dinero del premio servirá para financiar un nuevo proyecto que investiga la interacción entre arte y psicoanálisis, concentrándose en el papel de la fotografía en el proceso de diagnostico. Para su nuevo proyecto Heiman entrevistará a creadores de los testes visuales de psicología e investigará aspectos de fotografía como retrato, estereoscopio e imágenes documentales de la primera guerra mundial que influencian y estuvieron influenciados por testes así.
Written by Itamar Levy
The performances of Michal Heiman – some before an audience and others in directed films – are composed of several techniques and layers of meaning that have been gathered over three decades. Since she started her work as an artist, her archive has been used as a space to link thoughts – destructing pre-existing thoughts that create new links. In the video performance, Father not Uncle (Freud/Katharina) (2008), which is in essence a reading of Freud’s case study from Studies on Hysteria (1893-95), Heiman plays the role of Freud – the therapist and the elderly man – and also of Katharina, a young victim of attempted rape by the hand of her father. Heiman adds images and questions to Freud’s text which enrich and undermine – creating is anew – by speaking in the name of the frightened girl who could not speak for herself.
The performance/ lecture, Through the Visual: A Tale of Art that Attacks Linking, 1917 -2008 (2008), which was performed as a lecture at psychoanalytic conferences and in artistic contexts deals with the creation of a new thought from within the traumatic destruction of a previous thought. The work creates new links and tampers with them, begins to tell a story and interrupts it relies on the writings and drawings of the psychoanalyst Wilfred Bion whose impressive life’s work is centered on the trauma of a young soldier in the First World War. The trauma of an unprotected childish encounter with threat is world shattering; and that shatter for Heiman is a new link. In her lecture, like in all her pursuits related to “Attacks on Linking,” Heiman undermines the distinction between art, theoretical psychoanalytic research and self analysis meanwhile creating a new link – a post-traumatic narrative which crosses categories.
During the years, Heiman has presented exhibitions of photography, painting, enactments of projective tests and video works. But parallel to this variety of techniques the hidden core of her work increasingly expanded – gradually building a multifaceted structure to create meanings. Heiman confronts her work with psychoanalysis and is nourished by clinical research, the history of art and the political and gender debate. At the same time an autobiographical presence accompanies her work. The threat in Heiman’s work can be found in the street, like in the case of the wounded children from the Intifada in the photographs from the series Holding (2003-2004); or the girl and the ambulance in Heiman’s film Daughtertype No.2: Holding Savior-Attacker (2007-2008) – works that are connected with the Pieta images as well as psychoanalyst Donald Winnicott’s term ‘holding’. But the threat also exists in the home, like the vague figure behind the half open door in Heiman’s previous work, The Shadow (1979) and as well as in her more recent works from 2008: the animation series Thirdly or the series Book Spines (MHI). All of these gradually turn Heiman’s creations into a vast and multilayered life’s work.
from Israeli Art Now (edited by Iris Rivkind Ben-Zur and Revital Alcalay, Published by Modan, September 2009), pp. 84-85 [in Hebrew]