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| '''Michal Heiman''' ({{lang-he|'''מיכל היימן'''}}, born 1954) is an artist, curator, creator of ''Michal Heiman Tests No. 1-4 (M.H.T.s)'' and the ''Photographer Unknown'' archive (1985). Her first ''Michal Heiman Test''box and procedure were debuted at Documenta X, 1997, Kassel; curated by ''Catherine''' '''''David). She teaches at Jerusalem’s Bezalel Academy of Arts and Design and Tel Aviv University, and is a member of the interdisciplinary unit at the Tel Aviv Institute for Contemporary Psychoanalysis. | |||
| '''Michal Heiman''' ({{lang-he|'''מיכל היימן'''}}, born 1954) is an ]i artist, photographer, and art curator,<ref>{{citation|url=http://www.haaretz.com/culture/arts-leisure/theatrical-therapy-1.135126|journal=]|title=Theatrical therapy: Michal Heiman's `Test Number 3,' to be presented at Acre Fringe Theater Festival next month, explores the psychological processes involved in reading and interpreting art|first=Dana|last=Gilerman|date=September 20, 2004}}.</ref><ref>{{citation|title=Archive of a 'photographer unknown': A captivating visit to the studio of artist and researcher Michal Heiman, who has squirreled away virtually everything concerning her life since she was a child|journal=]|date=July 30, 2009|first=Ellie|last=Armon-Azoulay|url=http://www.haaretz.com/archive-of-a-photographer-unknown-1.281109}}.</ref><ref>{{citation|first=Ariella|last=Azoulay|title=Death's Showcase: The Power of Image in Contemporary Democracy|publisher=MIT Press|year=2001|pages=109–113|isbn=0-262-51133-9}}.</ref> a lecturer at the ] in ]<ref name="bez-shp">, Bezalel Academy, September 2, 2010, accessed 2011-10-13.</ref> as well as the ] Faculty of Arts.<ref>, Tel Aviv University, accessed 2011-10-13.</ref> | |||
| In 2008,'' ''she exhibited her solo exhibition ''Attacks on Linking'', at the Helena Rubinstein Pavilion for Contemporary Art, Tel Aviv Museum of Art; Curated by Mordechai Omer. Heiman is the first recipient of the ''Shpilman International Prize for Excellence in Photography and research'' in 2010, in collaboration with the Israel Museum. In 2015, Founder of ''Women in the Academy'' Organization – the Organization encompasses all women taking part in the various activities of Bezalel Academy of Art and Design, including women who have completed their work or studies. Its mission is to assist and support women as a minority group, for the protection ''against harassment, as well as improving women positions. ''It is open to other minority groups in Bezalel and to cooperation with other academic institutions. | |||
| In 1997 Heiman represented Israel at "] X", ], Germany.<ref>Martha Langford, ''Suspended Conversations: The Afterlife of Memory in Photographic Albums'', McGill-Queen's Press, 2001, p34. {{ISBN|0-7735-2174-7}}</ref><ref name="artis"/> Her photographs are in the permanent collections of ] in ], Australia<ref>, accessed 2011-10-13.</ref> and the ] in ].<ref>, accessed 2011-10-13.</ref> She was exhibited at ] festival in 2005. Her work was also included in the 2007 show ''Dateline Israel: New Photography and Video Art'', a decennial review of international art about Israel at the ].<ref>{{citation|title=Snap Judgments of Israel, More Than Words Can Say|journal=]|date=April 14, 2007|first=Holland|last=Cotter|url=https://www.nytimes.com/2007/04/14/arts/design/14date.html}}.</ref> | |||
| For over three decades, through a network of broad cultural contexts, Heiman has been developing a discipline that inhabits a field between art and therapy, photography and diagnosis, theory and praxis. She is studying neglected histories and its visual aspects, focusing on the history of women, examining the history of aesthetic production in psychoanalysis, calling attention to visual materials that have not been considered in aesthetic terms previously. Neither produced nor regarded as art, these materials were hidden away under designations such as “therapeutic tools,” “diagnostic tools,” or “scientific evidence.” | |||
| In 2011, Heiman was the first winner of the Shpilman Prize for Excellence in Photography, an annual prize awarded by the ] in Jerusalem and ].<ref name="bez-shp"/><ref name="artis">{{citation|title=Israel Museum Awards Michal Heiman First Shpilman International Prize for Excellence in Photography|date=August 1, 2010|url=http://www.artiscontemporary.org/features_detail.php?id=14|journal=Artis}}.</ref><ref>, Shpilman Art and Culture Foundation, February 8, 2011, accessed 2011-10-13.</ref> | |||
| By offering alternative thematic, aesthetic, and theoretical matrices, often woven into the fabric of psychoanalytic theory, this discipline aims to trace and obscure the identities of participants in various contexts, and to make visible the intentional exclusion of subjects and spectators in diverse arenas. Thus, she is challenging and drawing our attention to the potential abandonment that lies in them. She brings her critical voice to bear on issues of history, while she engages with human rights and social justice. She juxtaposes practices borrowed from diverse fields, including the history of art, the practice of the photographic medium, political events, personal history, gender, models of observation in military, legal, museal and psychological settings, and educational and cultural institutions. | |||
| Heiman’s installations include video, sound, photography, performances/lectures, scanograms, forms, questioners, floor works and archival displays. Through her Michal Heiman Tests (M.H.T.s), presented in display cases, which are a key element in her oeuvre, she chooses to present her response to the current social order in Israel and abroad, using all of the above to render visible power structures and social fabrics, and to search for alternatives, including creating a new community of women (1855-2019). | |||
| Channeled through the visual and mediated through speech, the encounters Heiman summons straddle the line between the aesthetic, the political and the diagnostic situation. She continues to offer a new and radical field for action and dialogue with the museum visitors, pointing out the mechanism of sharing as one that enables the creation of reference groups informed by solidarity. | |||
| Her projects cross historical and geographic borders, provoking consideration of both the 19th century era and twenty-first-century global communities. At her most recent solo exhibition, AP – Artist Proof, Asylum (The Dress, 1855-2017), at the Herzliya Museum of Contemporary Art, Heiman raised questions concerning the notion of return, trying to conceptualize the fundamental link in the ability of approaching the Victorian era and the institutionalized women at the Female Department of the Surrey County Lunatic Asylum, London. | |||
| Among her notable works are a lecture/film on British psychoanalyst Wilfred Bion and video works based on case studies by Sigmund Freud and the British psychoanalyst W.D. Winnicott. Her new lecture "Dreaming of Cameras Does Not Mean That You Are Psychotic" discusses the work of the renowned psychoanalyst Michael Eigen (b. 1936) in relation to Dr. Hugh Welch Diamond (1808-1886) and female photography objectors. | |||
| Heiman exhibited in all major Israeli museums since 1984 and at international museums and exhibitions since 1994, including venues such as University of Melbourne Museum of Art, Documenta X, Kassel, Le Ouartier, Quimper, The Jewish Museum (New York), the Museum of Modern Art, Saitama City, the Van Abbemuseum, Eindhoven, Kunsthaus Bregenz and the Museum of Contemporary Art, Chongqing. | |||
| ==References== | ==References== | ||
Revision as of 15:32, 8 November 2017
| Michal Heiman | |
|---|---|
 | |
| Born | Israel |
| Nationality | Israeli |
| Known for | photography, art curation |
| Movement | Photography, Israeli art |
| Awards | Shpilman Prize for Excellence in Photography |
Michal Heiman (Template:Lang-he, born 1954) is an artist, curator, creator of Michal Heiman Tests No. 1-4 (M.H.T.s) and the Photographer Unknown archive (1985). Her first Michal Heiman Testbox and procedure were debuted at Documenta X, 1997, Kassel; curated by Catherine David). She teaches at Jerusalem’s Bezalel Academy of Arts and Design and Tel Aviv University, and is a member of the interdisciplinary unit at the Tel Aviv Institute for Contemporary Psychoanalysis.
In 2008, she exhibited her solo exhibition Attacks on Linking, at the Helena Rubinstein Pavilion for Contemporary Art, Tel Aviv Museum of Art; Curated by Mordechai Omer. Heiman is the first recipient of the Shpilman International Prize for Excellence in Photography and research in 2010, in collaboration with the Israel Museum. In 2015, Founder of Women in the Academy Organization – the Organization encompasses all women taking part in the various activities of Bezalel Academy of Art and Design, including women who have completed their work or studies. Its mission is to assist and support women as a minority group, for the protection against harassment, as well as improving women positions. It is open to other minority groups in Bezalel and to cooperation with other academic institutions.
For over three decades, through a network of broad cultural contexts, Heiman has been developing a discipline that inhabits a field between art and therapy, photography and diagnosis, theory and praxis. She is studying neglected histories and its visual aspects, focusing on the history of women, examining the history of aesthetic production in psychoanalysis, calling attention to visual materials that have not been considered in aesthetic terms previously. Neither produced nor regarded as art, these materials were hidden away under designations such as “therapeutic tools,” “diagnostic tools,” or “scientific evidence.”
By offering alternative thematic, aesthetic, and theoretical matrices, often woven into the fabric of psychoanalytic theory, this discipline aims to trace and obscure the identities of participants in various contexts, and to make visible the intentional exclusion of subjects and spectators in diverse arenas. Thus, she is challenging and drawing our attention to the potential abandonment that lies in them. She brings her critical voice to bear on issues of history, while she engages with human rights and social justice. She juxtaposes practices borrowed from diverse fields, including the history of art, the practice of the photographic medium, political events, personal history, gender, models of observation in military, legal, museal and psychological settings, and educational and cultural institutions.
Heiman’s installations include video, sound, photography, performances/lectures, scanograms, forms, questioners, floor works and archival displays. Through her Michal Heiman Tests (M.H.T.s), presented in display cases, which are a key element in her oeuvre, she chooses to present her response to the current social order in Israel and abroad, using all of the above to render visible power structures and social fabrics, and to search for alternatives, including creating a new community of women (1855-2019).
Channeled through the visual and mediated through speech, the encounters Heiman summons straddle the line between the aesthetic, the political and the diagnostic situation. She continues to offer a new and radical field for action and dialogue with the museum visitors, pointing out the mechanism of sharing as one that enables the creation of reference groups informed by solidarity.
Her projects cross historical and geographic borders, provoking consideration of both the 19th century era and twenty-first-century global communities. At her most recent solo exhibition, AP – Artist Proof, Asylum (The Dress, 1855-2017), at the Herzliya Museum of Contemporary Art, Heiman raised questions concerning the notion of return, trying to conceptualize the fundamental link in the ability of approaching the Victorian era and the institutionalized women at the Female Department of the Surrey County Lunatic Asylum, London.
Among her notable works are a lecture/film on British psychoanalyst Wilfred Bion and video works based on case studies by Sigmund Freud and the British psychoanalyst W.D. Winnicott. Her new lecture "Dreaming of Cameras Does Not Mean That You Are Psychotic" discusses the work of the renowned psychoanalyst Michael Eigen (b. 1936) in relation to Dr. Hugh Welch Diamond (1808-1886) and female photography objectors.
Heiman exhibited in all major Israeli museums since 1984 and at international museums and exhibitions since 1994, including venues such as University of Melbourne Museum of Art, Documenta X, Kassel, Le Ouartier, Quimper, The Jewish Museum (New York), the Museum of Modern Art, Saitama City, the Van Abbemuseum, Eindhoven, Kunsthaus Bregenz and the Museum of Contemporary Art, Chongqing.