photo: Gadi Dagon

Meeting Brian Wash

The work examines the ways in which brainwashing techniques are employed in order to oppress resistance among people; how social or physical systems manipulate us into blind obedience.   Meeting Brian Wash was commissioned by the Performance Art Arena in Jerusalem, lead by the artistic direction of Doron Tavori. On stage, five performers alternatively assume the roles of a manipulating group and a manipulated individual. The performers subject each other to various experiments according to each person’s own pressure point. A totalitarian-like figure (played by Tavori) is projected on screen and monitors their every move. Meeting Brian Wash was premiered at Tmuna Theater, Tel Aviv, 2008.

Credits & Collaborators

Choreography & Direction Arkadi Zaides Associate artistic creation and lighting Itay Weiser Cast Sascha Engel , Shani Granot, Amit Hadari, Danny Neyman , Doron Tavori, Sharon Zuckerman Weiser Text Sharon Zuckerman Weiser Costumes Eran Shani Production Anat Cederbaum Co-produced by Hazira - Performance Art Arena (IL)

Past Events

13—15 November 2008
28 November 2008
Oyoun Theater, Majd El Shams, The Golan Hights
30 January 2009
The Lab, Jerusalem, Israel
25 March 2009
Warehouse 2, Jaffa, Israel
17 April 2009
The Lab, Jerusalem, Israel
25 February 2019

How can we rethink the documentary in art in terms of content, form and method? The School of Speculative Documentary is an interdisciplinary space for an ​encounter that seeks to question the documentary act. Creators take the floor to discuss uncertainty and guesswork, to confront the unfixable holes in their work and the messiness of reality.

Usages Géopolitiques Des Images

What influence do images have on migration policies? How do dictatorial regimes produce their imagery? Is there an ethical way to document war zones? USAGES GÉOPOLITIQUES DES IMAGES is a new publication that sets to examine these issues through the works of various contemporary artists. The book compiles the writing of twelve contributors, among them is Frédéric Pouillaude, whose essay examines  Zaides' practice over the past years.