The skin and the colonial scar. The tearing and splitting in two Palestinian and Israeli feminist artists: Emily Jacir and Sigarit Landau

Emily Jacir y Sigalit Landau

Abstract

The article addresses Palestinian developments through feminist artistic practices that are sensitive to the concept that creates the "colonial scar" in the occupied Palestinian territories. From the work of the artists on one side and the other side of the wall: the work of the Palestinian artist in the diaspora Emily Jacir, who uses her split calf technique and immense doubles allows us to infer the edge of this latent colonial heritage. The work of the Israeli artist Sigalit Landau whose work is Hula Barbed (2000) is a visceral metaphor of the derailment of her skin by the friction of the spikes, a metaphor for this scar in these times of crimes against humanity, colonialism and the Palestinian apartheidization (Bidaseca, 2018). It is not only the threshold of compulsive racialization of the bell, but it is not necessary to only touch these bellows in the sensitive areas of our colonial scar.