In 2010 AC Institute showed “Palestine Revisited” showing work by Tirtza Even and Toby Millman. Now a decade later both artists will return to AC and once again discuss the effects of forceful partitioning and containment on Palestine, with an updated show featuring videos and works on paper.

Tirtza Even - A practicing video artist and documentary maker for the past twenty years, Even has produced both linear and interactive video work representing the less overt manifestations of complex, and at times extreme, social/political dynamics in specific locations (e.g. Palestine, Turkey, Spain, the U.S. and Germany, among others). Her work has appeared at the Museum of Modern Art, NY, at the Whitney Biennial, the Johannesburg Biennial, as well as in many galleries, museums and festivals in the U.S., Israel and Europe, including Rotterdam Film Festival, San Francisco Film Festival and New York Video Festival, Lincoln Center. It has won numerous grants and awards, including 3ARTs Visual Arts Award; Fledgling Distribution Fund; Artadia Awards, Chicago (winner of top award); Golden Gate Awards Certificate-of-Merit, San Francisco International Film Festival; Media Arts Award, The Jerome Foundation; Individual Artists Program Awards, NYSCA, and many others; and has been purchased for the permanent collection of the Museum of Modern Art (NY), the Jewish Museum (NY), the Israel Museum (Jerusalem), among others. Even has been an invited guest and featured speaker at many conferences and university programs, including the Whitney Museum Seminar series, the Digital Flaherty Seminar, SXSW Interactive Conference, Art Pace annual panel, ACM Multimedia, the Performance Studies International conference (PSI), the Society for Literature, Science, and the Arts conference (SLSA) and others. Her work is distributed by Heure Exquise, France, Video Data Bank (VDB) and Groupe Intervention Video (GIV), Canada.

Toby Millman - A printmaker, photographer, sound collector, and occasionally a filmmaker as well. She currently lives in Hamtramck, the island surrounded by the murky city of Detroit, but she is semi-originally from Miami and arrived in the American Midwest via Western Massachusetts, Brooklyn and Vermont with a couple back-and-forths to Palestine in between. She filled up her passport several years ago, but in 2011, missing that coveted and yet hated rubber stamp, absent from her fresh new State Department-issued eagle-sealed pamphlet, the planets aligned and she miraculously and all at once had the funds, the time, and the willingness to leave both the comfort of good water pressure and the ability to communicate in the language she speaks best. Paradoxically staying at a posh arts foundation’s guesthouse in Ramallah, (a city that was once the hub of civil disobedience and now the home of an overpriced cup of coffee) while still subjecting herself to a military and civilian occupation (which among other things, affects the price of the coffee), she spent many of her days, in the spirit of the tenth century scientist from Basra, Ibn al-Haytham, carrying around cardboard to build camera obscuras for anyone who would provide her with a darken-able room and an audience. For the time being, she staying stateside while pretending she’s still in Palestine by making art about the time she spent and didn’t spend there and by naming her password-protected wireless signal, “Ramallah.” She also makes work about regular things, not bunny rabbits or puppy dogs, but you get the idea.