The Green Line

The prime motive behind Dan Haimovich and Mossi Armon’s photographic project, “The Green Line,” is to see what remains of the line that demarcates the dispute between proponents and opponents of an accord with the Palestinians based on the 1967 lines, and to describe the current state of affairs fifty-five years after the war that changed the geopolitical situation in the region.

Haimovich’s and Armon’s photos open before us an urban landscape, a trail strewn with various signifiers that attest to human activity, sundry vestiges, monuments on the sides of the way, and traces left by time on paved roads and dirt tracks. A specific part of their work is devoted to people: people here and there who live near the line, female and male soldiers who serve along it and visit anonymous people who have reached it, along with houses, industrial buildings, and work environments. All of these manifest in a covert process of change on which the photography dwells, allowing the viewer to see its outcomes. The visual mapping that’s identified with photography is meant not to create a full and undivided body but rather to examine, deconstruct, and reassemble the experience, the memory, and the information that emerge from a sequence of encounters, segments, details, and place markers, like a borderless landscape.

Further reading

בוּל (אבל בוּל) על הקו הירוק, הארץ, 2021