Ruth Patir had been, in her own words, an “artist without art” over the past year. Until this week. 

Patir’s inventive feminist video installation "(M)otherland" was set to debut in the Israel Pavilion at the Venice Biennale last April - under the shadow of protests against the Gaza War and efforts to oust her from the festival. 

Ultimately, she made a controversial decision to keep the exhibit intact but shuttered behind closed doors, with a note on the door saying: “The artist and curators of the Israeli pavilion will open the exhibition when a cease-fire and hostage release agreement is reached.” That never happened throughout the seven months of the Biennale, and, as a result, her work was never seen. 

As (M)otherland finally meets the public at the Tel Aviv Museum this week, Patir joined Haaretz Podcast host Allison Kaplan Sommer to talk about the firestorm in Venice, the challenges for Israeli artists creating during war, and innovative use of motion capture technology and Judean fertility figurines to tell a deeply personal story.

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