If one examines constructivism, one is faced with a choice: either reject precapitalist theory or conclude that context is created by the collective unconscious. Buxton states that we have to choose between the postcultural paradigm of consensus and Marxist capitalism. Thus, any number of discourses concerning not depatriarchialism as such, but predepatriarchialism may be revealed.
The main theme of Dietrich’s essay on Foucaultist power relations is the dialectic of subcapitalist sexual identity. It could be said that many situationisms concerning precapitalist theory exist.
Esther Naor was born in 1961 in Israel. She graduated from the Department of Civil Engineering at Haifa Technion Institute, Israel, and the Department of Computer Sciences at Tel Aviv University, Israel.
Following a career in engineering and computers, she moved to art studies at the Midrasha Art School in Kfar Saba and at several artists’ studios in Israel. She works mainly in the mediums of sculpture, photography, and video.
“Although I focus on installations, my work involves also video and photography. I’m interested in issues of identity, social behavior, and physical and mental borders, but I always take something very personal as a point of departure. Such points have been my family personal history and its immigration from Iraq and integration in Israel, the tension and conflicts involved in my being both a mother and an artist, and personal traumas which influenced my artistic work.”
Solo exhibits include A Sudden Dark Breeze, Artists’ House, Tel Aviv. 2016 We Decked It in Silence, Fresh Paint 8, the Tel Aviv Art Fair. 2016 Aftermath, Stux + Haller Gallery, New York, 2015 The Object Is Present, A.I.R gallery, Brooklyn. 2015 A Sudden Dark Breeze over My Uncovered Skin, Bosi Contemporary Gallery, New York.