Most readers will know Eyal Weizman‘s searing account of the cruel intersections between the politics of visibility and the politics of verticality in occupied Palestine, Hollow Land: Israel’s architecture of occupation.

But there are other, no less intimate and intrusive dimensions to the politics of visibility for a people under military (and civilian) occupation that amount to what Gil Hochberg calls an ‘uneven distribution of “visual rights”‘.  In her brilliant new book from Duke University Press, Visual occupations: violence and visibility in a conflict zone, she explores ‘the political importance of various artistic attempts to redistribute the visible’ (my emphasis) and, in effect, to put in place a counter-politics of visuality.

In Visual Occupations Gil Z. Hochberg shows how the Israeli Occupation of Palestine is driven by the unequal access to visual rights, or the right to control what can be seen, how, and from which position. Israel maintains this unequal balance by erasing the history and denying the existence of Palestinians, and by carefully concealing its own militarization. Israeli surveillance of Palestinians, combined with the militarized gaze of Israeli soldiers at places like roadside checkpoints, also serve as tools of dominance. Hochberg analyzes various works by Palestinian and Israeli artists, among them Elia Suleiman, Rula Halawani, Sharif Waked, Ari Folman, and Larry Abramson, whose films, art, and photography challenge the inequity of visual rights by altering, queering, and manipulating dominant modes of representing the conflict. These artists’ creation of new ways of seeing—such as the refusal of Palestinian filmmakers and photographers to show Palestinian suffering or the Israeli artists’ exposure of state manipulated Israeli blindness —offers a crucial gateway, Hochberg suggests, for overcoming and undoing Israel’s militarized dominance and political oppression of Palestinians.

Here’s the Contents List:

Introduction. Visual Politics at a Conflict Zone

Part I. Concealment

1. Visible Invisibility: On Ruins, Erasure, and Haunting
2. From Invisible Spectators to the Spectacle of Terror: Chronicles of a Contested Citizenship

Part II. Surveillance

3. The (Soldier’s) Gaze and the (Palestinian) Body: Power, Fantasy, and Desire in the Militarized Contact Zone
4. Visual Rights and the Prospect of Exchange: The Photographic Event Placed under Duress

Part III. Witnessing

5. “Nothing to Look At”; or, “For Whom Are You Shooting?”: The Imperative to Witness and the Menace of the Global Gaze
6. Shooting War: On Witnessing One’s Failure to See (on Time)

Closing Words

It’s a compelling book, and I’m struck by another parallel with Eyal’s work.  In Hollow Land Eyal showed the central role that architecture and architects play in Israel’s illegal occupation of the West Bank, but in subsequently developing his collaborative Forensic Architecture project he effectively reverse-engineers architecture’s dominant imaginary to use built forms and spatial formations as a way of revealing prior trajectories of violence to a public forum.  That too is a counter-politics of visuality.