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Landscapes are not backdrops for historical action: they are themselves active. 


The Mushroom at the End of the World:
On the Possibility of Life in Capitalist Ruins
Anna Lowenhaupt Tsing




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Resume



Education

Slade School of Fine Arts — MFA Fine Art Media, 2018-2021
Central Saint Martins — Animation And Visual Effects, 2018
Central Saint Martins — BA (Hons) Graphic Design, 2014-2016
Shankar College — BA (Hons) Visual Communications, 2012-2014

Solo Shows

Upcoming; Steady States, Arad Contemporary Art Centre, Israel, 2021
Deserted Landscape, Aqua Gallery, Israel, 2020

Group Shows, Performances & Screenings
Upcoming 28th June 2021; “A Guided Tour to a Steady State”, Gazelli Art House, London
“Politics of a Landscape” broadcasted at BAMBI WOODS PRESENTS: RADIO TRANSMISSION, Athens, 2021
“Politics of a Landscape” at DOCUMENTARY: Who Speaks For a Space?, London Short Film Festival, 2021
Objects of the Misanthropocene,  a Time Travelling Exhibition of Insouciant Objects from the Museum of Beyond, Online, 2020
The Sculpture Park, Implied Gallery, Online, 2020
Terrain Vague, Slade School of Art, London, 2020 (CANCELLED due to Covid-19)
Intimacy Spills, Barbican Arts Trust, London, 2020
How are you Babe?, Blank 100, London, 2019
Nephilim, Tel Aviv, 2017
Loop Dreams, Stour Space Gallery, London, 2015
La Culture, Tel Aviv, 2013

Residencies, Awards & Memberships

Gazelli.io Artist in Residence, 2021
Sarabande Emerging Artist Award, 2021
Arts Territory Exchange Member, 2020
Arad Contemporary Art Center Artist in Residence, 2020

Press & Publications

Miss Vogue, Grenfel Tshirt Artists, 2019, UK
dpi Magazine, 2018, Taiwan
Unauthorized SFMoMA, 2017, USA
Peep Publication, 2017, UK
i Hate You So Much Right Now, 2017, IL
Nephilim, 2017, IL
Hover States, 2017, USA
Brutalist Websites, 2017, USA
1Granary, 2016, UK

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Statement


Yuli Serfaty (1992, Israel) is a London based new-media artist contextualising landscape to politics through digital and physical worlding. She uses fictional, experienced and documented elements to narrate semi-realistic, research-based worlds, in which landscape and subject boundaries are merged, reversed, or otherwise interwoven. Her work is inherently immersive, and often includes sonic, digital, and physical elements. Her world-actors specifically comprise of field recordings, synthesised sounds, video, photography, writing, CGI, game engines and found objects. She often refers to this entanglement of media as the entanglement of living beings in any other ecosystem.

Storytelling is paramount in Serfaty’s work. From ancient mythology to contemporary politics, stories shape how we see our worlds; by telling Other stories, Serfaty suggests both criticism of real landscapes and an imagining of Other hierarchies. She speculates stories told by landscapes themselves, where the ‘Man’, in its Western sense, is nothing but an onlooker. Serfaty’s practice is concerned with making space for alternative power structures, in which the marginalised, the unimportant and the overlooked take central stage.

Exposing the power dynamics between landscape and politics, by telling a landscape that is intrinsically political, is the core motivation of Serfaty’s practice. In light of her own colonial Israeli heritage and as an immigrant living in the UK, her approach to making integrates local and global-imperial perspectives. She often chooses specific sites for her work and discusses site specific stories while referring to wider global issues, a recent example being Israeli political systems affecting the Negev desert.



︎
Learning


︎
We Are All at Sea
Astrida Neimanis

Staying with the Trouble
Donna J. Haraway

The Dispossessed
Ursula K. Le Guin

The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins
Anna Tsing

Hollow Land: Israel’s Architecture of Occupation
Eyal Weizman

The Conflict Shoreline: Colonization as Climate Change in the Negev Desert
Eyal Weizman, Fazal Sheikh

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Media Archaeology Out of Nature: An Interview with Jussi Parikka
Paul Feigelfeld

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A Non-Euclidean View of California as a Cold Place to Be (1982)
Ursula K. Le Guin

Emptied Lands: A Legal Geography of Bedouin Rights in the Negev
Ahmad Amara, Alexandre Kedar, and Oren Yiftachel

Territories: Islands, Camps and Other States of Utopia
Ariella Azoulay

Women who Run with the Wolves: Myths and Stories of the Wild Woman Archetype
Clarissa Pinkola Estés

Decolonizing Nature: Contemporary Art and the Politics of Ecology
T. J. Demos