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
Shenkar College, BA (Hons) Visual Communications, 2012-2014


Shows, Talks, Fairs & Screenings
Group Show
  London Grads Now.21 at Saatchi Gallery, London, 2021
Fair
 Udders for Mum at ArtVerona 16, with Spazio Volta and Mattatoio di Roma, Verona, 2021
Group Show
 Seam, Stata, Seance at Collective Ending, London, 2021
Solo Show
 Steady States, Arad Contemporary Art Center, Arad, 2021
Artist Talk
  Emerging Technologies and Art: Roundtable conversation with UCL Art Futures, London, 2021
Artist Talk
 A Guided Tour to a Steady State, Gazelli Art House, London, 2021
Radio Transmission
 Politics of a Landscape broadcasted at BAMBI WOODS PRESENTS: RADIO TRANSMISSION, Athens, 2021
Screening
 Politics of a Landscape screened at DOCUMENTARY: Who Speaks For a Space?, London Short Film Festival, 2021
Solo show
 Deserted Landscape, Aqua Gallery, Bat Yam, 2020
Group Show
  Objects of the Misanthropocene, a Time Travelling Exhibition of Insouciant Objects from the Museum of Beyond, Online, 2020
Group Show
 The Sculpture Park, Implied Gallery, Online, 2020
Group Show
 Terrain Vague, Slade School of Art, London, 2020
Group Show
 Intimacy Spills, Barbican Arts Trust, London, 2020
Group Show
 How are you Babe?, Blank 100, London, 2019
Group Show
 Nephilim, Tel Aviv, 2017
Group Show
 Loop Dreams, Stour Space Gallery, London, 2015
Group Show
 La Culture, Tel Aviv, 2013


Residencies, Awards & Memberships

Member of 🧚 Collective Ending, 2021 
Slade Prize 2021 Recipient, 2021
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

Artribune, Spazi non profit ad ArtVerona: parola a Giulia Floris, curatrice di Lab1, 2021, IT
British Film Directory, Politics of a Landscape; A Personal Ontology of Southern Israel’s Deserted Territory, 2020, UK
Elephant Magazine, Image of the Day, 2019
Miss Vogue, Grenfel Tshirt Artists, 2019, UK
dpi Magazine, 2018, Taiwan
Creative Lives in Progress, Apply your skill set to more than one thing: Digital designer Yuli Serfaty, 2018, UK
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

︎
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

︎
Media Archaeology Out of Nature: An Interview with Jussi Parikka

Paul Feigelfeld


︎
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