Assaf Hinden, as ARCAthens’ curatorial fellow, has been participating in the Occupy Atopos residency from September 18th to November 14th, 2022.

Assaf Hinden is a visual artist working with photography and video, currently based in Tel Aviv and Antwerp. Hinden obtained an MA from ‘The Royal Academy of Fine Arts Antwerp’, and his BFA from ‘The Bezalel Academy of Arts and Design’ in Jerusalem. Recent grants and fellowships include: The 20-21 recipient of the ‘Lucy Art Residency’ (Kavala, GR) and ‘The Roger De Conynck emerging photographer prize’ (King Baudouin Foundation, Belgium 2021). Hinden curated several exhibitions such as ‘Last Call’ (2020), ‘No Rainbows Without Rain’ (2019) and co-curated the show ‘Talking Bones’ (2017). In addition to his solo shows at WTA Gallery (Barcelona 2017) and Artspace TLV (2018),  he exhibited his work in various institutions such as ‘Photoforum Pasquart’ (Switzerland, 22), ‘The Ramat Gan Museum of Art’ (IL, 22), ‘Photo Museum of Antwerp’ (FOMU, BE 21), Hybrid Art Fair (Madrid, 2019), ‘Fresh Paint Art Fair’ (TLV), ‘NITE HOTEL’ (NL), ‘Braverman Gallery’ (TLV) and The Rathaus-Galerie Reinickendorf (Berlin, DE).

”My works explore different elements from the past which comment on a contemporary unstable present. They usually involve backstories and historical events into which I intervene and comment on with my work, while creating different dialogues: between the past and the present, between facts and speculations.
The works are not bound to a specific technique; I share with the viewer a visual study that consists of different image-making forms including: staged photography and still-life, collages, treated archive materials and 3d modeling imagery. The multiplicity of techniques produces a fluid archive that develops and grows, while also doubting the photographic source as documentary – testimonial authority. In my recent projects, I explore various themes surrounding provenance, source and evolution of art, while also dealing with broader questions regarding the role of the archive, preservation and the manipulation of images – and thus of meanings.
As a descendant of parents from mixed cultural backgrounds and origins, I repeatedly find myself exploring various cultural representations, while addressing their past, origin and remains. My family’s narrative, which contains a charged history of refuge, is inherent in my works in numerous references”.