A Case of Political and Participatory Art: Face2Face Project by JR and Marco
Initiated in 2007 by French artists JR and Marco, Face2Face project involved pasting large, black-and-white portraits of Israelis and Palestinians facing each other. The portraits were pasted “in huge formats, in unavoidable places on both Israeli and Palestinian sides” of the Separation Wall. In this “largest illegal photography exhibition ever”, the duo aimed at promoting understanding between the two communities by highlighting their similarities. This essay aims to investigate the artistic expression, participatory methodology and intended impact of the project.
The dissatisfaction of the biased exposure of the Middle East conflict in the media was the project’s starting point. Along with his friend Marco, JR decided to visit the region to witness the reality firsthand. What he saw surprised him; the Israeli and Palestinian people were not that different. However, neither sides recognized their common ground. As Adrian Piper discusses in her article, “the false-identity mechanism” is not based on personal experiences but on a political agenda, hindering understanding. It can be argued that one of the main objectives of JR was to make people face these socially constructed views they held. Indeed, while he was asking locals whether they would accept to be a part of this project, people from both sides commented that everybody from this side would accept to be a part but you can never convince people from the other side. While in reality, both Israelis and Palestinians were eager to participate. Similarly, when people passing by inquire about the identities of the portraits being pasted on the walls, upon learning that one was Israeli and the other Palestinian, their initial reactions were often negative. However, when they were asked to distinguish between the two, the locals often struggled or guessed incorrectly. Based on these anecdotes, it can be argued that JR's project was successful in highlighting the similarities between Israelis and Palestinians.
The choice of medium for the Face2Face project was crucial in conveying its message effectively. Photography was the perfect medium; unlike other forms such as painting, people are more likely to perceive it as capturing reality. This medium also allowed the portraits to be reproduced in large formats, making them visible and accessible to a wider audience. The pasting of the photos was also executed in a less conventional method. The duo printed the photos on regular paper instead of photo paper and pasted them on the walls using simple glue. These unframed photos with matte printings must have provided him with both a financially easier method for such a large project but also a more down-to-earth appearance for the photos themselves. Moreover, the use of a 28mm lens was a deliberate choice by JR to capture the essence of the subjects in their environment. By getting close to the subjects, JR was able to truly connect with them, capturing their true essence and emotions in a way that would not have been possible with a longer focal lens.
Face2Face is also a great example of participatory art. In order to analyze the degree of participation in this artwork, I will separate the making process into four distinct phases. The first phase is the preparation phase in which JR and his friend Marco conceptualized the artwork. The decision phase being non-participatory could be a subject of argument, however as Claire Bishop points out, this does not necessarily bring forth the egocentrism of the artist. In addition, the participation starts right away after this step, and lasts even after the artwork is finished. The second phase entails the creation of the portraits. JR and Marco did not only take the portraits of the locals, but they also kept a neutral and peaceful position. They approached their subjects emphasizing that they are neither anti-Palestinian or anti-Israeli. Furthermore, JR avoids taking any sponsorship or engaging with any institution so that he can stay clear from any outside pressure. He also did not pay the people for the photoshoots or did not promise any other help or consequence. The locals agreed to participate due to their appreciation of the project, demonstrating that the artist's intentions aligned with the public's needs and desires. The third phase is when JR and Marco started pasting the photos in public which received the widest participation. The community greatly assisted in pasting the photos by granting permission, offering their walls, and helping with the process. Some locals even helped convince their neighbors to participate. Finally, the fourth phase is the ongoing period of community ownership of the artwork. Since the photos were pasted and stayed on the walls of the local region, they became a belonging for the community. JR says these people “became the spokesperson for the artwork”, long after the artists left the area.
Face2Face project received great attention and positive critical reception. In fact, JR received the TED Prize in 2011 for Face2Face and his other collaborative projects. I would like to conclude this essay with a quote from him: “Art is not supposed to change the world but it can change the way we see the world.”.
**References**
Bishop, C. (2006). The Social Turn: Collaboration and Its Discontents. Artforum.
JR. (2019, October 3). JR on Face2Face [Video]. YouTube. https://www.youtube.com/watch?v=mrX7lBgzeyY
JR. (2020, February 28). Inside the Face2Face Project - Israel and Palestine [Video]. YouTube. https://www.youtube.com/watch?v=4u_G0G6Jog4
Piper, A. (1981). Ideology, Confrontations and Political Self-Awareness. High Performance, Los Angeles.
TED. (2011, March 5). Use art to turn the world inside out | JR [Video]. YouTube. https://www.youtube.com/watch?v=0PAy1zBtTbw
**Images**
Face2Face. (n.d.). 2019Foundations. https://2019foundations.home.blog/2019/12/05/jr-face-2-face/
Face2Face Nuns. (n.d.). Actipedia. https://actipedia.org/project/face-2-face