• Dor Guez Munayer lives and works in between Athens and Jaffa. Guez is a Jerusalemite artist, born into a Palestinian...
    Dor Guez. 
    Courtesy of the Artist

    Dor Guez Munayer lives and works in between Athens and Jaffa.

    Guez is a Jerusalemite artist, born into a Palestinian family from Lydda and Jewish immigrants from North Africa. His work interrogates the intersection of these identities, revealing how personal narratives often interact with dominant historical accounts. For over 20 years, Guez has focused on archival research and photographic practices, mapping traces of change and disruption in landscapes. His photography, video installations and performances explore the relationship between art, narrative and memory. His practice raises questions about contemporary art’s role in narrating unwritten histories and re-contextualizing visual and written documents. 

    Guez has held over 60 solo exhibitions across leading international institutions, including: Laboratorio Arte Alameda, Mexico City; Felix Nussbaum Museum, Osnabrück; Princeton University Art Museum, New Jersey; MAMBO – Museum of Modern Art, Bogotá; Kunst im Kreuzgang, Bielefeld ; FUTURA, Prague; American Colony Archive, Jerusalem; DEPO, Istanbul; Museum for Islamic Art, Jerusalem; Museum of Contemporary Art, Detroit; ICA – Institute of Contemporary Arts, London; CCA – Center for Contemporary Art, Tel Aviv; Rose Art Museum, Brandeis University, Massachusetts; Artpace, San Antonio; The Mosaic Rooms, A.M. Qattan Foundation, London and KW Institute for Contemporary Art, Berlin.

    His work is held in numerous public collections, including: Tate Modern (London), Centre Pompidou (Paris), Guggenheim (Abu Dhabi), LACMA (Los Angeles), Jewish Museum (New York, Paris), Princeton University Art Museum, The New York Public Library’s Collection, Rose Art Museum (Boston), FRAC Collection (Marseille), Museum of Modern Art (Bogotá), among others.
    This upcoming fall, Dor Guez will particiapte in three institutional projects at the Jewish Museum New York (from October 2025), the 24th Bienal de Arte Paiz in Guatemala (from Novembre 2025), and K21 in Düsseldorf (from Novembre 2025).
  • AMID IMPERIAL GRIDS, archival inkjet print

    AMID IMPERIAL GRIDS

    archival inkjet print
    In his series Amid Imperial Grids, Dor Guez manipulates topographical maps from the early 20th century that depict zones linking Germany to various nations. By removing nearly all human markers—such as city names, towns, and national borders—and filling in the gaps with abstract visual information, Guez creates a raw, unregulated topography that transcends geopolitical constraints. He further alters these landscapes by transforming them into negative images, resulting in abstract forms that lose their political and historical context, evoking a connection to the human body.
     
    Additionally, Guez introduces a profound shift in the maps’ physical boundaries, by sometimes cutting them into circular shapes. This alteration makes the maps' traditional orientation irrelevant, inviting viewers to engage with the works in a more open, exploratory manner.
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    • Dor Guez, Amid Imperial Grids #2, 2022
      Dor Guez, Amid Imperial Grids #2, 2022
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    • Dor Guez, Amid Imperial Grid #4, 2023
      Dor Guez, Amid Imperial Grid #4, 2023
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  • Knowing the land

    archival inkjet print
    • Dor Guez, Knowing the Land #1, 2022
      Dor Guez, Knowing the Land #1, 2022
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    • Dor Guez, Knowing the Land #7, 2022
      Dor Guez, Knowing the Land #7, 2022
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    • Dor Guez, Knowing the Land #2, 2022
      Dor Guez, Knowing the Land #2, 2022
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  • Knowing the Land  is a photographic series by Dor Guez inspired by a 1960s guide to the flora of Palestine. The work examines how national identity is imposed on nature, with plants often renamed to reflect political or cultural narratives, bearing labels such as "Palestinian," "Jewish," "Jordanian," or "Damascene." Guez focuses on plants growing in border regions of the Levant, highlighting how features of the land receive different identities on either side of national boundaries. Each photograph layers two botanical illustrations from opposite sides of a guidebook page, symbolically blending two plants and their contested narratives.
     
    Using a paper-made lightbox, Guez creates images that juxtapose sharp foreground details with faint background imprints. Combining both positive and negative prints of these layered illustrations, the series reflects the complexity of land, identity, and the overlapping histories tied to colonial exploration and territorial claims in the region. The title references "Knowing the Land," a term originating in 1845 and later associated with colonial mapping practices, underscoring the entwined relationship between geography, politics, and cultural heritage.
  • Dor Guez, Suitcase No.2, 2024

     

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    Suitcase

    Archival inkjet print, 2024
    Guez’s ongoing photographic series of immigrants’ and refugees’ suitcases, draws on the exile of the artist’s father’s family (Guez) from Tunisia after the Nazi occupation, as well as the displacement of his mother’s family (al Munayer), whose property was nationalized during the 1948 war while they hid in the basement of St. George’s Church in Lydda. Guez unfolds the “afterlife” of these objects, which were passed down through generations. He photographs the six outer faces of each suitcase he chose, then combines them into one surface, one flattened perspective, so the volume of the object, what it can potentially contain, unfolds into a singular point of view. What do people take with them when forced to leave their homes? Every detail of the final photographic image explores the physical traces of time—scars from journey to destination.
  • Letters from the Greater Maghreb, archival inkjet print
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    Letters from the Greater Maghreb

    archival inkjet print
    Dor Guez’s practice is both forensic and deeply personal. Using found objects and his signature “scanograms”—a unique digital imaging process—he explores the layered histories of his Palestinian and Tunisian Jewish heritage. His work often begins with modest family relics—a wedding photo, a sewing pattern, a notebook in Judeo-Arabic—and expands into reflections on memory, migration, and identity.
     
    In Letters from the Greater Maghreb, Guez revisits a pivotal chapter in his family’s story: his grandparents’ escape from Nazi-occupied Tunisia and their immigration to Israel in 1951. In Tunisia, they ran a Jewish theater, performing in Judeo-Arabic, a now-extinct dialect. Through these scanograms of fragile sewing patterns once used by his grandmother, Guez sheds light on histories often overlooked—such as the Nazi presence in North Africa—and reanimates the personal legacies embedded in cultural memory. His work moves between the personal and political, the lost and the reimagined, creating space for stories long suppressed to resurface.
    • Dor Guez, Letters from the Greater Maghreb #2 #4, 2021
      Dor Guez, Letters from the Greater Maghreb #2 #4, 2021
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    • Dor Guez, Letters from the Greater Maghreb #2 #9, 2021
      Dor Guez, Letters from the Greater Maghreb #2 #9, 2021
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  • Dor Guez, Scanograms #1: Studio photo of Jacob, Samira's future husband, Tel Aviv 1942, 2010

    scanograms

    manipulated readymade
    The meaning of the term Scanograms is literally drawing with a scanner machine. Every Scanogram is made by three different scanners and multiply scanning, each scanner machine is programmed to feature a different aspect of the material, and then Guez composes the layers into one image. These fifteen scanograms, dating from 1938-1958, portray the story of Guez’s grandmother, Samira Munayer, and her siblings. Each of the images documents an important event in their lives while they were together before Samira's family was exiled from Jaffa and dispersed to Lydda, Amman, Cyprus, Cairo, and London. One of these works depict Samira's wedding in the Lod Ghetto in 1949, one year after the war.
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    • Dor Guez, Scanograms #1: Group photo of the engineering department of the city of Tel Aviv and of the city of Jaffa, Jacob included, Jaffa 1940, 2010
      Dor Guez, Scanograms #1: Group photo of the engineering department of the city of Tel Aviv and of the city of Jaffa, Jacob included, Jaffa 1940, 2010
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    • Dor Guez, Scanograms #1: Georgette Monayer, Samira's older sister, with a friend behind holding her, Jaffa, 1938, 2010
      Dor Guez, Scanograms #1: Georgette Monayer, Samira's older sister, with a friend behind holding her, Jaffa, 1938, 2010
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  • Lilies of the Field

    Lilies of the Field

    Lilies of the Field is a series of luminous prints created by Dor Guez, inspired by a flower album discovered at the American Colony archive in Jerusalem. The album, dating back to the late 19th and early 20th centuries, was a popular souvenir among Western tourists and pilgrims visiting the Holy Land. Guez's work examines the way nature was re-contextualized for the Western eye, with plants often misidentified or re-labeled with biblical references, such as anemones being called "lilies of the field."
     
    Through extensive research, Guez uncovered inaccuracies in the plant classifications and their connection to the local landscape. He photographed both the pressed flowers and the traces of residual pigment left on the protective sheets. These photographs were then reconstructed into radiant, cyanotype-like prints, revealing the passage of time and questioning the authenticity of historical narratives. The series explores the intersection of nature, culture, and memory, highlighting how the natural world was shaped by colonial and Orientalist perspectives.
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