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Contribution to Book
Intermittent Relations: Questioning ‘Homeland’ Through Yael Bartana’s Wild Seeds
Time in Feminist Phenomenology (2011)
  • Helen A Fielding, The University of Western Ontario
Helen Fielding, in examining Yael Bartana’s video art works, in particular, Wild Seeds (2005), argues that politics seem to privilege the temporal, and video art thus lends itself to this enactment. Drawing upon Hannah Arendt, she concludes that the in-between, while a space and not a territory, is more a spacing, a taking place between people “no matter where they happen to be” than a place as such. In Bartana’s works, the temporal aspect of video allows her to open up a time-space, or rather a spacing as a relation rather than a place. It is a spacing that takes place only when the art work sets to work in its engagement with viewers, that is, when the video is playing in a public space.
  • feminist phenomenology,
  • temporality,
  • embodiment,
  • Merleau-Ponty,
  • Arendt,
  • Yael Bartana,
  • film,
  • affect
Publication Date
Christina Schües, Dorothea Olkowski and Helen Fielding
Indiana University Press
Citation Information
Helen A Fielding. "Intermittent Relations: Questioning ‘Homeland’ Through Yael Bartana’s Wild Seeds" Bloomington, IndianaTime in Feminist Phenomenology (2011)
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