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Addam Yekutieli aka Know Hope

@thisislimbo

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Tel Aviv, Israel-Palestine

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HOW WE TRIED

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Photo by @dorevenchen by @thisislimbo

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2 years ago

‘A Silent Demonstration’

Aberdeen, Scotland for @nuartaberdeen

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I’ve grown disillusioned by so many things.

By the violence that seems inherent in us as a collective, something that has been more present than ever these past 8 months. The entire societies that have normalized and grown desensitized to the horrors carried out on our watch and dime, accepting the mass annihilation of another people. By so many that seem to have abandoned their moral footing, falling prey to manipulation and propaganda, sounding an echoing silence thus corroborating with the perpetrators of war crimes. The silence creates voids that are being utilized by fundamentalists and maniacs forsaking our lives and futures. By the police state and the boot of fascism that inches closer as we all grow accustomed to its nestling on our necks. And on and on goes.

I feel that I have no more words left, with the abyss deepening and widening every day. Writing and making art feels trivial and redundant.

This is possibly why I turned to local Aberdonians to share their experiences of disillusionment and hope, and painted them onto huge banners.
Their stories ranged from feelings of social inadequacy and the importance of family to The Troubles in Northern Ireland and the struggles of the anti-Apartheid movement in South Africa. Together, their words created a tapestry of voices, a broken poem that spans the spectrum of the human experience.

The texts are open ended bearing both a tone of despair concocted with small cracks of light, reminding us that throughout many historical periods of bloody and grave injustice, there were eventually ways out.

From within this dense reality it’s hard to see these openings, but it’s our obligation to practice and nurture stubborn and persistent belief that another world is possible, and fight for it with every last essence of our being.

As loud cries sounded throughout so many demonstrations worldwide seem to fall on deaf ears, I see this piece as a silent demonstration. A form of protest that stems from disillusionment yet is deeply rooted in hope, like white flags with our shared plea brought to life on an abandoned building.

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Photos by @bktallman by @thisislimbo

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2 years ago

KNOW HOPE | TRAILER DROP

We’re excited to finally be bringing our film ‘Know Hope’ to the US in the next few months! We’re hard at work planning the tour, but in the meantime, enjoy this powerful trailer! 📽️

KNOW HOPE follows artist and activist Addam Yekutieli (@thisislimbo) as he uses his work as a form of resistance in Palestine-Israel against the ongoing genocide.

When he faces chronic illness, his murals become a self-fulfilling prophecy. His disease, like the disease of the land on which he steps, walks the line between hope and despair.

Stay tuned for tour dates coming soon! by @thisislimbo

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a year ago

Tel Aviv based artist @thisislimbo talks about the intersection between art and activism in his work with @douggillen at this year’s @wool_covilhaurbanart

Addam Yekutieli is a multi-disciplinary artist exploring the intersection of personal and social experiences through art. His work serves as a vehicle for compassion and understanding, in a world in which these traits feel increasingly sparse.

His accounts of living in a city at the epicentre of a global conversation around territory and power, become equally as personal as they are universal.

🎥 - @douggillen for @fifthwalltv as part of @wool_covilhaurbanart

#addamyekutieli #woolfestival #fifthwalltv #streetart taken in Covilhã, Portugal by @thisislimbo

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2 months ago

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‘The Distance, Here’
Covilhã, Portugal

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When confronted with criticism of the actions of the state and society of which they are a part, many Israelis invoke the colonial histories and historical injustices of others as a means of situating themselves outside the terms of that critique.

While these histories are real, it is also frequently mobilized to obscure and justify the ongoing violence enacted against Palestinians, as though the colonial crimes of others provide a form of moral exemption from accountability.

This installation takes place across two distant sites within the mountainside landscape of Covilhã, Portugal. At each location, a sign posing a question faces the other across a span too broad for it to be legible or read; only through a telescope can the corresponding text be seen.

Sometimes distance is needed in order to gain perspective, of one another and of ourselves.

While the settler colonialism enacted by the Zionist movement and later the Israeli state in Palestine that continues to this day differs from Portugal’s imperial colonialism throughout its various colonies, both continue to shape the political and psychological conditions through which our respective realities are understood, inherited, narrated, and projected.

The questions in this work attempt to implicate and destabilize one another, and attempt to create a dynamic in which there is opportunity to reflect on our own place within these structures of power that are ultimately intertwined. Rather than externalizing colonial pasts and presents, the work suggests a form of inward reflection toward our respective positions within them.

If we are to truly confront and reckon with this in an honest and sincere way, we must view the elaborate mechanisms as a common foundation in order to imagine new political realities beyond the paradigms that have been offered to us for hundreds of years.

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This intervention was created as part of the 2026 edition of @wool_covilhaurbanart

Photos by @migueloliveiraphoto by @thisislimbo

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2 months ago

@thisislimbo for @wool_covilhaurbanart in Covilhã.

Tel-Aviv based artist Addam Yekutielli installed two pieces of text at separate sites that can only be seen through a viewfinder in each location.

“What Does The Deflection Of Guilt Reveal About Us?”

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“Who Benefits From The Abstraction Of History?”

Together they invite us to reflect on the various forms that colonialism takes, relating both to contemporary and historical context of Israel-Palestine and Portugal.

🎥 - @douggillen for @fifthwalltv as part of @wool_covilhaurbanart

Additional footage supplied by @mariana_vasconcelos_filmmaker

#colvihã #woolfestival #knowhope #addamyekutieli #fifthwalltv taken in Covilhã, Portugal by @thisislimbo

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3 months ago

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Three Questions for the Wheels of History, Völklinger, Germany

Drawing from an archive I built documenting scars on the bodies of people living between the Jordan River and the Mediterranean Sea, this installation created for the 2026 Urban Art Biennale in Völklinger prominently features photos of scars on three individuals from Gaza and the West Bank, all from wounds caused by Israeli state violence, such as military sniper shootings and settler attacks.

Installed on the relatively intact machinery of the Völklinger Hütte, a massive former iron and steelworks facility that was previously used, among other things, to produce pig iron (and is now a UNESCO World Heritage Site), there is an immediate connection to the tools of war manufactured during World War II, such as weapons, artillery, ammunition, and military vehicles, all made using the same iron.

Germany is one of current-day Israel’s primary arms suppliers, and has played a large part in creating a framework that enables the genocide in Gaza and the impunity that the state of Israel enjoys while conducting ethnic cleansing in the West Bank.

Under this unconditional support of Israel lies a complex and layered dynamic, largely believed to be rooted in guilt and an attempt to expiate for the Shoah of the Jewish people.

Three Questions for the Wheels of History explores the nature of trauma, complicity and the forms of reckoning and accountability, while highlighting the cyclical behavior of history and its consequences.

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This piece was created for the Urban Art Biennale, 2026
Curated by @francusikraemer

Photos by Celine Felber and Oliver Dietze / Weltkulturerbe Völklinger Hütte

@voelklinger_huette by @thisislimbo

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3 months ago

Some process shots from my time in Covilhã, Portugal working on my intervention for @wool_covilhaurbanart

Thank you to the crew and all that helped, and to @migueloliveiraphoto and @mariana_vasconcelos_filmmaker for the documentation

More soon by @thisislimbo

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3 months ago

Quando tivermos de encarar aquilo em que nos tornámos.

Em Israel, o artista Addam Yekutieli (ou Know Hope) é um dissidente. As questões que suscita a sua obra multidisciplinar, que se prendem com noções de fronteiras, apartheid e empatia no contexto Palestina-Israel, forçam a sociedade israelita “a encarar aquilo em que se tornou”.

@thisislimbo by @thisislimbo

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4 months ago

What are the limits of your imagination? by @thisislimbo

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4 months ago

After a month and a half of deranged, small men wreaking havoc on real, actual people, we’re left with millions displaced, homes, hospitals, schools, holy sites, and energy facilities destroyed. Unfathomable amounts of resources have been squandered, resources spent at the expense of things people actually need.

Above all, it is those who paid the highest price with their lives: the children, the civilians, those without access to protection. They are the ultimate loss.

I hesitate to call this war “pointless,” as many have, because that risks cheapening the sacred value of those whose lives were taken for the whims of psychopaths and their enablers, and because it suggests that there are wars that are ever truly beneficial or just.

It was a war launched for imperialist motivations and branded as liberation, backed by hubris and arrogance (Is it logically possible that a state sustained by the oppression of an entire people can liberate another? Even more so, by bombing them?).

The story we told ourselves lured us into an expanding trail of devastation for so many, and a new routine of ballistic missiles falling on our neighborhoods.

This has been a war of regression, sliding quickly into yet more ethnic cleansing across the region, into more obscene genocidal rhetoric we continue to normalize, embedding deeper the logic of aggression and brute force, manufacturing consent for new levels of the barbaric into our collective DNA.

What is most disheartening is not that so many supported this war automatically, as if by default, but the knowledge that many will buy into the next one as well.

As individuals, we have little control over these global power plays, but we are their economy. As long as we continue buying into war, war is what we will be sold- and the price will only get higher as we back and feed this machine by using the vocabulary it dictates to us. by @thisislimbo

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6 months ago

A week’s worth of questions

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1. Bombardment in Tehran, March 4, 2026

2. Backpack belonging to a child from the Shajareh Tayyebeh girls’ elementary school in Minab, Iran. On February 28, 2026, a US missile attacked the school, killing approximately 175 people, the majority of whom were children.

3. Bombardment in Beirut, March 3, 2026

4. Scene from the Israeli attacks on oil depots around Tehran, March 7-8, 2026. The strikes ignited massive fires, killing several people and producing toxic smoke and ‘black rain,’ causing long-term environmental contamination and projections of respiratory illness, cancer risk, and possible disruption of rainfall.

5. Israeli soldier demolishing a memorial to Yasser Arafat in Zababdeh (Jenin Governorate), West Bank, March 2026

6. Graves being dug for victims of the attack on the Shajareh Tayyebeh girl’s school in Minab.

7. Bombardment in Beirut, March 5, 2026. Roughly 670,000 people have been displaced following Israeli attacks on Lebanon and a blanket evacuation order. by @thisislimbo

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7 months ago