This article examines the politics of visuality in Israel through the case study of Alami House, a Palestinian home in the village of Hiribya that became the nucleus of Kibbutz Ziqim in 1949 and was later transformed into a heritage site near the Gaza border. Drawing on theories of visual culture, affect, and heritage, the study traces the shifting visual and ideological functions of the site—from its early use as a kibbutz “watchtower,” through its renovation and rebranding as a heritage museum and wine bar, to its symbolic role during and after the Gaza War. It argues that the Israeli gaze toward the Palestinian—manifested in both the spatial design and the performative experience of the site—embodies a dual operation of seeing and unseeing, whereby the Palestinian is simultaneously acknowledged and erased. The essay introduces the concept of disciplined visuality to describe this politically orchestrated management of what may be seen, remembered, or forgotten. By analyzing Alami House as a microcosm of Israeli heritage-making, the article reveals how visuality functions as a tool of power, shaping both the material and conceptual landscape of the Israeli–Palestinian conflict.
Ronit Milano (Mon,) studied this question.
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