How does movement shape identity in a contested space? Reverse Cow explores the Armenian community’s struggle over land in the old city of Jerusalem through an embodied artistic practice that merges performance, documentation, and spatial intervention. At stake is a juridical dispute between the Armenian community, the Armenian Patriarchate, and the Jerusalem municipality. The work follows a collective of young Armenian activists, who physically and legally defend the land, once a refuge for Armenian Genocide survivors and pilgrims—now reduced to a car park.

In Reverse Cow, I work to unearth a shared movement language across time: refugees, pilgrims, activists, cows, tents, and cars—all in constant motion, always seeking temporary shelter. This history of displacement forms an identity of perpetual motion, now under threat. Filmed through a rear car camera—active only when reversing through space and time—all the happenings, performative actions, and interviews conducted on-site, are distorted by the camera's fisheye lens. Even the rigid Jerusalem walls and other territorial boundaries dissolve into an edgeless sphere where sacred history, communal resistance, and collective expression converge.