A two performances event curated by Mica Dvir and Adi Liraz
In this event, we would like to introduce various glittery physical, mental and imaginary actions in order to recreate oneself in glamorous parallel worlds. Both artists participating use the invention of the Self, as a tool to critically reflect upon situations and occurrences that left them previously as the `Other´. In doing so, they give the audience insights on their reality and create a critical observation on social situations.
Israel’s musical and political underground of the 1980s, emerging on the background of the First Lebanon War (1982) and the first Plaestinian Uprising (1987), is the subject of Avi Pitchon’s personal book. Pitchon not only witnessed key events in the development of the local punk scene, he was also involved himself in it – forming the first political punk bands in Israel, as well as initiating groups like “Pacifist Youth”. In his book, Pitchon describes a wide inventory of political acts and groups, bands and scenes, albums and individuals, most of which previously undocumented. His starting point might surprise German readers, as he describes the appearance of German disco band Dschinghis Khan in the Eurovision Song Contest of 1979 (taking place in Jerusalem) as the life-changing event taking him on a path that very quickly arrived at punk.
Art is not mimetic. Art is not ‘about’ stuff. Art has no role. Art does not ‘ask questions’. People might do those things, sometimes even people who are artists. But not their art, even if they think it does, even if that was their intention.
Were one to be dramatic, they would decree art the pre-Tower-of-Babel mother tongue (thus terming it ‘autonomous’ misses its essence as all-encompassing source), and politics not even one letter within it. They would point out an iceberg that, in contemporary discourse, had thus been forced to balance on its tip. A dangerous balance indeed. But for now, let’s pretend that all we’re saying is that art and politics are simply two different languages, a distinction too often forgotten in the aforementioned discourse.
The exhibition of photographs and installations entitled Art Without Borders, curated by Shirley Meshulam, recognizes the principles inherent in reality while employing its wide range of images.
The participating artists include: Alona Harpaz, Daniel Tchetchik, Hannah Shaviv, Amira Kasim Ziyan, Eitan Buganim, Ilia Yefimovich, Sigal Kolton, Orly Feldheim, Israeli and Palestinian newspaper photographers Gil Nechushtan, Mahfouz Abu Turk and the sculptor Osama Zatar. They, like their counterparts, also focus real events and the images they project; in addition to providing personal critical viewpoints. Continue reading →
When Liat meets Hilmi on a blustery autumn afternoon in New York City, she finds herself unwillingly drawn to him. Charismatic and handsome, Hilmi is a talented young artist from Palestine. Liat, an aspiring translation student, plans to return to her family in Israel the following summer. Their intimacy can only be temporary and yet their passionate fling deepens into love as Liat lets herself be enraptured by Hilmi.
Despite the freedom New York offers, Liat and Hilmi still harbor the Israeli-Palestinian conflict within themselves and it threatens to tear them apart. They are caught between their desire for each other and their duties to their families; between the possibility of creating a life together and alienation from their communities. As their time in the city comes to an end, the two must decide whether their love is worth shaking the foundations of their identities.
Tender and fiercely written, ALL THE RIVERS is a love story and a war story, a New York story and a Middle East story and an unflinching foray into the forces that bind us and divide us.
CIRCLE1 Gallery in collaboration with the Musrara School of Art and Society in Jerusalem, presenting the artists Doron Rosenblum, David Amuyal, Asaf Alboher, Moshe Stern, Nadav Ariel, Yael Horn Danino, Yael Shachar, Tamar Tzohar Harel, Or Tesema Avraham, Almog Gez, Tohar Lev Jacobson, Nikita Pavlov, curated by Yael Brandt