Ein Harod Measuring the Space Between Past and Present Art – Israeli Culture

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Ein Harod Measuring the Space Between Past and Present Art – Israeli Culture

Liav Mizrahi wanted to offer a gift to the public. His quest for the lost mother of Israeli art led him to discover 110 names. He took many walks in the cemetery. “I find that their profession is often engraved on the stone beneath their name,” he told the audience in an open discussion with curator Elad Yaron in early July.title Charity saves from deathMizrahi’s soft tombstones and memorial candles are displayed alongside original works by artists who are no longer forgotten, as Sigh Canon. A new group of Shira Gepstein, Eyal Assulin, Nitzan Satt and IS Kalter is on show at Ein Harod.

“I started buying their pieces with my own money,” Mizrahi said, “and they haven’t been on show in the last 60 years.” Often, family relatives who get the pieces are paid “for a new pair of shoes.” price” to sell them, and even happy to find a buyer, their other option is to throw the piece in the bin.

Mizrahi discovered that painter Annie Neumann and sculptor Batia Lishansky were successful LGBT artists who lived together before the state of Israel and were buried side by side. He also introduced the work of Palestinian painters Sophie Halaby and Zulfa Al-Saidi to Hebrew speakers. The first painting Jerusalem Landscape and the second portrait of an Arab leader exhibited at the National Arab Exposition (1933). Halaby and Al-Saidi were included in the names he embroidered on the wall, coining the word Zocrot [we (fem.) remember].

“Every artist is afraid to end up on this wall,” Mizrahi said, “which means no one remembers me. All artists live in fear,” he added, “We want to know: ‘I What happens to my work after I leave?'”

“Heart” by Shira Gepstein (Homage to Reuven Rubin). (Credit: EIN HAROD)

Canon

The Greek sculptor Polycletos believed that his art could measure the ideal distance between body parts to capture the fleeting beauty in bronze. He even wrote a book about it. Lost to us, it was named the Canon of Polykleitos. A word that means measuring ruler or standard. Marble replica of Polykleitos crucian carp (spear bearer) Disco Frost (on disc) and Diadumenos (crown bearer) still there. They reveal how the ancient Greeks understood beauty.

Over time, the word canon has acquired more layers. Most people think of it as an amalgam of long accepted truths that become normative laws, or so-called universe-building facts.

“One of the art historians we met firmly believed that Israeli art began in 1906,” curator Elad Yaron shared the work he and the artists went through in the year Bezalel was founded. Yaron points out that another date is also significant, for example, Alliance Israélite Universelle opened schools on Israeli soil from 1870. These schools also offer some level of arts education.

“MOTI” by Eyal Assulin. (Credit: EIN HAROD)

“An art historian we met was convinced that Israeli art began in 1906.”

Curator Elad Yaron

“It’s the canon that determines what history contains,” Yaron said. “In that sense, it is determined by winners, influenced by Zionist donors, and influenced by politics.”

“It’s amazing to realize that the final pieces that the artists create all come from a wounded place,” adds Aaron. “After all, there are many ways to look at the canon. For example, one might wish to join it, or show that it is important to install it in someone else’s mind. In our case, trauma became the most meaningful thing.”

“As a discipline,” Aaron said, “much of art history is about the way Christian churches were built. It’s a strange thing. I have a disproportionate view of what Western civilization has on the world, including the Jews. There is no objection to the claim of influence. My question is two tacit statements that are rarely said publicly. This state of affairs will go on forever and there will be no non-Western influences worth discussing until the West comes along.”

In his large-scale paintings, Eyal Assulin refers to ancient Egypt with golden man-made hieroglyphs.in a program called protector.

This is an excellent job because a column is broken, it cannot perform its function, it cannot carry the weight of the structure. This can be interpreted as a sign of grief, like the broken pillar depicted on Jewish tombstones, for a possible allegation of the discrimination suffered by Mizrahi Jews when they arrived here.

Both a reference to activists, “Black Panther” was inspired by the 1972 Black Panther movement in the United States, which stole milk from wealthy Jerusalem neighborhoods and gave it to the poor, and 2018 about the fictional African tile The superhero movie of Kanda Kingdom.

Constant’s work is now all but forgotten after the Ramat Gan Gallery named after him closed in 2017, a powerful nod to the original goal of the Ein Harod collection – to save Jewish art from oblivion.

“I want to be a classic,” says Gopstein, “but I want the included parts to really be me, not a mask.”

Her lush paintings subvert traditional artistic conventions, and the Good Shepherd with the Lamb is a woman rather than a man. “I was the first to portray the Lamb’s burden as a woman’s burden,” she told the audience.

“It’s a tough, indifferent world,” she quickly told the audience, “and so do my paintings. I don’t provide a field of paint for the eyes to rest. I want the gaze to always work, to move from detail to detail.”

Her work is full of direct references to art history. “The landscape here rises from Benni Efrat,” she offered, “he was excommunicated. [Israeli] Art scene doing ecological work. She painted the donkey in memory of Asad Azi. In Gopstein’s large painting, it is a woman who paints a naked man. A dog she often stands on canvas, a pair of silent white souvenirs.

“After I had my baby 14 years ago, I looked for successful female artists and found only one — Marina Abramović — and she didn’t have children,” says Gopstein.

“I also read Abramović’s words that making art is a whole, motherhood is a whole, and the two wholes don’t work together.”

“I and other female artists of my generation are fighting against time to prove that something like this is indeed possible,” she added.

In a triptych depicting a feast of “All the Women Artists I Love” on view at Zuzu Gallery on Friday (July 15), Gopstein painted Abramović beside her, referring to the The famous supper with Jesus standing next to the disciples. Gopstein explained with a laugh, “because of this idea she said,” before she deleted her.

She also has some sponge sculptures, which affectionately refer to Kosso Eloul and Chava Mehutan, which are included in the Ein Harod exhibition.

Polykleitos believed that the sublime could be found in the perfect relationship between the limbs of a body. If Israeli culture did exist, it would be even more impoverished by diminished interest in preserving the canon. Not to mention discussing its pros and cons.

In 1986, 11 working art critics provided public art criticism via print, radio waves and even television. The current exhibition is a powerful attempt at a highly erudite exploration of this load question – do we think it’s legitimate to keep the standard? Worth a look.

Sigh Canon (curated by Dr. Elad Yaron) On display at Ein Harod until 22 October 2022.it’s a “Bat Cole: Looking at Israeli Art” which includes the 2010 movie ‘assembly’ David Wackerstein. The film contains interviews with 53 artists. “Bertha Urdan’s Choice”, This is another worthy exhibition in honor of the London-born Jerusalem gallerist’s outstanding contribution to Israeli art Butter Cole include.

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