Arte Israel

Review of: Arte Israel

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Arte Israel

März (Israel) auf Channel 2. Deutschsprachige Erstausstrahlung, 9. Mai auf Arte. Besetzung. Yoram Toledano: Nimrod Klein; Ishai Golan: Uri Zach. gleich mehreren arabischen Staaten: Israel steht vor zahlreichen Herausforderungen. Hier finden Sie eine Auwahl an Reportagen und Analysen rund um die. Arte zeigt die hochgelobte israelische Serie "Hatufim". Helden oder Verräter? Juwel aus Israel: Die Serie "Hatufim - In der Hand des Feindes" (donnerstags) ist​.

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Der Archäologe Israel Finkelstein und der Theologe Thomas Römer möchten endlich Licht ins Dunkel bringen. Unter dem Einsatz modernster. März (Israel) auf Channel 2. Deutschsprachige Erstausstrahlung, 9. Mai auf Arte. Besetzung. Yoram Toledano: Nimrod Klein; Ishai Golan: Uri Zach. “ Arte habe bedenkenlos schon viele einseitige, israelkritische bis israelfeindliche Sendungen gezeigt, disqualifiziere aber einen proisraelischen Film als unseriös.

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En estas exposiciones de arte se expusieron obras en el estilo de "Arte de Bezalel" al lado de obras influidas por los estilos europeos post-impresionista y expresionista.

Otras exposiciones de Arte Moderno se realizaron en el espacio anexo al teatro Ohel en Tel Aviv entre y El estilo de estas obras a veces es denominado de la "Escuela de la Tierra de Israel".

Entre los artistas identificados con este estilo, se destaca el artista Nachum Gutman. Israel Paldi Feldman presenta escenas del entorno desierto con una paleta de colores y sombras brillantes.

In his work "Letters of Light" , for example, the letters were projected onto people and fabrics and the soil of the Judean Desert.

In another work Ofek screened the words "America", "Africa", and "Green card" on the walls of the Tel Hai courtyard during a symposium on sculpture.

The landscape as a space for performance and expressions of gender , which occupied center stage in American art of this period, never caught on in Israel as it did in the United States.

Ilana Tannenbaum claimed that, in contrast to artists worldwide, the works of Israeli artists were restrained in their artistic language and tended to be reductionist with regard to forms.

In her work "Letter to Beuys" , for example, Getter wrote a fictitious letter to the artist Joseph Beuys. The letter included three different biographies and asked Beuys to make her a coat and shoes.

In his work "Via Dolorosa" , Motti Mizrachi , who walked on crutches, created a series of photographs documenting his walking along the route of the Via Dolorosa on crutches while carrying a large portrait of himself on his back.

The works of Gideon Gechtman during this period dealt with the complex relationship between art and the life of the artist, and with the dialectic between artistic representation and real life.

In other works, such as "Brushes" — , he uses hair from his head and the heads of family members and attaches it to different kinds of brushes, which he exhibits in wooden boxes, as a kind of box of ruins a reliquary.

These boxes were created according to strict minimalistic esthetic standards. After the Yom Kippur War there was a palpable intensifying of protest in Israeli art against everything that was perceived as Israeli militarism or its relationship with the Palestinians, the dominant medium for which was the performance.

One of the leading artists in this protest movement was Pinchas Cohen Gan , who created a number of works of a political nature during these years. In his work "Touching the Border" 7 January , four iron missiles, with Israeli demographic information written on them, were sent to Israel's border.

The missiles were buried at the spot where the Israelis carrying them were arrested. In "Performance in a Political Camp in Jericho", which took place on February 10, in the northeast section of the city of Jericho near Khirbat al-Mafjar Hisham's Palace , Cohen created a link between his personal experience as an immigrant and the experience of the Palestinian immigrant, by building a tent and a structure that looked like the sail of a boat, which was also made of fabric.

At the same time Cohen Gan set up a conversation about "Israel 25 Years Hence", in the year , between two refugees, and accompanied by the declaration, "A refugee is a person who cannot return to his homeland".

The artists Gabi Klasmer and Sharon Keren "Gabi and Sharon" gave a number of performances of a political nature and based on current events in public places in Jerusalem.

On April 24, the two of them drew airplanes, tanks, and soldiers on the streets of Jerusalem, accompanied by the caption, "Who needs a parade?

Efrat Natan created a number of performances dealing with the dissolution of the connection between the viewer and the work of art, at the same time criticizing Israeli militarism after the Six-Day War.

Among her important works was "Head Sculpture", in which Natan consulted a sort of wooden sculpture which she wore as a kind of mask on her head.

Natan wore the sculpture the day after the army's annual military parade in , and walked with it to various central places in Tel Aviv. The form of the mask, in the shape of the letter "T", bore a resemblance to a cross or an airplane and restricted her field of vision".

A blend of political and artistic criticism with poetics can be seen in a number of paintings and installations that Moshe Gershuni created in the s.

For Gershuni, who began to be famous during these years as a conceptual sculptor, art and the definition of esthetics was perceived as parallel and inseparable from politics in Israel.

Thus, in his work "A Gentle Hand" — , Gershuni juxtaposed a newspaper article describing abuse of a Palestinian with a famous love song by Zalman Shneur called: "All Her Heart She Gave Him" and the first words of which are "A gentle hand", sung to an Arab melody from the days of the Second Aliyah — Gershuni sang like a muezzin into a loudspeaker placed on the roof of the Tel Aviv Museum.

In another work, "Who Is a Zionist and Who Is Not? In these works the minimalist and conceptualist ethics served as a tool for criticizing Zionism and Israeli society.

Joshua Neustein's Still Life was a shape of a Phantom Jet made of burning car tires on the Lebanon Border. Most of the artists who worked in the s as conceptualist artists in a variety of media changed their style in the s and returned for the most part to the medium of painting.

This, under the influence of European and American art, was characterized during those years by a mixture of styles all grouped under the accepted esthetic of minimalism, including the American " Neo-Geo " style, the "Pop Art" style of artists such as Jeff Koons , and the fashionable expressive style, also known as " Bad Painting ", of artists such as George Baselitz and Julian Schnabel , which defined the post modernist spirit in art around the world.

These international trends filtered into Israeli art, which reflected the attempt to undercut the values of contemporary Israeli society.

In the art of this decade, especially toward its end, a discourse of identities developed, a discourse that was incompatible with the institutional hegemony; narrative painting returned and regained its status among local artists, intentionally combining the post modernist use of "the high" and "the low" in all aspects of the implementation and themes of works of art.

The expressive style in painting was adopted in Israel by a great many artists. Michal Na'aman , who created collages and other conceptual art in the s, moved to large scale paintings with psychological and psychoanalytic overtones.

Moshe Gershuni moved from conceptual and minimalistic sculpture to painting full of Impasto thickly laid on paint in which he combined homoerotic symbolism with images of soldiers with Jewish associations, such as verses from the Bible and from other Judeo-Christian sources.

Another prominent aspect of art in those years was the use of references to the Holocaust and to Jewish culture in Europe. Gershuni's painting techniques included applying paint with his hands, without using a brush, transforming the act of painting into a sort of solo performance.

In parallel to the expressionist approach, other artists worked in a more formalist approach. The painter Diti Almog exhibited large paintings with textile motifs, such as buttons, shirt fabrics, etc.

The works are abstract and decorative in style. The gap between the calculated, formalist formal approach and the use of everyday themes was a result of the feminist approach that derived from it.

In the works of painters such as Isaac Golombek and Nahum Tevet this preoccupation with deconstructing the personal narrative by dealing in a formalistic way with the relationship between form and content, is also very much in evidence.

If in the s Israeli art is full of social and political messages, art in the s is more concerned with "protest". This attribute is especially evident in the second half of the s, under the influence of events such as the Lebanon War and the outbreak of First Intifada.

The painter David Reeb , for example, painted works of a clear political nature, such as "Green Line With Green Eyes" , which showed the borders of Israel without the land that was conquered in the Six-Day War , beyond the green line, combined with portraits of Arabs with their face covered and the coastline of the Tel Aviv beach.

Larry Abramson presented a critical view of Israeli Zionism in his series of abstract paintings entitled "Tsoba". This series was created as a counterpoint to the abstract paintings of the same name by Joseph Zaritsky , in which he "erased", as it were, all remnants of the Arab village.

Artistic photography gained status during this period, emerging from the place it had occupied for many years as a negligible area of art.

A large number of artists returned from studying photography in the United States, among them Avi Ganor , Oded Yedaya , Yigal Shem Tov , Simcha Shirman , Deganit Berest , etc.

At the Museum of Art Ein Harod in the mids, a Biennale of Israeli Photography was held, presenting Israeli photography for the first time in a museum setting on a large scale.

In the press as well photography sometimes acquired a new aspect, as staged photography, in the works of photographers such as Micha Kirshner.

In his portraits, Kirshner used artistic devices such as makeup, lighting, and composition in an attempt to create the desired effect on the way his subjects would be socially perceived.

In his portrait of the model Tami Ben-Ami , Kirshner emphasized the artificiality of the public image of the model, and on the gap between this image and the private person.

Performance art also began to develop. The most important group functioning in this area was named "Shelter ", after the number of the Tel Aviv bomb shelter in which they performed.

Members of this group were Danny Zackheim, Tamar Raban, and Anat Shen. Another group, the " Zik Group ", created images of large-scale cockroaches, which burned up in complex ceremonies that included ritual elements.

The s brought an openness to contemporary trends in international art. Among the elements responsible for this were the monthly journal 'Studio', edited by Sara Breitberg-Semel , which exposed the Israeli public to contemporary international art; the opening of new galleries that displayed Israeli art of the times; the increase in exhibitions featuring collaboration between Israeli artists and foreign artists; and the strengthening of peripheral museums such as the Herzliya Museum of Contemporary Art , which changed its policies during these years.

This trend was echoed in the official art establishment with the founding of the " Art Focus " project , which aspired to be a biennale of international art, and in other projects during the s decade.

As part of the international influence, there was a significant growth in the artistic and commercial importance of various types of media, such as photography, installations, and video performance art.

New technologies like online video editing and image file processing in graphic programs, made the use of these media easier for Israeli artists.

Another trend of the s was a return to realistic figurative painting, that is, painting created by looking at the object being painted.

The painter Israel Hershberg was the leader of this trend and even opened a painting school in order to train young artists in this kind of painting.

In the works of local sculptors of the s can be seen a tendency towards large and detailed installations. Often they demonstrated a kind of protest against social values by using artistic symbols.

Michal Rovner used the medium of video art to create rich and complex textures which were composed of images of people and which produced a primitive-primeval effect.

Guy Ben-Ner created videos whose narratives dismantle the institution of family by using comic, ars poetica effects. In works such as "Temple Mount" or "Country" , Sigalit Landau created environments rich in objects with an expressive appearance that reflected her interest in transitional situations and in social-political criticism.

Social criticism can be seen also in the works of Ohad Meromi , who exhibited works that combined "primitive" images with modernist values. In his work "The Clinic" , Meromi presented traditional local architectures and confronted them with primitive or foreign images.

In his work "The Boy From South Tel Aviv" , for example, Meromi created a huge statue of a black figure standing in front of what looks like a road block.

Even the older generation of sculptors turned to historical narrative of a more personal nature and to reflection on the nature of art.

Philip Rantzer , for example, created sculptures and installations that recreated his childhood experience of being a new immigrant and a stranger in Israel.

Penny Yassour created works that invoked the memory of the Holocaust, along with other personal experiences. Nahum Tevet created sculptural constructions that strove to reflect viewer perceptions, memory, the object, and the work of art.

Gideon Gechtman emphasized this connection through a variety of means. In his exhibition "Yotam" , Gechtman displayed a series of works connected to the death of his son, within a framework of works relating to post modernist means of replication and reproduction.

In the field of painting as well we see an attempt to criticize society using the language of art. Nurit David and Meira Shemesh , for example, created figurative paintings reflecting the failed attempt at family perfection and artistic perfection.

The artist Tal Matzliach created decorative paintings the significance of which was to show the lack of sexual adequacy.

Tsibi Geva continued his work from the s with imagery such as "Keffiyah" and "Biladi", which juxtapose American abstract art with local images.

The tendency toward the preoccupation with central symbols can be seen primarily among the artists who thought of themselves as representatives of a minority group within Israeli society.

The artist Assam Abu Shakra, for example, made use of the symbol the "Sabra" which Israelis thought of as a Zionist symbol, as part of a process for establishing an Israeli Arab identity.

Another artist, Sharif Waked, created in his series "Jericho First" a metamorphosis of the image of the hunter in the floor mosaic in Khirbat al Mafjar, north of Jericho, as a means of political criticism.

The photographer Adi Nes used photographs of Israeli soldiers, posed in various existential situations, combining them with images of homoerotic significance and of death.

In the untitled photograph that has come to be known as "The Last Supper", soldiers sit around a table in a tableau reminiscent of "The Last Supper" of Leonardo da Vinci.

Since the birth of Israeli art, there was a long discussion about the role of Jewish content and where it fits within the discourse of Israeli art.

The foundation of The Jerusalem Biennale in was a reaction and partial solution to this discussion. The Jerusalem Biennale aims at creating a platform for contemporary artists and curators who seek to deal with Jewish content and traditions through their works.

From Wikipedia, the free encyclopedia. Main article: Canaanism. Retrieved Nimrod", Kav, 9, in Hebrew. Nimrod", Kav, 9, p. The artist Doron Rabina described the national image of the artist: "The end of a summer day.

Rafi goes into the cafeteria, sweat is trickling down his temples, and his shirt is so wet it's stuck to his body. I couldn't help thinking, 'There goes a master'"; See: Doron Rabina, "The Drawing Itself".

Ha-Midrasha, 1, , p. In Hebrew. Yona Fischer, In: Yitzhak Danziger, Place HaKibbutz HaMeuhad, Tel Aviv, For documentation on the varied sculptural activities of Tumarkin, see: Yigal Tumarkin, Wood, Stone, and Cloth in the Wind Masada Publishers, Tel Aviv, Also: Gideon Efrat, Beit Avraham Ofek Museum of Art, Ein Harod, , p.

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An Underwater Success Story. The film, telling the story of the crew on a German navy submarine during World War Two, became one of the highest grossing German films of all time.

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Arte Israel
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