Jerusalem Journal attempts to capture meaningful aspects of the world’s most complex city. During three non-consecutive days I walked miles through some of its sections, old and new. The light rail traveling provided me with an opportunity to encounter people of all walks of lives, faiths and nationalities. In Jerusalem discovery, within and without, is a non-ending process.
Cabri is a kibbutz in Western Galilee. It includes the Gottesman Etching Center and an art gallery. For many years it was the residence place of sculptor Yechiel Shemi, Israel Prize winner and the first Israeli artist from whom New York’s Museum of Modern Art acquired work. The video shows an opening dedicated to artist Tobi Harel and to poet Ronny Someck, yet its message goes beyond that. It shows that contemporary art production can grow not only in an urban environment, but it can flourish in the country as well.
Tel Aviv, “the city that never sleeps,” becomes once a year, during White Night, a place where nobody seems to sleep at all: youngsters, adults and children flow into tens of events throughout its annual “White Night.” Cities are not just the accumulation of buildings, streets and open spaces.The are the focal point of culture. For those intoxicated with negative news from the Middle East, this video may offer another viewpoint.
The new wing of the Tel Aviv Museum of Art, designed by architect Preston Scott Cohen as an addition to the museum’s Main Building, is the latest development in a process that started in the 1930s, when the city’s first mayor, Meir Dizengoff, created a municipal art museum in his own house. It evolved through the creation of the Helena Rubinstein Gallery in 1959, the austere main building designed by architects Dan Eitan and Itzhak Yashar in 1971, and the Herta & Paul Amir Building, inaugurated in 2011.
The following video is an open-ended three-week visual diary (shot with an iPhone 6S Plus) of my come back to Israel after a fifteen-year absence. In spite of total distortions by the media, in spite of Israel’s many contradictions, inequalities and extremes, I found the country exceptionally better than when I left it, back in 2001. Its energy cannot be described neither visually nor in writing; it must be felt.
The Broad is an experience. A social experience. People discovering art, discovering other people. Moving around in all directions looking at art, shooting selfies with artworks as their background. There is no linear itinerary, no sequence to follow. Visitors interact with creations as they choose.