Old Jaffa Museum
July 8-20, 2024
The third graduation project of the Yona Fischer Program for Curatorial Studies and Museology of the Institute for Israeli Art of the Academic College of Tel Aviv-Jaffa, run by Idit Amichai and Osnat Zuckerman Rechter, guided by me.
The exhibition’s title was borrowed from a poem by Aharon Shabtai,* seeks to reintroduce the notion of repair in the post-October 7 age. It aims to carefully observe not only the fracture itself, but also the potential to heal offered by art.
The exhibition had two theoretical anchors: The first was the local thesis exhibition “Perspectives on Israeli Art of the Seventies: Tikkun” (1998), curated by Mordechai Omer at the Tel Aviv University Gallery, which centered on the social wounds inflicted by the Yom Kippur War. The second theoretical anchor was buildt on the notion of repair as conceptualized in the thought and work of the contemporary artist Kader Attia.
The works selected for this exhibition were conceptually related to the notions of both tikkun and repair. Many of the artworks involved traditional crafts, such as embroidery, sewing, felting, and knitting, which are associated with repairing, mending, and patching. Some included everyday materials such as salt and flour, which are associated with healing. Other works boldly used the artist’s body as the main material. Several works depicted the act of wrapping and bandaging sculptural elements and fractured landscapes as in a healing ritual.
The exhibition was conceived of during an unbearably difficult year, and curated by a team of students. The artworks were all created prior to October 7, and their selection, as well as that of the exhibition theme, was based on a belief in art’s power to engage in what Kader Attia calls “phantom mirroring” – that is, a reflection that also captures the reverse side of things, enabling both individuals and communities to partake of heart wisdom’s ceaseless movement towards repair.
Artists: Irit Abba, Hannan Abu-Hussein, Yair Barak, Ziva Ben Arav Rabinovitz, Dania Chelminsky, Adva Drori, Noa Eshkol, Adi Fluman, Gideon GechtmanE, Moshe Gershuni, Haya Graetz-Ran, Anna Hayat and Slava Pirsky, Michal Heiman, Ariane Littman and Vered Sivan, Motti Mizrachi, Liav Mizrahi, Moshe Roas, Yana Stup, Yocheved Weinfeld, Noa Yekutieli
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* Aharon Shabtai, “Tikkun”, October 10th, 2023
Old Jaffa Museum
July 8-20, 2024
The third graduation project of the Yona Fischer Program for Curatorial Studies and Museology of the Institute for Israeli Art of the Academic College of Tel Aviv-Jaffa, run by Idit Amichai and Osnat Zuckerman Rechter, guided by me.
The exhibition’s title was borrowed from a poem by Aharon Shabtai,* seeks to reintroduce the notion of repair in the post-October 7 age. It aims to carefully observe not only the fracture itself, but also the potential to heal offered by art.
The exhibition had two theoretical anchors: The first was the local thesis exhibition “Perspectives on Israeli Art of the Seventies: Tikkun” (1998), curated by Mordechai Omer at the Tel Aviv University Gallery, which centered on the social wounds inflicted by the Yom Kippur War. The second theoretical anchor was buildt on the notion of repair as conceptualized in the thought and work of the contemporary artist Kader Attia.
The works selected for this exhibition were conceptually related to the notions of both tikkun and repair. Many of the artworks involved traditional crafts, such as embroidery, sewing, felting, and knitting, which are associated with repairing, mending, and patching. Some included everyday materials such as salt and flour, which are associated with healing. Other works boldly used the artist’s body as the main material. Several works depicted the act of wrapping and bandaging sculptural elements and fractured landscapes as in a healing ritual.
The exhibition was conceived of during an unbearably difficult year, and curated by a team of students. The artworks were all created prior to October 7, and their selection, as well as that of the exhibition theme, was based on a belief in art’s power to engage in what Kader Attia calls “phantom mirroring” – that is, a reflection that also captures the reverse side of things, enabling both individuals and communities to partake of heart wisdom’s ceaseless movement towards repair.
Artists: Irit Abba, Hannan Abu-Hussein, Yair Barak, Ziva Ben Arav Rabinovitz, Dania Chelminsky, Adva Drori, Noa Eshkol, Adi Fluman, Gideon GechtmanE, Moshe Gershuni, Haya Graetz-Ran, Anna Hayat and Slava Pirsky, Michal Heiman, Ariane Littman and Vered Sivan, Motti Mizrachi, Liav Mizrahi, Moshe Roas, Yana Stup, Yocheved Weinfeld, Noa Yekutieli
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* Aharon Shabtai, “Tikkun”, October 10th, 2023
Yana Stup, Gate, 2023, photo by Yuval Chen