Deconstructing Myths

Deconstructing Myths

Elodie Abergel is a Franco-Israeli artist focused on what she calls “sharing territories”. The majority of her artworks involve “otherness” and her audience’s intervention whom are responsible of giving birth to her artworks.

Considered as a luxury or as a decoration object, art has entered a quest where it tries to find itself useful to the numerous political and humanitarian problems of this days. Indeed in Documenta 14, one of the most prestigious contemporary art exhibitions, artists showed a keen interest on refugee and border issues. Seemingly, artists’ desire is to bring to the contemporary art scene, a hermetic and elitist work, the hammering reality of the most of the global population. During her formative years at the Beaux Arts in Nantes, Elodie Abergel envisioned for the first time “sharing territories” a concept based on Nicolas Bourriaud’s “relational art or relational aesthetics” where human relations and interaction became a departing point to create an art piece.

Living and seeing the daily injustices in Israel, she decided to create her own non profit organization called Zellige, named after a Moorish geometric pattern abundant in constructions in Morocco and Spain.

After obtaining her bachelor’s degree in art, she moved to Israel to further her quest on “sharing territories”. One of the most iconic works is titled United Nation without “s” a piece alluding to the still ongoing conflict between Palestine and Israel. During the following 6 years, she explored and perfected this concept with the local population, adding more element to the project’s aesthetics. Moreover, living and seeing the daily injustices in Israel, she decided to create her own non profit organization called Zellige, named after a Moorish geometric pattern abundant in constructions in Morocco and Spain. Zellige symbolised for Abergel the diversity of the region and the beauty of both, its religions and traditions. The main goal of this organization was to create a propitious context in which young people from Palestine and Israel would interact in order to produce an artwork and to understand each other. One of the most beautiful stories told by the artist is the meeting of a young Israeli soldier (17 years old), convinced of his engagement in the army, and a Palestinian (15 years old) yearning to become, like his brothers, a suicide bomber. After getting to know each other, they changed their viewpoints on war and each one of them fought against the conflict.

While developing this activities, Abergel met the French-Israeli psychoanalyst Henri Cohen Solal. He invited her to participate in his organization Beit Esther, where the latter mediates issues between Palestinians and Israeli. From this moment on, Abergel transformed her art in a social fight where her work embodied the struggle of the millions of people having to live in a state of constant fright. “In every action there is something inherently political”, stated the artist. Widening the range of her activities, she traveled last August to Israel again, this time with a group of French adolescents from disadvantaged neighborhoods to fight stereotypes and racism. Together with the OPEJ Foundation, known for aiming at protecting children, and a group of 3 artists, they conceived activities so the students could create an art piece in situ. Therefore, Abergel is not merely satisfied with the fact of pure creating, her work has to truly create an impact, and if possible to change people’s lives.

According to Abergel, an artist then is a demiurge and a catalyst creating change and later disappearing. The process not only transform the person involved but the artist itself metamorphosing his capabilities and their own frames of reference. Recently, her work was selected to take part in a group exhibition at the Haifa Museum of Art where she will be exhibiting Eaux Man’s Land a piece constituted of “Tati Bags” known in France for being used by African immigrants. Evoking the immigrant’s journey and European government’s failure to welcome them, the exhibition will explore artist’s variety of mediums and proposals to express their anger and impotence on the matter. Additionally, she will exhibit at the Gare de Lyon, for the Festival 12X12 End of DNA, a work converting gigantic skyscrapers into beautiful patterns.

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Narcissus’ Reflection

Narcissus’ Reflection

Piercing eyes, still as a lake, printed on the glossy images by photographer Adi Nes entice viewers to peel off these well-crafted veneers and reveal an autobiographical search of identity and the reason of a nation. With his art, Nes is the master storyteller. Yet, his career seems to hit its critical juncture only now after a five-year hiatus since Nes’ last series The Village in 2012. Like something is brewing and about to begin.

Adi Nes’ iconic image, Untitled (The Last Supper), from the photographer’s Soldiers series produced in 1999 once graced the front page of the New York Times, not only represents a high point in his artistic career, but also summarises many of his ideologies of what we should consider now as Nes’ first period of work. The reason to the previous assertion is the photographer’s motivation to depart from his archetypal staged photographs into researching the crux of the photographic medium, the raison d’être of propagating images. “I feel that photography has changed from the roots – how an image starts.”

Adi Nes- Soldiers

Untitled, 1999, from the serie “Soldiers” – 90 x 90 cm & 140 x 140 cm. © Courtesy of the Artist.

Flipping back the pages to the day when Nes registered for courses at Bezalel Academy of Art and Design Jerusalem after serving in the army and has mistakenly checked the box for the Photography department, his method of drawing out sketches and storyboarding prior to shooting was unusual in the late 80’s in Israel. Nes’ dramatic style and audacity are drawn from his experience working in the television and cinema industry as well as from Postmodernist figures from North America like Cindy Sherman, Jeff Wall and Philip-Lorca diCorcia. In Guy Debord’s definition of life being “presented as an immense accumulation of spectacles”, Nes bases his photography heavily on introspection, or rather his association with his world, his reality and his people.

“I deal with homoeroticism and masculinity because I’m gay; with Israeliness because I’m an Israeli. Because I’ve grown up in the periphery, I deal with the gap between the centre and the boundary; because my parents immigrated from Iran, I deal with ethnic issues and minority groups; because I’m an artist, I pay tribute to classical art; because I’m Jewish, I deal with Judaism.” Underneath the parallelism drawn from staged actors posing as contemporary homeless people and the moment before the Binding of Isaac in Untitled (Abraham & Isaac) (2004) or the tribute to Picasso’s Boy Leading a Horse (1906) and its allusion to the mythological beast Pegasus in Untitled (2008) from The Village series, Nes wishes to relate the viewers on an exceedingly intimate level.

Adi Nes - Biblical Abraham & Isaac

Untitled (Abraham & Isaac) 2004, from the serie “Biblical Stories” – 100 x 100 cm & 140 x 140 cm. © Courtesy of the Artist.

The elicited ambiguity in Nes’ images, which is also the reason to their unyielding fascination, often obfuscates the truth of its message that oscillates between its commanding visual language with its dark tones and contrasts, the allegorical stories,  the alluded drama and the underlying tensed atmosphere, and Nes’ concept in discussing identity. This collection of images by Nes is almost a by-product of the photographer’s state of mind and worldview during that specific period. His desire to piece together his inner identity struggles while living in and telling stories of “a young nation that started from a dream” and having his ideals shaped by Hebrew, an ancient and colourful language whose modern usage can still be considered to be in its infancy.

Nes bases his photography heavily on introspection, or rather his association with his world, his reality and his people.

It is not illogical to analyse that everything which has been created until now in Nes’ career is a long exposition to his story and of what is brewing up in his ongoing research. Upon the completion of the series The Village in 2012, Nes participated in a project at the science faculty at the Hebrew University in Jerusalem. Alongside scientists, the photographer delved into how the core of matters remains as materials fall apart. “I thought to create a project that follows the way of how I feel about contemporary life. My body, at the age of 51, starts to break apart but my identity is always there.” Far different from his situation during his creative proliferation, Nes finds himself leading a comfortable life. Yet, conflict ensues. “I’ve got to a place where I can feel that everything is settled down and suddenly, it starts to all break apart again.” This crisis in his identity as an artist solicits him to look for new expressions, new colours, new textures, and new ways of thinking.

Like when a star collapses, its nebular energy might birth another solar system. Nes is currently taking on a trepidatious task to rejuvenate his photographic discipline by incorporating motion in juxtaposition with still photographs. However, the results may not come for another couple of years.

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5 artists from our “Contemporary Art in Israel” issue

5 artists from our “Contemporary Art in Israel” issue

Shai Kremer

Shai Kremer is an Israeli artist born in 1974. He studied at the Camera Obscura School of Arts in Tel Aviv where he obtained his M.A, later on going to the School of Visual Arts in New York where he obtained his Masters of Fine Arts. His artistic practice spans from landscape photography to more experimental creations such as his series Perception. His work was exhibited in reputable art fairs like Art Basel Miami, Art Chicago, Les Rencontres d’Arles, Paris Photo, The Armory Show, Tseva Tari and more. His work has been nominated to numerous prizes such as the BMW Paris Photo Prize, the Henri Cartier Bresson Award, the HSBC Photography prize, and has won the Photo Folio Review Prize at les Rencontres d’Arles. Furthermore, his works are in prestigious collections like in the Metropolitan Museum of Art
in New York, the San Francisco Museum of Art collection, the Museum of Contemporary Photography in Chicago, the Tel Aviv Museum collection, the Musée de la Roche-sur-Yon collection and more.

Atomic Mushroom, 2017

Raida Adon

Raida Adon’s work explores women’s condition and concepts such as belonging, border and the limitations of the body. In her videos she recurs to the colour red and black embodying death and femininity. She was born in Acre, Israel in 1972 and assisted the Bezalel Academy of Arts and Design in Jerusalem. Her first exhibition was in 1996 at the Artists House in Tel Aviv. Aside from her artistic career, Adon is also an actress working for television, theater and the film industry. In 2008, she won the Minister of Culture and Education Prize for Palestinian Art and in 2011 the Minister of Education Prize for most prominent Israeli Artist.

Woman without a home, 2014, video.

Michel Na’aman

Artist Michal Na’aman was born in 1951 at the Kvutzat Kinneret in Israel. Her oeuvre, often described as pertaining to conceptual art, delve in issues such as language and gender. She studied at the art College of Ramat Hasharon and later obtained her Bachelor of Arts at the Tel Aviv University. Her first solo exhibition was called “Vai Hai Oh” at the Yodfat Gallery in Tel Aviv in 1975. She continued to showcase her work all over the world in countries such as the United States, Germany, Switzerland, Greece, England, Italy, and more. She has won several prices and scholarships such as the Meir Dizengoff Prize for Painting and Sculpture in 1998, the Jacques and Eugenie O’Hana Prize for a Young Israeli Artist in 1981, the Sandberg Prize for Israeli Art in 2002, the Israeli Prize in the field of visual arts in 2014 and many others. Her work is in museum collections like the Tel Aviv Museum and the Israel Museum among other private collections. Since 2005, she is associate professor at the Midrasha Art School of Art in Kalmania.

Death of the Savior has Arrived, 2006, oil and masking tape on canvas, 130 x 100 cm.

Tanya Preminger

Tanya Preminger is a Russian artist living and teaching in Israel since 1972. She studied at the Surikov Academy Arts where she obtained her M.A in Sculpture. Her grandiose sculptures can be ascribed as land art as they engage organic materials and are to be found on the outdoors. She has participated in numerous residencies like at the Houston University residency program in the United States (2002), the residency program at the Pedvale Art Museum in Latvia (2009) or the Artis Grant for the Setuchi Triennale in Japan among others. Her work has been displayed in numerous international exhibitions in countries such as Argentina, Japan, South Korea, Italy, China, Russia and more.

Death of the Savior has Arrived, 2006, oil and masking tape on canvas, 130 x 100 cm.

Fatma Shanan Dery

Fatma Shanan Dery’s oeuvre focuses on realistic, large scale paintings where she depicts the village of Dreuze in Israel. Born in 1986, she studied at the Oranim College in Israel and with the artist Eli Shamir. She participated in numerous residency programs such as the Home Base Project in Jerusalem in 2014, the ArtPort residency in 2016 and the Peleh Fund Residency in California in 2017. In 2013 she won the Pais Culture Council Grant for her solo exhibition “a single Continuum”, the Artis project grant in 2016, the Haim Shiff Prize for Figurative-Realist art given by the Tel Aviv Museum of Art in 2016 and more. Among other collection, her work pertains to the Israel Museum collection, the Luna Art Fund in Tel Aviv and New York, the Rivka Saker and Uri Zucker collection and others.

Untitled, 2017, oil on canvas, 66 x 100 cm

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Archeology of the future

Archeology of the future

 

Since 1952, Israel has steadily participated at the Venice Biennale confirming its strong
position in the contemporary art field. Under the direction of Christine Macel, this year’s
edition titled Viva Arte Viva wished to celebrate art. Tami Katz-Freiman, curator of the Israeli Pavilion for this year’s Venice Biennale answers our questions on Gal Weinstein’s inception for his piece Jezreel Valley in the Dark.

 

 

 

  1. The term “archaeology of the future” comes to mind when looking at the Pavilion, through this paradoxical concept, time takes another dimension. What was the artist’s objective when blending temporalities?

It’s true that the essence of this project, its ultimate protagonist, is time. It is about the passage of time, about the fear of death, the tyranny of time, the human desire to stop time and about the hubris embedded in the myth of arresting time, as manifested in “Sun Stand Still” biblical miracle. The sense of “archaeology of the future” comes from the fact that we encounter “leftovers” of civilization, whether it’s the ornaments on the wall, the (artificial) moldy floor, or the (real) moldy Jezreel Valley in the Dark. To me these are more “leftovers” than “artifacts”. In addition to these “leftovers”, the manifestation of time’s vicissitudes (the various types of mold and its transformation over time), which becomes palpable as soon as one enters the pavilion, disrupts the white architectural space representing the spirit of modernity and progress (the future). In this sense, the mold spores in the Israeli Pavilion enfold the past, present, and future, evolving silently like a riddle searching for an answer: What has happened here? What past do these vestiges belong to?

Blending temporalities, from the artist’s perspective, is more related to the expression of internal reality (dream, vision, sensations) in which the past and future are intermingled. He speaks about fragmented, associative sense of time, where the future is perceived less as a horizon for hope or linear consequence of the present, and more as a lack-of-horizon-mental-situation, which unfortunately characterize life in Israel after 50 years of occupation with no resolution in the horizon.

 

 

  1. Mythology and reality confront each other in Weinstein’s piece, in which way is he challenging the very concept of nation?

Mythology and reality indeed confront each other in “Sun Stand Still”. Mythology is embedded both in the central wall piece Moon over Ayalon Valley, which refers to the biblical miracle that took place during the conquest of Canaan by Joshua Bin-Nun, and it’s also manifested in Jezreel Valley in the Dark, which refers to a mythological and Romantic image of early Zionist settlement, as it is embedded in Israeli collective memory.

The visual origin of Moon over Ayalon Valley is a photograph of the Ayalon Valley from the album In the Footsteps of Moses, which was published in English (in Israel, the United States, and Canada) in 1973. The album describes the return of the Jewish people to the Promised Land, accompanied by landscape photographs and archeological finds that seemingly support the biblical story. The book was produced in collaboration with the Israeli Ministry of Education and Culture’s Department of Antiquities and Museums, and belongs to the genre of pseudo-archeological and pseudo-scientific propaganda that uses biblical stories as historical proof of the Jewish-Israeli connection to the land. An entire chapter in this album is devoted to the conquest of the land by Joshua Bin-Nun. Weinstein expropriated this ancient symbolic landscape from the book, and recreated the image using a laborious manual technique of gluing of colored felt and metal wool on wood panels to form a monumental image. By referring to this biblical story, in this specific context, Weinstein connect it to reality – to the current conflict, resulted by the “second” conquest of the land.

According to Weinstein, mythology and reality are two paradigms that are normally perceived as opposites. In the Israeli political climate, though, they are merged, bound together, molten to each other. Some of the Israeli political demagoguery is illuminated by mythological stories. In fact, Israel is a reality fact created by mythological legends that until this day are firmly embedded in daily culture. Right-wing (religious) politicians who support the settlers in the West Bank, for example, are trying to create an overlap between biblical mythology and reality, using archaeological artifacts and sites in order to verify biblical mythological events as if they really happened, as a justification for Israeli national existence. For Weinstein this manipulation is both fascinating and perplexing.

  1. Regarding the state of war in Israel, how is the Pavilion reflecting it? At a larger scale, how can the “international” spectator relate to it?

To me, it is a very sad, melancholic pavilion. As you could see, the floors, the entire walls – all is covered with mold and dirt, as if the original Bauhaus building that was inaugurated in 1952 – symbolizing the modernist hope for progress for the 4-years-old state of Israel – turned to be a neglected, deserted building from some reason. It is a sad pavilion because this year it’s 50 years of occupation and I think it reflects the current political climate which is getting more and more extreme in the Middle East and all over the world. I like to interpret the entire installation as a melancholic-poetic allegory of the Israeli story: a story that include miraculous acts and moments of enlightenment as well as neglect and destruction, a story vacillating between a megalomaniacal soaring to great heights and a resounding crash.

Located on the top floor of the pavilion, from which one can observe the landscape of Jezreel Valley in the Dark, is the sculptural work of smoke and fire El Al depicting a missile or satellite launch pad. The bursts of fire and smoke made of ethereal wool and Acrilan – the trail left by the soaring missile – is clearly an aggressive expression reflective of the political conflict in the Middle East. A “foreign eye” or as you said “international spectator” might read it broadly as a general expression of military violence and of the destructive potential of human actions anywhere upon the Earth. Nevertheless, the specific location and concreteness of this sculptural image positions this part of the installation as an implicit answer to the series of questions provoked by one’s experience on the lower two levels: What is the nature of the catastrophe that led to the abandonment of this site? Is there a connection between the mold and putrefaction pervading the lower levels and the presence of the missiles on the upper level?

Jazreel Valley – Photo by Illit Azoulay

In a contemporary Israeli context, it’s hard to think of any landscape in Israel without relating it to notions of “belonging”, “ownership”, “boundaries” and “control”. In other words, the landscape cannot be detached from politics, and is always scorched by the fire of the Israeli-Palestinian conflict and by the internal Israeli debate around it. The concern with landscape imagery in Israel – a country where the earth itself has been appropriated and subjected to conflicting historical narratives and to political, religious, and national goals – is always contaminated by national myths.

For Weinstein, the essence of the Israeli-Palestinian conflict can be metaphorically read through the distinction between the organic and the artificial, since the core of this conflict revolves around the question of authentic belonging – which of the two peoples is organically rooted in the land, and which is the foreign implant? In this sense, the entire project may be read as a metaphor for this core question, due to its concern with the deceptive vacillation between organic and artificial elements, the real and its simulacra: real mold growing in real time and artificial, cultivated, domesticated mold that was glued to panels and flown from Tel Aviv to Venice, where it takes on the false appearance of real mold.

 

Curiosity killed the cat

Curiosity killed the cat

 

Gal Weinstein is the enfant terrible who played with fire. The rebellious artist is preoccupied with showing the viewer the truth of the material, demonstrating, in the most as-a-matter-of-fact way, images of the unfiltered reality. The “betwixt and between”-ness of Weinstein’s application challenges the distinction between the authentic and the artifice. The artist toys with this visceral tactile desire and beckons the viewer to lick the flame.

Moon Over Ayalon Valley (2017) sets a grandiose tone on the mural of the Israel Pavilion for artist Gal Weinstein’s Sun Stands Still presentation for the 57th Venice Biennale. One cannot shake the Biblical reference of this work and the title of the exhibition under this painterly demonstration. To our surprise, the scrupulous appearance of pointillism is, in fact, achieved by steel wool, a material in which the artist is exceedingly well-versed. Weinstein’s fascination with such materials borrows its origins from the modernist view on object-hood and self-referentiality of an artwork. Steel wool, though in nature not organic, possesses a proximity to human physicality; and owing to this fact, the artist plays with our natural affinity to familiar objects, creating ambiguity and tempting viewers to touch his work.

 

Fire Tire – Photo by Viktor Kolibal

 

Attraction and disgust, the function of materials in Weinstein’s work is more paradoxical than perhaps Richard Serra’s minimalist considerations. On the one hand, the artist is concerned with demonstrating the true identity of the material, devoid of external interpretations or meanings other than the fact that they are objects. No amount of dye or any other substances influenced the already multicoloured carpets or the industrial look of the MDF used in the works in the exhibition Backwards (2016). However, Weinstein also seeks another direction in his treatment of materials, making an imitation of the original through organic reactions. From the series Looking the Same (2011), the artist experiments with the nature, even denature, of steel wool in its physical response to Diet-Coke and regular Coca-Cola respectively. The reaction is no doubt chemical, but as the steel rusted, the two self-portraits give a fundamentally different physicality in terms of colours and shading.

The artist’s hand is absent in this process. The transformation is apparent due to this singular mutation of the truth of the material in contact with a liquid. This element of imitation of the original is all the more illustrative in Jezreel Valley in the Dark (2017). The mould formation in the coffee dreg re-carpeted the landscape and, in essence, the image of Weinstein’s previous work Jezreel Valley from 2002. The reasoning behind this reiteration is in a way multifold yet, circular. The Jezreel Valley in Israel is revered as one of the most iconic landscape, a symbol of the nation’s agricultural background and often an argument in the ever-present territorial conflict. Weinstein, instead of revisiting the actual location after fifteen years, modelled his new work after the image of an image. This convolution directs the focus not to the symbolism of the land but back to the imitating agent.

However, Weinstein also seeks another direction in his treatment of materials, making an imitation of the original through organic reactions.

To Weinstein, the mould, in itself, as well as its formation beg the question: is its existence organic or has it been applied on? It is the chicken or the egg causality dilemma. “It is an unnatural process because if you think about Israel, the state started from modernism without going through an organic evolution of history.” The artist is not here to make any conclusions just as his purpose of alluding to well-known stories whose core has been manipulated by different parties to fit their political agenda in his presentation during the Biennale.

Jazreel Valley – Photo by Illit Azoulay

 

His art and the process of questioning himself the identity of the material surpass beyond the decortication of symbolic images. “For me it is interesting to take images that is associated with my work and trying to work out an evolution from it because what is symbolic is also dead, it is not living.” Many of his pieces look at Israel as the agricultural motherland or the media-mythed battlefield in a way that transcends references by giving them a new existence in a physical presence. Such is the reason to experience Weinstein’s installations, especially Sun Stand Still, with our somesthetic senses. The whole journey is constructed to work as a pavilion inside a pavilion. The mould raising from the floors and within the walls alongside the playful yet oppressive sculpture El Al (2017) contain the viewer’s activities within the confines of Weinstein’s defined spatial paranoia.

There is a constant push-and-pull struggle in Weinstein’s work. The artist exercises his ambition to control in the conception and the choice of medium yet, becomes completely helpless as the subjects take over his creations. On the flip side, he dominates, once again, in the completion of an exhibition, always taking pieces from the set of a previous work to allow new existence in a new reality as illustrated by the MDF-made, fully functional kitchen in his 2016 Backwards exhibition. Weinstein recognises the futility in deciphering the idea of a symbol, which is why he would rather chase after fire.

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Designing the new Holon

Designing the new Holon

 

Born as an initiative from the mayor of Holon, Mr. Moti Sasson, the Design Museum has converted the city into a cultural hub fostering pioneering design from Israel and all over the world.

 

Camilla Lee, Resound No.1 iPhone Amplifier, 2014 – Photo: Camilla Lee

Inaugurated in 2010 and designed by the Israeli architect Ron Arad, the building has gained acclaim and recognition throughout the globe turning it into a symbol of Israeli architecture. Located in the Eastern part of the new culture area beside  the Holon Institute of Technology, Design Museum Holon spreads in 3200 m2. “The museum invites you to walk in without having to go through a gate or conventional entrance, (…) and it is surrounded by a shell that gives its signature” declared Mr. Ron during our conversation. The construction is a work of art by itself, and unlike many Western buildings it has “not a single column” making it resemble a Möbius strip that gives its unique appearance. Visitors find themselves engulfed by the steel structure, the only contact they have with the outside world is through the sky above. From the very beginning, the passenger is imbued in an ecosystem where design is omnipresent: industrial design, fashion, architecture and even jewellery all are gathered in a space.

 

Furthermore, the institution’s ambitious programme prioritise the development of design at a local scale highlighting design’s significance in the construction of a national identity. Indeed, design is expected to become a main export industry of the country, and the city of Holon is the laboratory where the operation has been taking place over the last years. The curatorial strategy corroborates the historic discourse behind the institution as the first “continuum” or section comprises design pieces made between the 1930’s until the 20th century in Israel.

The institution’s ambitious programme prioritise the development of design at a local scale highlighting design’s significance in the construction of a national identity.

On the other hand, the second continuum devoted to contemporary creations gives the audience a global overview of design’s development not only in Israel but around the world. This initiative places the museum in the international scene exhibiting the work of renowned designers such as Jaime Hayon or the designs by the Japanese studio Nendo. Additionally, the museum is a platform for local and young creators as every year the collection is broadened with a selection of graduate works by students from the Israeli design academies. Although the discipline is subjected to a greater plan, the museum is genuinely committed to leading the way by innovating and exploring every aspect of the discipline. Via the collection, the audience is invited to learn and understand the technological changes and tendencies in the world of design. The current exhibition Sound and Matter in Design is testimony to this interest in exploring and breaking paradigms. The show investigates the way design has been shaping sound through the construction of objects such as sound systems. Uniting matter and sound, it examines spaces, environments and objects.

 

 

Nevertheless, industrial design is not the only area considered, fashion and jewelry participate in the museum’s life and a number of exhibitions have been dedicated to them. In 2012 a show was devoted to the Japanese fashion designer Yohji Yamamoto and later on, in 2015 a solo exhibition of Iris Van Herpen’s work took place in the museum. Both are tutelar figures in the fashion industry and their approach is extremely forward-looking. While Van Herper is inspired by technology and 3D printing, Yamamoto’s designs challenge gender roles and give to women’s body an “abnormal” shape, sometimes considered as masculine. As for jewelry, the creations of Dana Hakim Bercovich were the subject of the exposition Through the Mesh, where she transformed useless materials into jewels. Through this process she gave a second life to garbage, a poetic process reminiscent of Duchamp’s ready-made.

Faithful to their original purpose, the museum’s educational activities raise awareness on design’s importance in the city’s life. The rich program as well as their partnership with international institutions such as the Design Museum in London makes it a museum engaged in the local and global design scene. With a prime investment of 17 million dollars, the museum is helping to the establishment of Holon as a cosmopolitan city.

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