Monday, April 25, 2016

The Wandering Jew / The Wondering Christian 20-08-1997

The Wandering Jew / The Wondering Christian  20-08-1997
50 x used cast-iron shoe-lasts, wine glass, silver plated candle snuffer, two bronze castings of valves of a Venus'-shell, wooden alpenstock, 
Collection Becht, Naarden


The Metamorphoses (The Golden Ass)  Lucius Apuleius Madaurensis.   Ref., VENUS
https://en.wikipedia.org/wiki/The_Golden_Ass




The Wandering Jew / The Wondering Christian
edited by Felix Villanueva, Joseph Semah
University Leiden, LAK GaLLERY, 1998
272 Pages
Edition 1200
ISBN 90-9012574-4



HaVDaLaH

HaVDaLaH (Separation)  הבדלה  1985
Steel, glass, in wax casted hare,  source of light, 400 cm. x 50 cm x 50 cm.
Collection, Rijksmuseum Twenthe, Enschede, The Netherlands
https://en.wikipedia.org/wiki/Havdalah




Sunday, April 24, 2016

From the Chair (Made Ready)

From the Chair (Made Ready), 1979 
Wooden chair (Originated from a synagogue), 22x in bronze casted mouses, 62 cm.


But the hand of the LORD was heavy upon them of Ashdod, and he destroyed them, and smote them with emerods, even Ashdod and the coasts thereof. (King James Bible, 1 Samuel 5: 6)

And these are the golden emerods which the Philistines returned for a trespass offering unto the LORD; for Ashdod one, for Gaza one, for Askelon one, for Gath one, for Ekron one; And the golden mice, according to the number of all the cities of the Philistines belonging to the five lords, both of fenced cities, and of country villages, even unto the great stone of Abel, whereon they set down the ark of the LORD: which stone remaineth unto this day in the field of Joshua, the Bethshemite. (King James Bible, 1 Samuel 6: 17-18)

Emerods (emeroids) Hemorrhoids; tumors; raised up; swellings, protuberances
The word Emerods means OPHeL or TeChOR in Hebrew



Please note: כיסא אליהו Elijah’s Chair
A chair is prepared and a cup of wine poured for Elijah at every Pesach (Passover) celebration. He is also believed to be present at every Brit Milah (circumcision) ceremony, and a special chair – Elijah’s chair – for his invisible presence is placed next to that of the Sandak (godfather) holding the male baby. 

This particular belief may be due to Elijah’s angelic status (having ascended to heaven) and the prophet Malachi’s reference to him as the “angel of the covenant”. 
Consequently one must not forget Elijah’s eschatological role in Jewish tradition, namely, his role of precursor of the Messiah, for he is the messenger announcing his advent. 


A late-18th century’s Elijah’s Chair in the niche in the Carpentras synagogue, France; “this is the chair for Elijah, blessed be his memory”
Synagogue de Cavaillon Rue Hebraique, 84300 Cavaillon, France






Saturday, April 23, 2016

Breathing in Proximity (in this sense, then, Jerusalem remains the source of that energy which drives our intellectual engagements with Culture and Politics)

Breathing in Proximity 
(in this sense, then, Jerusalem remains the source of that energy which drives our intellectual engagements with Culture and Politics), 1984
This work is based on the ground plan of a synagogue; namely, the one that was destroyed in Germany in Kristallnacht, 9 November 1938.

22 sawhorse, wood, corten steel, steel grate mat, a cast bronze Hare (being placed on the floor, underneath the 'TABLE' ) , sand, 4 x fluorescent tubes, electrical wire 104 meters, a wooden bench - 90cm. 500 cm
Please note:  the wooden bench is originated from a destroyed synagogue.















Wednesday, April 20, 2016

Notes from the Diary of the Architect (An enquiry concerning the principles of Tradition and Modernity, in the realm of 'Black Fire upon White Fire')

Notes from the Diary of the Architect
(An enquiry concerning the principles of Tradition and Modernity, in the realm of 'Black Fire upon White Fire') 2000
80cm x 300cm.  2x sawhorse, white thread, copper, wood, white cotton fabric,
Photo: Ilya Rabinovich









“Notes from the Diary of the the Architect” 
(An enquiry concerning the principles of Tradition and Modernity in the realm of ‘Black Fire Upon White Fire’)

“The Torah that the almighty granted to Moses gave him white fire embossed in black fire, that is the fire enclosed in fire hewn from fire and engulfed in fire, as it is written: ‘from his right hand went a fiery law for them’” 
Jerusalem Talmud, “ Shekalim, chap. 6: 

“The Torah was given in flames of fire, and everything in it is fire and written in white fire upon black fire, and the letters float and rise into the air” Zohar, Pikudei, 226, B

As will be clear already, on the simple level the black fire refers to all those visible letters, which were inscribed in black ink unto the scroll, and the white fire symbolizes the empty spaces, the uncovered areas in between the black words. Furthermore, the black fire represents the literal meaning of the text, while the white fire represents ideas that go beyond the literal, beyond interpretation, beyond application and teaching. So, as at other times, we can put forward that only jointly, the black fire together with the white fire can make our reading complete. But this ‘inclusive reading’ is in effect our awareness of the idea behind the idea of Space and Perception.



To begin with, Black Fire and White Fire together make up a dynamic totality, that is in reading, in displaying, and in all other phenomena in our experience. Here, admittedly, it is nothing more than a revelation of all-inclusive space. And it is precisely such an all-inclusive space which forms the vital structure of the public’s knowledge, in so far as knowledge is not what it appears to be; for this reason the public’s knowledge is also synchronized with the ever altering vision of the world around us. Equally, knowledge is our fear of change, which is first and foremost being formed by the advancement of someone else’s promise. At the same time, as soon as the other’s promise has been displayed in a close proximity to the present public space, the impossible becomes possible. Afterwards, in the background of the public space, the public’s perception of its space is functioning as a delay in its awareness of the artist’s promise. And more, the delay is never very far from the public responsibility to grant the artwork with a particular space. 

Undoubtedly, it is all too evident, the artist’s promise is now known as the ‘artwork’ on display. And the art-work on display is not without a particular name in the public space. 

But for the public, to state its own fear implies a most frequent criticism of the artist’s promise which is currently moving towards the public. Here, the public does not formulate a new morality, but it most insistently questions the art-work on display. This, then, is the general act in response, namely: if the meaning of a public space is given to it in the knowledge of its impossibility, then the vitality of the artist’s promise is as much a layout of an innovative private physical space, as well as a certain private narrative space, which gives the public its future reading, that is including its future symbolic identity. But again, the trouble is, that the effect of the artist’s promise on the public space is primarily to reverse the direction of the public awareness. So, it is not hard to understand why it is a skilfully developed process, in any case, it is always already being closely allied to the authority of inclusive reading. In this activity, then, we can say that any given space is already synchronized with the intrinsic reading of the other. And that the process of awareness is in the end more real than the promise which causes it. 

At this moment, and despite the attempt of the artist to evoke the idea of certainty, his promise remains nonetheless paradoxical and therefore doubtful. 

Still, the promise is equally accurate, because, whatever is to be displayed must first exist. And it will always precede the obligation of the public to provide space, for it is in a certain way, the task of the artist to link his private space to the unique originality of the public’s past dream. And so, the artist’s promise is nothing else but the impact of the potential change on the revitalization of the public space. Namely, that the promise in itself is the only possible approach left for the public to uphold that its entry to any given space and the authority of perception, are both a textual plea for its future proximity to modernity. In so far, as Tradition makes a conscious bid for fighting the rebellion of the ‘authentic’ artist. 

Monday, April 18, 2016

.....after ARMILUS

.....after ARMILUS,  1986
Bronze, aluminium, wine glass
180 cm. 80 cm.

http://www.jewishencyclopedia.com/articles/1789-armilus






Measurement in מועד MOED

Measurement in מועד MOED,  1999 
22 x Copper objects, bronze
+- 800 cm. hight 50 cm.
Collection N.I.  Den-Haag


To begin with, the construction of 'Measurement in MOED ', in GaLUT is simultaneously a passion and a state of indifference. It is the exasperation of GaLUT, the haunting fascination with its failure to abolish itself. 

( the word  מועד MOED in Hebrew means: A Time or a Place planned in advance, appointed time ; specific time, specific date ; meeting, commemorative date ; festival במועדו - at the right time, to trip, to stumble, in time to lose one's balance, to trip, to stumble, pesichah, מעד) -  








Wednesday, April 6, 2016

EIRUV ChaTzeROT עירוב חצרות (Amalgamation of Courts), (Mingling of Courtyards)

עירוב חצרות
EIRUV ChaTzeROT -  
(Amalgamation of Courtyards) (Mingling of Courtyards), 1982
Sheet metal, copper (The 2x copper objects are based on the form of TeFILIN phylacteries) ; 2 x Parts, 72 x 72 x 72 cm each

EIRUV ChaTzeROT - Mingling of Courtyards, in which more than one adjoining (private domain) are symbolically joined together into one shared domain. 







Friday, April 1, 2016

Between Graveyard and Museum's sphere: In practice even the most simple exhibited man made form in the public space is clearly a search into the absence,

Between Graveyard and Museum's Sphere:
In practice even the most simple exhibited man made form in the public space is clearly a search into the absence, 1982-1983
A shower head, steel, 60x160x400 cm.
Photo: Ilya Rabinovich