Upon hearing the phrase "white night", the old and up-to-date Tel Avivian who lives in the city, its days and nights, may have a feeling of anxiety.
Sweat calves will suddenly adorn his shirt and a sense of severe suffocation will take over someone who has become accustomed to the fact that for one night a year, his urban environment becomes a playground (and some would say a battlefield) of out-of-town visitors.
These, in his view, come to spend time, but in the process interfere with and disturb the eco-cultural-socio-economic balance of the city, until dawn or bloodshed.
The White Screen, Photo: Gabriella Bahrilia
But in 2015, Frequency People, one of the city's most popular entertainment and cultural complexes, created the "White Night at the Museum" event - an encounter between "high" culture and alternative street, entertainment, night and leisure culture that made the best of both worlds accessible to those who routinely needed just one.
Then the event, which attracted a large audience, took place at the Tel Aviv Museum.
This year, the Frequency Adhesive team, a new team from the Tel Aviv-Yafo Municipality's Culture Division, brings together institutional content and marginal culture.
These are collaborating with the Tel Aviv Museum, for an evening that will begin at six and end at three in the morning, and will include a large supply of cultural content in the museum complex.
Among other things, the event will feature performances by Uzi Navon and acquaintances, the White Screen, Atar Meiner, Gon Ben Ari, Jenny Funky, Sefi Zisling, and others.
This, along with a tribute from the chamber orchestra to the band Fortishhead, a screening of the new film by the people of the refreshment channel, video art performances, various recordings, as well as the "Potomente" exhibition, featuring photographers from the Mediterranean countries.
The Chamber Orchestra in Tribute to the Fortishhead Band,
"There is something very exciting about a new space in which to produce this event," says Shir Sternberg, curator of the event's dance and performance content on behalf of Frequency, about the invasion of the museum's borders this time.
"It's a museum that actually has huge open spaces," he says.
"Unlike many museums, where most of the spaces are connected and you can only pass through the internal spaces, in the museum you enter a building, leave a building, there is an open amphitheater, there are screenings, music, absorbing ... the theme still remains the same general theme: the museum world is In fact the most dominant representation of the world of culture and art.
Of the kind that bears the stamp of high art.
And it has been for many years in a jolt of disconnection between itself and the marginal worlds of culture.
This tension has almost always existed.
The combination of nightlife and fringe culture in museums is exciting time and time again.
"This collaboration allows an audience that is not used to meeting museums to get there, and also allows museums, which are more sterile spaces in their being, to be a kind of ground for an event that is very euphoric, eclectic, with boundaries."
Sternberg Song,
As one who has attended the event more than once, it can be said that it is almost a surrealistic sight to see the human supply of the alternative scene in the city run in spaces and complexed complexes.
"It's really intriguing, because overall we're adding content to the museum's content. The exhibits are still there. Architecturally these are the same structures, but the energy they bring comes from the language of frequency. These, by the way, are not things that only happen on White Night. Frequency hosted "In recent years we have performed classical orchestras, whose average audience is usually very old. Young people no longer attend concerts of this kind, or at least not many of them."
In these times it is almost required to combine styles and genres.
Connections of low and high, tie and street, are something that is very characteristic of contemporary culture.
"I think one of the hardest things that happens here is actually that culture is a very inaccessible thing. The costs of admission to concerts, dance performances, even music, are very high. It creates a situation where exposure to these things is a privilege of small populations. It was important to us that admission was It will be interesting and important to see how classical music can fit into a progressive nightlife scene and how dance performances, which usually take place in Susan Dellal or in places that are very reserved for this scene, can also appeal to an audience of clubbers and night consumers. "If you play DJ in a club, what happens when you put his position in the museum's yard? What happens when dancers come off the stage with their lighting and protected space, and perform pieces within existing exhibitions? It's a different language."
Do you think it will make locals less afraid of the white night?
"Part of the conceptual place of being Tel Avivian, probably within the alternative scenes that are being swallowed up and disappearing between the mountains of real estate, is that we have a desire to be in safe spaces.
We want to walk our street not surrounded by people who just come to celebrate in the city without living and getting to know it.
On the other hand, the overall perception is that Tel Aviv is an endless collection.
A lot of people who take part in this project come from other places.
"There is a very great value in producing this thin line, where the local scene will feel most free and safe and that this event was created for it, but also to allow this content to people who do not come from the city and are not exposed to them."
"White Night at the Museum" will be held on June 30 at the Eretz Israel Museum.
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