David Reeb is not Pablo Picasso,
and the work "Jerusalem" is not "Guernica."
And having said that we need to emphasize the obvious: censorship of a work of art is censorship of freedom of expression, and as must always be emphasized, restriction of freedom of expression is allowed only when there is incitement to violence.
A democratic state should and can tolerate different opinions, even the most extreme and outrageous.
It is permissible to spread submissive post-Zionist poison and it is permissible to express support for population exchanges - violence or risk to human life must not be incited.
U.S. Supreme Court Justice Wendell Holmes put it nicely: Freedom of speech does not confer the right to shout "fire" in a crowded theater hall.
Reeb's work is not a shout of "fire" in the theater but a miserable and used swell.
I really can not understand what to get excited about this banal work.
This is a take-off to chew on a Jerusalem of gold in the most crude and muddy way.
Lazy artistic parasitism.
Who would have talked about the piece and David Reeb, had it not been for the unnecessary rotation of Shama HaCohen who sought fame for himself and was short on an aura rebel artist instantly.
Indeed, thanks to him, an opportunity was found to address the real, core problem: not the censorship of Carmel whose mother Cohen harms Israeli art, the opposite, the opposite.
The gourmet censors, the enlightened mouth blockers and the silencers - are the artistic and cultural establishment in Israel.
Since the beginning of the state.
A hegemony that ignores, flattens and silences.
In December 2018, after winning the Education Minister Award, artist Avner Bar Hama gave an interview to "Globes". Bar Hama told interviewer Ze'ela Kotler-Hadari that it was clear to him that his absence from major stages was related to his political views and the issues of his work. "It was very difficult for me to be accepted into the bronze and the canon. I was explicitly told 'Avner, you just put an X on the work and yourself because art is left, and once you do artwork for Gush Katif, you block yourself and you will not receive awards.' I see the works of David Tartakover or David Reeve with a soldier holding a weapon in front of a child. Okay, so you express your opinion without limit and get two halls in the Tel Aviv Museum and I do not, because I have a different opinion. I suggested to David Reeb that an exhibition be held together. " Do not hold your breath.
Quarrel did not even address.
While the political and media discourse in Israel is bubbling a boiling bitch, the art world in Israel remains frozen.
Variety in the space between Meretz and the common.
I will not go into the history of the "Abstract Lyric" and the "New Horizons" bunch because it will really be a head-eating that you do not deserve, just set a category that the field of art is not an objective field.
Political and ideological biases have enormous weight in the judgment and appreciation of artists and works.
Not only in Israel, in the entire West.
The hegemonic artistic establishment will repeat the same overriding principle in Progress - non-conformist non-conformism.
Classical Marxism takes shape and forms: sometimes it speaks fluent socialist and sometimes postmodern identity politics, but it will always be revealed as a dictatorial force, mouth-watering and chasing opponents.
The late Adam Baruch gave signs in them: "This police - curators, critics, artists, gallery owners plus the automatic mob that has accumulated following the appearance of the force of the binding canon."
And the constant excuse: "Not good enough."
Art critic Gideon Ofrat has ruled out the possibility of the existence of significant artists among the Israeli right.
This is bullshit of course.
Political opinion does not belong to artistic ability.
Unlike a thousand thousand differences, the Fascist Futurists from Italy were artists no less great than the painters of the socialist realism of the Bolsheviks.
But left and right,
read what they did to Mordechai Ardon.
He was too Jewish for them.
"Simplistic", "artist on behalf of", "symbolist", "Galician", "exiled", "decorative", this was the attitude of the artistic establishment to Ardon, one of the greatest artists of Israel.
We will return to Bar Hama. He went on to tell in an interview how Ruthi Direktor, one of the most important art curators and art critics in the country, entered an exhibition where he presented his work on the disengagement ("Today Gush Katif, tomorrow Jaffa!", Known as "Map of Oranges", due to 300 kg of oranges and Jaffa stickers Laid on the floor in the shape of a map of the Greater Land of Israel), read the name of the work, turned around and went out.Alan Ginton, one of the top art curators in the country, also said serious things about the work, Bar Hama said.
In general, Alan Ginton is an interesting example. She served for 30 years (!) As the senior curator of Israeli art at the Tel Aviv Museum, and among other things also curated two solo exhibitions for David Reeb (in 1994 and 2014).
In October 2004, Ginaton was interviewed for an article by Yonatan Amir in "Kol Ha'ir" ("Do not give them brushes") and said: "I have never encountered art that is created beyond the Green Line and justifies entering a museum. In the killing and repression of the Arab population. "
And now, after gossiping about power structures in the art field and settlers engaged in killing and oppressing Arabs, take a little peek, five minutes on Google, at the art world's hot dog factory: the awards. The Rappaport Prize, awarded by the Rappaport Foundation in collaboration with the Tel Aviv Museum of Art, is one of the two most important prizes awarded by the major museums in Israel. David Reeb, for example, won the award in 2013. $ 70,000. The 2013 award committee consisted of six judges, half of them from the museum. Susan Landau, the museum's general manager and curator, Doron Sabag, chair of the Exhibitions and Procurement Committee, and Ms. Alan Ginton, who thinks settlers have big houses and lots of money. Ginaton sat on the award committee from 2007 to 2017.
We will continue.
In 2018, Dalit Matityahu replaced Alan Ginton as the senior curator of Israeli art.
In 2019, a year after her departure, with no connection of course, David Ginton, the museum's former curator's partner, won the Rappaport Award for Senior Artist for $ 85,000 ($ 35,000 for artist and $ 50,000 for exhibition funding).
The award committee consisted of Susan Landau, CEO, Doron Sabag, chair of the Exhibitions and Purchases Committee, Doron Rabina, Chief Curator, and Ginaton's successor, Dalit Matityahu, the senior curator of Israeli art.
What do I mean by that?
Nothing and nothing.
As Eldad Ziv said: "In art as in art, there is no such thing as no such thing."
Were we wrong?
Fixed!
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