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"POSTPOSSESSION" 2002 VISUAL CULTURE DOCUMENT # 2
I am not a photographer, I take pictures. 40 photographs of mailboxes
in apartment building lobbies in Tel Aviv. Digital prints, larger than 'life size',
hanging at the heights of Chen Boulevard The exhibit was shown thanks to
ADAM BARUCH, 'the TEL-AVIV - JAFFA Curator',
with the assistance of the Municipality’s Arts & Culture Departments.
At first glance, this is a multicolored cluster of lovely objects. Colors,
forms, letters,tribal carpets hanging up to dry, Or a collection of collages
in the best tradition of Abstract -Expressionism hovering over the public
space. One more glance reveals that this is a visual cultural document,
about us, time and locale. A documentation of the uniqueness of our
lives, specialized in “personal creative solutions, drawing new borders
of order.” The show is committed to document the culture energies of
the city. This grouping is a laboratory sample of the environment and
the 'aesthetic dialogue' taking place within it and on the culture of
everyday life. This document is recording one moment of one layer in the
multifaceted human archaeology with so many improvisations, many
personal looks raised and exposed in the midst of the urban life.
A “mish-mash” of flavors, languages, loves, hopes and communication,
which takes place neither in the city nor in the mailboxes, which are the
symbol and essence of its existence.
Tel Aviv, the “First Hebrew City,” is the realization of many dreams:
fulfillment of the Zionist dream, the dream of a life of liberty, giving
oneself over to time, to big debts and small pleasures and to a new
definition of local language.
Tel Aviv is a city of great openness, in which the boundaries of public
space surrender joyfully to the sacredness of private space as a
“cultic site”.The city’s residential structures become the core definition of
its culture, locale & community.
The personal mailboxes in the apartment house lobbies are the successor
of the “Pinkas Hakehillah,” ( the ledger containing the records of each
European Jewish community), documenting those who used to live there,
and those who replaced them, stayed for a moment, went, returned,
disappeared, as others appeared with a new verbal combination of a new
generation. The residential lobby is a fascinating site with huge
responsibility, since it conveys the intention of its architect . Life and time
always overcome architecture .
Lobby is the exit from the protected indoors to the dangerous outdoors,
or - the entrance from the completely open liberated outside into inside
spaces, filled with debts and inhibitions. The lobby is the transition from
public domain (with its great anonymity) into private space with its
human dramas constantly taking place ( behind closed doors).
Personal mailboxes in residential buildings are the messengers of
clandestine information and open news, a barrier as well as directional
signposts, but, above all, a seismograph of local culture
In his “Four Books on Architecture” (1570), Palladio wrote:
……“Furthermore, all well-built buildings have at their center and in their
most beautiful section, several spaces that relate to all the other spaces.
On the ground floor, it is usually called 'FOYER' (or 'LOBBY' ) and in the
upper section, ‘HALLS,’ which are sort of public spaces. ….“It is in the
lobby that people wait for the master to leave his home so they can greet
him, or negotiate with him on commercial matters. These lobbies, in
addition to the loges, are part of the home, which are the first to receive
those who enter” (Chapter 21).
לא צלמת, מצלמת. 303 תיבות דואר ב-39 מבואות ממאות מבני- מגורים
שתועדו ברחבי המטרופולין תל-אביב יפו. הדפסים דיגיטלים דו-צדדיים 250 X 170
ס"מ. גדולים בהרבה ממציאות קיומן.הוצגו במרומי שדרות ח"ן במשך שלושת
חודשי קיץ תשס"ב 2002
במבט ראשון: מקבץ רב-גוני, יפה לעין, עתיר צורות ואותיות."שטיחים אתניים של
שבט לא מזוהה תלויים לייבוש".או- זה אוסף קולז'ים במיטב מסורת ההתנסות
האקספרסיוניסטית מרחפת בחלל מיועדת למגביהי - מבט.מבט נוסף מזהה שזה
מסמך תרבות חזותי עלינו ועל זמן-מקום.תיעוד ייחוד חיינו של התמחות בפתרונות
אישיים, יצירתיים, של סדר-יום חדש.תיעוד אנרגיות החיים בעיר.
מקבץ חזותי זה הינו דוגמת מעבדה לסביבה, ולדיאלוג האסתטי המתקיים בה
בתרבות היום-יום. כתערוכה-זה תיעוד של רגע אחד, של שכבה אחת, בארכיאולוגיה
אנושית רבת פנים, אלתורים, טעמים, שפות, תקוות, אהבות ושיכחה בחיי העיר.
תל-אביב העיר העברית הראשונה, כהתגשמות חלומות רבים: החלום
הציוני החלום לחיי חופש והתמסרות לעתיד. עתיד של חובות גדולים, של הנאות קטנות, של
הבטחות שלא קוימו , של הגדרות חדשות ושל שפה מקומית. תל-אביב היא עיר של
פתיחות גדולה, גבולות המרחב הציבורי מתמסרים בה בשמחה לטובת קדושת
החלל הפרטי "דירת המגורים כאתר- פולחן" מבני המגורים בעיר הם מנוע רב
עוצמה לפעילות ותרבות של חיי קהילה.
תיבות הדואר האישיות שבמבואת מבנה המגורים הן נצר של "ספר הקהילה"
שתיעד את אלה שהיו ואת אלה שבאו במקומם. את אלה ששהו לרגע, הלכו, חזרו,
נעלמו, אחרים הופיעו, בצירוף מילולי חדש של דור אחר ושונה מזה שקדם לו.
מבואה במבנה המגורים היא אתר מרתק, אחריות גדולה מוטלת עליה.
המבואה מסגירה ומסכמת את כוונת המתכנן. החיים והזמן חזקים מכל מתכנן.
המבואה היא יציאה מפנים מוגן לחיצוניות רבת סכנות, או – כניסה מחוץ משוחרר
שכולו פתיחות, לחללים מלאי חובות ועכבות.מבואה היא המעבר המקשר שטח
ציבורי שאנונימיות ברוכה מתקיימת בו, לחלל פרטי שדרמות אנושיות
[מאחרי דלתות נעולות] מתרחשות בו כל הימים והלילות.
תיבות הדואר במבואות מבני המגורים הן שליחים של מידע סמוי ובשורות גלויות,
הן שלטי הכוונה, הן מחסום ויותר מכל הן סמן של תרבות המקום. כנושאות באחריות
הגדרתן לתקשורת, הן משדרות את אובדנה וזילותה בין אדם לשכנו ולסביבה בה
בחר לחיות.
כתב פלאדיו [ANDREA PALLADIO] בן המאה השש-עשרה בספרו הראשון
מהארבעה "על אודות האדריכלות" [פרק21 [
...." נוסף על כך, יש לכל הבניינים הבנויים היטב,במרכזם ובחלק הנאה ביותר
שלהם, כמה חללים העומדים בזיקה עם כל היתר.בקומת הקרקע מכנים אותם על פי
רוב מבואות. בחלק הבניין העליון – אולמות.הם מעין מקומות ציבוריים.
במבואות עומדים הממתינים שאדון הבית יעזוב את הבניין כדי לברכו,
או כדי לשאת ולתת איתו בעסקים.מבואות אלה נוסף על הלוג'ות, הם חלקי הבית
המקבלים ראשונים את פני הנכנס.
ההדפסות בוצעו במצלמהOLYMPUS UMJU משקופיות 35מ"מ.
סרט 400 FUJECHROME ללא עיבוד, למעט חיתוך להתאמה
למידות ההדפסה.
חשיפת מסמך תרבות חזותי זה כתערוכה-
בזכות: אדם ברוך, אוצר העיר תל-אביב יפו.
בסיוע: אגף התרבות והאמנויות עת"א-יפו ■
"אדריכלות ישראלית" כתב-עת ■גלריה ג'ולי.מ.
■ המסלול האקדמי-המכללה למינהל ■
קרן ריץ לחינוך,תרבות ורווחה [לוצרן שוויץ]■
רן רהב. תקשורת ויחסי ציבור בע"מ ■
THE ISRAELI FLAG: THE FLAG AS A SYMBOL:
Israel joins the worldwide tradition
When the State of Israel was established in 1948,
there were numerous debates and processes in
response to the need for unifying symbols of state.
The national flag was one of the necessary group
of symbols.
Missing a specific flag had already been felt at the
Ceremony of the state declaration, when dignitaries
had to use the World Zionist organization’s flag.
This symbol identifying Zionists has been in use
since the First Zionist Congress inBasel,1897,
but now the state had to have a flag of its own as
part of the family of nations, as a identification sign
and to meet the demands of protocol in state
ceremonies where a flag had to be raised - and
lowered at the many sad historical event.
After six months of debates over different designs,
the official flag Regulations were published in
October 1948 -Tishrei 5709, setting out standard
size but excluding hanging positions or materials.
Size:160 x 220 cm. with 25 cm. wide dark blue
bands15 cm, from each longitudinal edge (so in the
original; nowadays, just choose a catalog number).
At the center, equidistant from the bands, is a
'David Star'– made of two equilateral Triangles
whose bases are parallel to the long bands,
made of 5 cm. bars in the same blue as the bands
(The change in direction of the Star is the major
change from the WZO flag at the Zionist Congress).
Preserving the integrity of the Star of David as an
Independent symbol inseparable from the flag also
provides continuity of the associated links to Jewish
history and Jewish communities in Exile.
The Temporary Governing Council could never
have Imagined then the tremendous range of
uses that the Israeli flag would be used for in the
country and throughout the world, in which official
l events form only a small part. The flag is an integral
part of individual and mass demonstrations, and the
burning of the Israeli flag has become a regular sight
on news channels and the internet.
As in most of the countries around the globe, the
Flag has infinite non-official uses, and disrespect
for the country’s flag is an inseparable part of its
fate and livelyhood.
THE FLAGE AS A SYMBOL
collection of photographs for a planned for an
outdoors screened exhibition by leading Israeli
professional photographers as well as amateurs
that happened to be at the right moment on a
special occasion .
This group of photographs is only a small
sample of the real treasure behind this headline.
There are over hundred of outstanding ones,
tdocumentation of situations that some of
them
are of daily repetitious ceremonies,
repetitious habits or a unique, never again to be
seen shots Some flag photos are so unique that it
becomes
a symbol by its own right and so is their
photographers that keeps seeing, looking,
watching, and shooting like real hunters.
The Idea, the plan- is to show that 'Flags Saga'
as an huge outdoor projected show, to be an
ultimate lesson.
This group of photos are mostly taken
during THE DAY AFTER' Documentation, when
the official celebration is over, the flags lay
to rest till next year's INDEPENDENCE DAY
celebrations The paradox of the need to have
a piece of a designed Cloth as something you
run for,
swear by it, cross your heart for,
and metaphorically die for, and your next
of keen get one neatly folded in a military
ceremony, so is it in one country while-
at the same time in another country the same
flags are stepped on , spitted at, put on fire,
……And so declare our nostalgic songs-
'NOTHING IS SWEETER THEN WORKER'S REST
BLESSED SLEEP FALLS ON THEM NIGHTLY'
In those city's streets Bedrooms
There is none of this 'BLESSED SLEEP'
There is only great fatigue, there are habits
and shameless life Tel-Aviv is a shameless City
Shameless cities are generous
To shameless people
They are the cityscape 'SECURITY BELT'
Same time. Same street corner, they keep and abide
by their own habits and order of shameless life
They are the proof that our storefronts are attended,
and your bed and Nightmares well protected
I never met the owners of my 'Bedrooms Models'
Our time-tables don’t match.
I don’t like them while they are here
I do miss their innovative Bedrooms designs, long
after they are transferred to 'Better Places'
I'm waiting for a new generation to fill the Cityscape
and my Visual Local Cultural Documents.
11\139 photos taken in 2003 & 2005
2013 THEY ARE HERE AGAIN
TRADITION 2nd 3rd 4th thoughts,[Reverberations]
If the real meaning of Tradition means 'Hand Over'
what you got from someone else -??? It sound as
if we live in one of them 'Merry Go Round' systems,
live secured, yet - getting nowere.
Tradition may sound as a 'Security Belt' of groups
trying to keep their culture treasures in the family,
holding on to traditional habits keeps the control in
hands of the ones that are stuck between generations,
and hope that things will stay the same for ever
not shaking [ ruin] their little worlds.
Tradition means stagnation? Tradition as life saver?
When it comes to some valuable techniques that
can hardly survive If not handed over from one
proffetional to the next –The method of building
Mud Houses passed on by Chinese farmers
generations, helped them survive after many
earthquakes. Recreating old Hand Crafts, enabled
millions of people to live and produce merchandise
needed by millions tourists invading their exotic
places, same goes with handing Legends,
Superstitious and Funny Tales hoping that no one
on the way will break the spell chain.
Our world's Daily life depends obviously on all the
ones that will break the chain with a different point
of view and new solution.
INDIA 1983, On RUJASTAN's , long hectic roads we
Witnessed the disappearance of the traditional rope
woven beds of the resting posts in favor of new
hygienic Metal ones.
This Documentation is dying tradition for your eyes
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