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Burning Sorrow is a profound journey into the intricate story of Israel in its eighth decade.
By NERIA BARR JANUARY 23, 2025 04:44
ZOHAR TAL INBAR’S Boy of Light and Gold challenges traditional notions of beauty and glamour.
(photo credit: TEL AVIV MUSEUM OF ART)
The new chapter in the Tel Aviv Museum of Art’s Israeli Collection exhibition, Material Imagination, invites us to revisit Israeli society’s path while reminding us of the ever-present tensions that shape it.
The third chapter of the exhibition, Burning Sorrow, draws its name from a poem by Shva Salhov. This evocative title reflects the emotional and social tensions that permeate Israeli life. These tensions are vividly expressed through the artworks on display. Over 70 new pieces, alongside familiar works, form a fascinating mosaic of more than a century of Israeli art.
The exhibition offers a historical and contemporary perspective, emphasizing the enduring dialogue between past and present. Curator Dalit Matatyahu said, “The exhibition reflects the living pulse of Israel’s social tensions, unfolding over time.” Historical works provide context for the era in which they were created, while contemporary pieces offer fresh interpretations of today’s complexities.
Documentation, identity, and memory
Among the historical works featured is Micha Kirshner’s iconic photograph of Tami Ben-Ami. This image captures the power of art to freeze a moment in time and imbue it with meaning that transcends decades. Ben-Ami, a symbol of glamour in the 1980s, is revealed here in a moment of human vulnerability. The photograph juxtaposes public persona with private fragility, making it one of the most memorable pieces in Israeli photography.
Other historical works include Yigal Tumarkin’s He Walked Through the Fields, a sculpture engaging with the classic Zionist narrative of heroism and pioneering, and Micha Bar-Am’s First Soldier at the Western Wall, which immortalizes a dramatic moment from the Six Day War. These pieces serve not only as historical documentation but also as windows into collective consciousness, allowing viewers to connect with the past while contemplating its current significance.
While the historical works offer a glimpse into the past, contemporary creations present new interpretations of a shifting reality. Elad Larom’s Black Star, for example, explores today’s technological and cultural awareness, while Zohar Tal Inbar’s Boy of Light and Gold challenges traditional notions of beauty and glamour. These innovative visual languages disrupt familiar imagery and invite viewers to reconsider their perceptions.
Contemporary art doesn’t shy away from addressing painful aspects of Israeli reality. Dor Guez’s Samira traces the story of his Palestinian Christian grandmother, expelled from Jaffa in 1948. Pieces like this sharpen the discourse on memory, belonging, and alienation, offering a layered experience that moves between the personal and the collective.
A complex dialogue
The historical and contemporary works are interwoven in a rich dialogue that deepens the viewer’s experience. For instance, while pieces like Michael Sgan-Cohen’s The Wandering Jew explore eternal Jewish identity and narratives of exile and return, contemporary works such as those by Asim Abu Shakra focus on local cultural identity through imagery like the sabra cactus. This interplay demonstrates how issues of identity, society, and culture continue to engage Israeli art across decades.
New interpretations of a changing reality
The exhibition is divided into thematic spaces – Fire, Air, and Earth – each creating a multilayered narrative that highlights the exhibition’s social and visual themes. The Fire space, for instance, features works that call for action, while the Earth space addresses feelings of displacement and longing through pieces that explore questions of belonging and identity.
In the Fire space, historical works like Asad Azi’s Messiah on a Donkey are displayed alongside contemporary creations that provoke action. In the Earth space, Dor Guez’s Samira evokes feelings of displacement and longing, raising profound questions about memory and belonging. The depiction of the artist’s grandmother, a member of Jaffa’s Christian community expelled to the Lod ghetto in 1948, prompts deep reflection on history and identity.
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As in previous chapters of the project, the curatorial approach breaks away from conventional historical and artistic norms. The decision to focus on social and cultural contexts highlights the relevance of these works to contemporary life, infusing the exhibition with a unique vitality often absent in museum displays.
Burning Sorrow is a profound journey into the intricate story of Israel in its eighth decade. The meeting of old and new, memory and interpretation, invites viewers to explore the connection between art and life and to rediscover the many voices that make up Israeli society. The exhibition offers a clear-eyed yet optimistic view of art’s ability to serve as a bridge between past, present, and future, reminding us of the power of creation to unite us despite deep divisions.
English (US) ·