top of page
current gallery events
overview
overview
アンナ・ハヤトとスラヴァ・ピルスキー
「Existence」(存在)
2024年4月13日（土）～28日（日）
イスラエルの写真家、アンナ・ハヤットとスラヴァ・ピルスキーは、スタジオ内外で撮影した大判の白黒ポラロイド写真を使って作品を制作しています。
これらの作品は、トラウマ、自己犠牲、人生の虚弱さを探求しています。 彼らはレンズを通して、戦争とテロの蔓延から生まれた実存的な課題と絡み合うイスラエル社会の諸相を探求します。 人物、風景、植物、オブジェクトなど、すべてが彼らの作品の構図の中にあります。厳密なドキュメンタリー表現から離れて、アーティストたちは現在の出来事に共鳴する比喩的なイメージを構築します。
それぞれの作品の背後には、感情的な衝動だけでなく、文化的な物語も存在します。 歌の歌詞、具体的なストーリー、詩など、さまざまな文脈がひとつのイメージに織り込まれ、多層的な意味を持ちます。 それぞれの作品に込められたメッセージは、芸術、日常生活、ニュース、文学など様々なソースから引き出されています。
この展覧会では、異なるシリーズからいくつかの作品が展示されていますが、それらはすべてひとつのスタイルとテーマで統一されています。 展覧会のメインシリーズは、ルネッサンスの名画を引用した「My Personal Jesus」です。 このシリーズでは、アーティストは当時の明るく鮮やかで緻密な美学と現代の写真を巧みに融合させています。 偉大な巨匠の人物や物のイメージと彼らのイメージを比較、分析してもらうことで、過去のテーマや思想の文脈の中で提示された作品の本質を認識し、解釈する機会を提供します。
10月7日のテロ攻撃とその余波を受けて、ハヤットとピルスキーは、より直接的なアプローチで展覧会を補完する新作を発表します。 襲撃されたキブツの荒涼としたカフェや、粉々に砕かれ、不自然なポーズで吊るされた人形などの光景が、この悲劇を雄弁に物語っています。 これらの作品は痛みや悲しみの感情を呼び起こし、見る人の注意を引きつけ、共感や深い思索を促します。
素材や技術を試しながら、アーティストたちはあたかも歴史的遺物のような写真を作成します。 風化した紙の折り跡、不均一なエッジ、独特のグレースケールの色調は、時間の影響を伝えることを意図しています。 この視覚効果は見る者の印象を高め、神秘的で興味をそそるものであり、これらの写真が遠い昔、おそらく写真以前の時代に制作されたもの、あるいは私たちがそれらを遠い未来から見ているかのような錯覚を誘います。 作品は現代史の遺物となります。
works
展示作品
After Holbein
Polaroid photography, print on rice paper, 50 x 240 cm
Reference
Contemplating on the subject of self-sacrifice: Young people (and not so young) give up everything, return from abroad at their own expense, and join the army at a time when the country is in danger, knowing and being aware of the unusually high risks of not returning. There is hardly another country in the world where you can observe this. We, who grew up in a culture based on Christianity (the literature of all Russian classics, the paintings of European museums...), could see parallels with the image of Christ, who also sacrificed himself for the sake of people. A quote from Holbein is used because, in our opinion, it is easiest to trace the parallel, and again, in our opinion, this is the most dramatic work with Christ after the descent from the cross (there are no additional characters, dynamics of poses, proportions of the work…).
Model: A reservist soldier of the Israeli army who participated in the Lebanon War (2006)
and was wounded in it.
Handwriting: song by Swans “Screen Short”
Love, child, reach, rise, sight, blind, steal, light
Mind, scar, clear, fire, clean, right, pure, kind
Sun, come, sky, tar, mouth, sand, teeth, tongue
Cut, push, reach, inside, feed, breathe, touch, come
No pain, no death, no fear, no hate, no time, no now, no suffering
No touch, no loss, no hand, no sense, no wound, no waste, no lust, no fear
No mind, no greed, no suffering, no thought, no hurt, no hands to reach
No knife, no words, no lie, no cure, no need, no hate, no will, no speech
No dream, no sleep, no suffering
No pain, no now, no time, no here
No knife, no mind, no hand, no fear
Love! Now!
Breathe! Now!
Here! Now!
Here! Now!
Here! Now!
Another reference is a poem by the Israeli-Russian poet Mikhail Gendelev. During the first Lebanese War, Gendelev was a military medic in the IDF; he was seriously wounded, the consequences of which haunted him for the rest of his life.
Mikhail Gendelev “Night maneuvers near Beit Jibrin”
The poem depicts a soldier who, in his dreams, revisits his home and family, only to discover that his world has been altered. He describes his wife and the comforts of home that he has lost, alongside his contemplations about death and war. Symbolic imagery such as snow, the moon, and moths is woven throughout the poems, representing different facets of life and death. It appears that the protagonist of the poem is grappling with an internal conflict and seeks to comprehend his role in a world marked by tragedy and transformation.
The work was shot with four Polaroid plates (positive/negative) 4x5 inches, like a polyptych. The negatives are dried without pre-washing with traces of decomposed chemicals on them, then scanned, and then printed on rice paper. After printing, the work went through manual manipulation: aging the paper, folding, writing text…
Reference
Contemplating on the subject of self-sacrifice: Young people (and not so young) give up everything, return from abroad at their own expense, and join the army at a time when the country is in danger, knowing and being aware of the unusually high risks of not returning. There is hardly another country in the world where you can observe this. We, who grew up in a culture based on Christianity (the literature of all Russian classics, the paintings of European museums...), could see parallels with the image of Christ, who also sacrificed himself for the sake of people. A quote from Holbein is used because, in our opinion, it is easiest to trace the parallel, and again, in our opinion, this is the most dramatic work with Christ after the descent from the cross (there are no additional characters, dynamics of poses, proportions of the work…).
Model: A reservist soldier of the Israeli army who participated in the Lebanon War (2006)
and was wounded in it.
Handwriting: song by Swans “Screen Short”
Love, child, reach, rise, sight, blind, steal, light
Mind, scar, clear, fire, clean, right, pure, kind
Sun, come, sky, tar, mouth, sand, teeth, tongue
Cut, push, reach, inside, feed, breathe, touch, come
No pain, no death, no fear, no hate, no time, no now, no suffering
No touch, no loss, no hand, no sense, no wound, no waste, no lust, no fear
No mind, no greed, no suffering, no thought, no hurt, no hands to reach
No knife, no words, no lie, no cure, no need, no hate, no will, no speech
No dream, no sleep, no suffering
No pain, no now, no time, no here
No knife, no mind, no hand, no fear
Love! Now!
Breathe! Now!
Here! Now!
Here! Now!
Here! Now!
Another reference is a poem by the Israeli-Russian poet Mikhail Gendelev. During the first Lebanese War, Gendelev was a military medic in the IDF; he was seriously wounded, the consequences of which haunted him for the rest of his life.
Mikhail Gendelev “Night maneuvers near Beit Jibrin”
The poem depicts a soldier who, in his dreams, revisits his home and family, only to discover that his world has been altered. He describes his wife and the comforts of home that he has lost, alongside his contemplations about death and war. Symbolic imagery such as snow, the moon, and moths is woven throughout the poems, representing different facets of life and death. It appears that the protagonist of the poem is grappling with an internal conflict and seeks to comprehend his role in a world marked by tragedy and transformation.
The work was shot with four Polaroid plates (positive/negative) 4x5 inches, like a polyptych. The negatives are dried without pre-washing with traces of decomposed chemicals on them, then scanned, and then printed on rice paper. After printing, the work went through manual manipulation: aging the paper, folding, writing text…
Bush
Polaroid photography, print on rice paper, 105 x 90 cm
Reference
Allegory to the “Message to Moses” in the form of a burning bush:
"There the angel of the Lord appeared to him in flames of fire from within a bush. Moses saw that though the bush was on fire it did not burn up. ” God called to him from the burning bush, urging him to lead the people of Israel from Egypt to the Promised Land.
Handwriting:
“Not Dark Yet” Written by : Bob Dylan
Shadows are falling and I’ve been here all day
It’s too hot to sleep, time is running away
Feel like my soul has turned into steel
I’ve still got the scars that the sun didn’t heal
There’s not even room enough to be anywhere
It’s not dark yet, but it’s getting there
Well, my sense of humanity has gone down the drain
Behind every beautiful thing there’s been some kind of pain
She wrote me a letter and she wrote it so kind
She put down in writing what was in her mind
I just don’t see why I should even care
It’s not dark yet, but it’s getting there
Well, I’ve been to London and I’ve been to gay Paree
I’ve followed the river and I got to the sea
I’ve been down on the bottom of a world full of lies
I ain’t looking for nothing in anyone’s eyes
Sometimes my burden seems more than I can bear
It’s not dark yet, but it’s getting there
I was born here and I’ll die here against my will
I know it looks like I’m moving, but I’m standing still
Every nerve in my body is so vacant and numb
I can’t even remember what it was I came here to get away from
Don’t even hear a murmur of a prayer
It’s not dark yet, but it’s getting there
In this song the phrase "It's not dark yet" suggests that while things may not be great, there's still hope and time for improvement. It implies that the speaker hasn't reached a point of no return yet. If they can make positive changes, they can avoid spiritual decline or "darkness".
Handwriting: “Train on Fire” by Russian band Aquarium
"Train on Fire," a song by Aquarium, was composed by Boris Grebenshchikov in Russian language and debuted in the late 1980s. Grebenshchikov has been influenced by Bob Dylan, but there isn't a direct thematic connection between "Train on Fire" and Dylan's "This Wheel's on Fire." Each song stands independently with its own distinct themes and lyrics.
The song addresses the theme of the necessity to put an end to conflicts and return to a peaceful life, to one's home and land, which belong to the people rather than political or military groups. It serves as a call to halt violence and seek peaceful resolutions to conflicts.
Reference
Allegory to the “Message to Moses” in the form of a burning bush:
"There the angel of the Lord appeared to him in flames of fire from within a bush. Moses saw that though the bush was on fire it did not burn up. ” God called to him from the burning bush, urging him to lead the people of Israel from Egypt to the Promised Land.
Handwriting:
“Not Dark Yet” Written by : Bob Dylan
Shadows are falling and I’ve been here all day
It’s too hot to sleep, time is running away
Feel like my soul has turned into steel
I’ve still got the scars that the sun didn’t heal
There’s not even room enough to be anywhere
It’s not dark yet, but it’s getting there
Well, my sense of humanity has gone down the drain
Behind every beautiful thing there’s been some kind of pain
She wrote me a letter and she wrote it so kind
She put down in writing what was in her mind
I just don’t see why I should even care
It’s not dark yet, but it’s getting there
Well, I’ve been to London and I’ve been to gay Paree
I’ve followed the river and I got to the sea
I’ve been down on the bottom of a world full of lies
I ain’t looking for nothing in anyone’s eyes
Sometimes my burden seems more than I can bear
It’s not dark yet, but it’s getting there
I was born here and I’ll die here against my will
I know it looks like I’m moving, but I’m standing still
Every nerve in my body is so vacant and numb
I can’t even remember what it was I came here to get away from
Don’t even hear a murmur of a prayer
It’s not dark yet, but it’s getting there
In this song the phrase "It's not dark yet" suggests that while things may not be great, there's still hope and time for improvement. It implies that the speaker hasn't reached a point of no return yet. If they can make positive changes, they can avoid spiritual decline or "darkness".
Handwriting: “Train on Fire” by Russian band Aquarium
"Train on Fire," a song by Aquarium, was composed by Boris Grebenshchikov in Russian language and debuted in the late 1980s. Grebenshchikov has been influenced by Bob Dylan, but there isn't a direct thematic connection between "Train on Fire" and Dylan's "This Wheel's on Fire." Each song stands independently with its own distinct themes and lyrics.
The song addresses the theme of the necessity to put an end to conflicts and return to a peaceful life, to one's home and land, which belong to the people rather than political or military groups. It serves as a call to halt violence and seek peaceful resolutions to conflicts.
Nails
Polaroid photography, print on rice paper, 70 x 170 cm
Shot on two Polaroid plates (positive/negative) measuring 3.25 x 4.25 inches. The negatives are scanned, printed on rice paper, torn into squares, and further manipulated with paints, coffee, and tea.
Nails from the Roman Empire period, approximately the beginning of the first century AD.”
Shot on two Polaroid plates (positive/negative) measuring 3.25 x 4.25 inches. The negatives are scanned, printed on rice paper, torn into squares, and further manipulated with paints, coffee, and tea.
Nails from the Roman Empire period, approximately the beginning of the first century AD.”
Ragged Coat
Polaroid photography, print on rice paper, 104 x 82 cm
The model, is our daughter around 12 years old. She wears a World War II-era overcoat with a white soldier's shirt.
Handwriting:
Features the lyrics of Russian poet B. Okudzhava’s song
“Ragged Coat” translated by Daniel Kahn.
I wore my ragged coat so bare
The tattered sleeves were thin as paper
And so I took it to a tailor
And asked him kindly for repair
I made a joke, and said
"This coat requires total restoration
To bring me glory and salvation
I need your skillful hands to sew!"
But then my playful little words
Took on a meaning unintended
As he methodically mended
He seemed disturbed
Peculiar bird...
And I observed the silent way he worked
To rectify the garment
As though my soul depended on it
This ragged coat, for all my days
He thought I'd slip into the sleeve
And I'd believe again so clearly
That somehow you could love sincerely
But that's absurd
Peculiar bird...
The model, is our daughter around 12 years old. She wears a World War II-era overcoat with a white soldier's shirt.
Handwriting:
Features the lyrics of Russian poet B. Okudzhava’s song
“Ragged Coat” translated by Daniel Kahn.
I wore my ragged coat so bare
The tattered sleeves were thin as paper
And so I took it to a tailor
And asked him kindly for repair
I made a joke, and said
"This coat requires total restoration
To bring me glory and salvation
I need your skillful hands to sew!"
But then my playful little words
Took on a meaning unintended
As he methodically mended
He seemed disturbed
Peculiar bird...
And I observed the silent way he worked
To rectify the garment
As though my soul depended on it
This ragged coat, for all my days
He thought I'd slip into the sleeve
And I'd believe again so clearly
That somehow you could love sincerely
But that's absurd
Peculiar bird...
Army Boots
Polaroid photography, print on rice paper, 103 x 82 cm
Boots of an Israeli army soldier during the Lebanon War (2006)
Boots of an Israeli army soldier during the Lebanon War (2006)
Scar (Mustard)
Polaroid photography, print on rice paper, 103 x 79 cm
Reference
This plant thrives in the harshest conditions. Fields of wild mustard blanket the ground in late winter, their vibrant yellow flowers transforming into dense thickets of dead wood by midsummer. Serving as an allegory of rebirth and cyclicality, it symbolizes vitality and protection, acting as a natural defense against pests and predators.
Reference
This plant thrives in the harshest conditions. Fields of wild mustard blanket the ground in late winter, their vibrant yellow flowers transforming into dense thickets of dead wood by midsummer. Serving as an allegory of rebirth and cyclicality, it symbolizes vitality and protection, acting as a natural defense against pests and predators.
Woman With Raven
Polaroid photography, print on rice paper, 104 x 84 cm
Reference
Featuring a black eye and a wounded crow, this image stands in stark contrast to the thin, graceful, and weightless depictions of Madonnas with doves.
It serves as an allegory on the themes of mercy and compassion, while also symbolizing resistance and struggle.
Reference
Featuring a black eye and a wounded crow, this image stands in stark contrast to the thin, graceful, and weightless depictions of Madonnas with doves.
It serves as an allegory on the themes of mercy and compassion, while also symbolizing resistance and struggle.
Bombs Over Tel Aviv
Polaroid photography, print on rice paper, 100 x 80cm
Handwritten: lyrics by Pink Floyd, album The Wall “Goodbye Blue Sky”
Did you see the frightened ones?
Did you hear the falling bombs?
Did you ever wonder why we had to run for shelter when the
Promise of a brave new world unfurled beneath a clear blue sky?
Handwritten: lyrics by Pink Floyd, album The Wall “Goodbye Blue Sky”
Did you see the frightened ones?
Did you hear the falling bombs?
Did you ever wonder why we had to run for shelter when the
Promise of a brave new world unfurled beneath a clear blue sky?
Dandelion
Polaroid photography, print on rice paper, 104 x 84 cm
Dandelion as an allegory of paratroopers
A reference to the poem “September 1982” by the Israeli-Russian poet Mikhail Gendelev.
This poem reflects on the indifference of the Lord towards earthly matters, portraying a scene where nature and war coexist in a strange harmony. The first stanza describes the slow unfolding of nature amidst the smoke of war, with tanks moving methodically towards their destination, likened to a prayerful procession. The second stanza continues this theme, suggesting that even the simplest elements of nature, like dandelions in the wind, yearn for a higher realm. The final stanza addresses the Lord directly, questioning what dreams or visions occupy His mind while the poet fills pages with thoughts of love and immortality, contrasting with themes of destruction and death. The mention of a black and crimson butterfly symbolizes the readiness to transcend earthly confines.
Dandelion as an allegory of paratroopers
A reference to the poem “September 1982” by the Israeli-Russian poet Mikhail Gendelev.
This poem reflects on the indifference of the Lord towards earthly matters, portraying a scene where nature and war coexist in a strange harmony. The first stanza describes the slow unfolding of nature amidst the smoke of war, with tanks moving methodically towards their destination, likened to a prayerful procession. The second stanza continues this theme, suggesting that even the simplest elements of nature, like dandelions in the wind, yearn for a higher realm. The final stanza addresses the Lord directly, questioning what dreams or visions occupy His mind while the poet fills pages with thoughts of love and immortality, contrasting with themes of destruction and death. The mention of a black and crimson butterfly symbolizes the readiness to transcend earthly confines.
After Dürer
Polaroid photography, print on rice paper, 104 x 83 cm
Reference
A portrait of an Israeli soldier who experienced the Lebanon War 2006 is a continuation our discussions about self-sacrifice and references to the image of Christ.
Why After Dürer?
Albrecht Dürer's self-portrait from 1500 is strikingly reminiscent of the iconic imagery seen in earlier depictions of Christ. Dürer intentionally adopted the same composition used by medieval artists for portraying Jesus. To him, this choice held a profound significance: it symbolized that a person should not only physically resemble the Savior but also embody a deeper, metaphorical likeness by embracing and enduring the challenges of life, akin to carrying the symbolic "cross."
Inspired by Dürer's approach, we directly incorporate the iconography of his self-portrait into a contemporary photographic portrayal of a soldier. The central theme of this artwork is the recognition that the essence of Jesus can be found within everyone.
Reference
A portrait of an Israeli soldier who experienced the Lebanon War 2006 is a continuation our discussions about self-sacrifice and references to the image of Christ.
Why After Dürer?
Albrecht Dürer's self-portrait from 1500 is strikingly reminiscent of the iconic imagery seen in earlier depictions of Christ. Dürer intentionally adopted the same composition used by medieval artists for portraying Jesus. To him, this choice held a profound significance: it symbolized that a person should not only physically resemble the Savior but also embody a deeper, metaphorical likeness by embracing and enduring the challenges of life, akin to carrying the symbolic "cross."
Inspired by Dürer's approach, we directly incorporate the iconography of his self-portrait into a contemporary photographic portrayal of a soldier. The central theme of this artwork is the recognition that the essence of Jesus can be found within everyone.
Kibbutz Be'eri
Polaroid photography, print on rice paper, 70 x 91 cm
After the events of October 7, a video from the scene depicted the charred remains of a dining room wall at Kibbutz Be'eri. On it, there was a notice board adorned with notices and photographs that were nearly completely burnt. This served as the inspiration for the creation of this work.
A reference to the dining room in the kibbutz*, a place where people gathered and united for shared meals, intertwines with a reference of the Last Supper of Jesus.
The burnt remnants of a photograph represent lives, quite literally burnt away.
It is important to note that since the edges of the artwork were burned, its deterioration over time due to fire damage is inherent to the concept.
*A kibbutz is an agricultural commune in Israel, characterized by communal property and equitable distribution of labor and resources.
After the events of October 7, a video from the scene depicted the charred remains of a dining room wall at Kibbutz Be'eri. On it, there was a notice board adorned with notices and photographs that were nearly completely burnt. This served as the inspiration for the creation of this work.
A reference to the dining room in the kibbutz*, a place where people gathered and united for shared meals, intertwines with a reference of the Last Supper of Jesus.
The burnt remnants of a photograph represent lives, quite literally burnt away.
It is important to note that since the edges of the artwork were burned, its deterioration over time due to fire damage is inherent to the concept.
*A kibbutz is an agricultural commune in Israel, characterized by communal property and equitable distribution of labor and resources.
Esther
Polaroid photography, print on rice paper, 103 x 80 cm
Reference
This piece references the biblical figure of Esther, known for her courage and devotion to her people. Esther, originally a relative and later adopted daughter of the Jew Mordecai, resided in Susa during the reign of the Persian king Artaxerxes. She played a crucial role in saving the Jewish population from destruction.
Esther's rise to prominence stirred envy and anger among some courtiers, notably Haman, an Amalekite official known for his arrogance and despotic rule. Upon learning of Haman's plot to exterminate the Jews, Mordecai urged Esther to intervene. Despite the risks, Esther boldly approached the king, defying court etiquette, and pleaded for her people's safety. The king, moved by her plea, ordered Haman's execution and revoked the decree of Jewish extermination.
The tomb of Esther and Mordecai, along with a temple dedicated to them, is located in Hamadan, Iran.
Additionally, we would like to make a reference to Esther Hayut, former President of the Supreme Court of Israel.Her resignation on October 16, 2022, symbolized the conflict between the government and civil society in light of the government's attempts to control the judiciary. This reflected society's concerns about the erosion of democratic principles.
Handwritten: This text is written in the form of a scroll (megillah). It is a scroll similar to the ``Scroll of Esther'' and ``Israel's Declaration of Independence'' called the Megillah Ha'tzmaut. The Scroll of Independence is a legal document that declares the formation of the State of Israel and sets out the basic principles of its organization.
Lewis Carroll “The Jabberwocky”
"Jabberwocky" is a nonsense poem written by Lewis Carroll about the killing of a creature named "the Jabberwocky”. It was included in his 1871 novel Through the Looking-Glass, the sequel to Alice's Adventures in Wonderland (1865). The book tells of Alice's adventures within the back-to-front world of the Looking-Glass world. "Jabberwocky" is considered one of the greatest nonsense poems written in English. Its playful, whimsical language has given English nonsense words and neologisms.
Reference
This piece references the biblical figure of Esther, known for her courage and devotion to her people. Esther, originally a relative and later adopted daughter of the Jew Mordecai, resided in Susa during the reign of the Persian king Artaxerxes. She played a crucial role in saving the Jewish population from destruction.
Esther's rise to prominence stirred envy and anger among some courtiers, notably Haman, an Amalekite official known for his arrogance and despotic rule. Upon learning of Haman's plot to exterminate the Jews, Mordecai urged Esther to intervene. Despite the risks, Esther boldly approached the king, defying court etiquette, and pleaded for her people's safety. The king, moved by her plea, ordered Haman's execution and revoked the decree of Jewish extermination.
The tomb of Esther and Mordecai, along with a temple dedicated to them, is located in Hamadan, Iran.
Additionally, we would like to make a reference to Esther Hayut, former President of the Supreme Court of Israel.Her resignation on October 16, 2022, symbolized the conflict between the government and civil society in light of the government's attempts to control the judiciary. This reflected society's concerns about the erosion of democratic principles.
Handwritten: This text is written in the form of a scroll (megillah). It is a scroll similar to the ``Scroll of Esther'' and ``Israel's Declaration of Independence'' called the Megillah Ha'tzmaut. The Scroll of Independence is a legal document that declares the formation of the State of Israel and sets out the basic principles of its organization.
Lewis Carroll “The Jabberwocky”
"Jabberwocky" is a nonsense poem written by Lewis Carroll about the killing of a creature named "the Jabberwocky”. It was included in his 1871 novel Through the Looking-Glass, the sequel to Alice's Adventures in Wonderland (1865). The book tells of Alice's adventures within the back-to-front world of the Looking-Glass world. "Jabberwocky" is considered one of the greatest nonsense poems written in English. Its playful, whimsical language has given English nonsense words and neologisms.
Doll
Polaroid photography, print on rice paper, 84 x 105 cm
The overall sentiment behind our work reflects the atrocities inflicted upon Israeli children by terrorists on October 7th.
An old doll with cracked paint - a reference to a wounded childhood.
The stones represent a Jewish custom to put stones on graves. There are different interpretations, for example meaning enduring memory. Unlike flowers, which wilt and fade quickly, stones endure, symbolizing the timeless presence of the departed in our hearts.
Milk Bottle Crate - Symbolizing freedom of choice. For Pyrsky and Hayat, this image refers to the story of 'Tevye the Dairyman' by Sholem Aleichem.
In this story, the theme of choice centers on Tevye's decisions and their consequences in the face of changing social and economic conditions. As a Jewish dairyman in Tsarist Russia, Tevye navigates challenges related to family, tradition, and faith. His choices regarding arranged marriages, religious observance, and societal interactions reflect his efforts to balance tradition with modernity. Ultimately, the theme of choice highlights Tevye's struggle to preserve his cultural identity and moral integrity amidst societal changes.
The overall sentiment behind our work reflects the atrocities inflicted upon Israeli children by terrorists on October 7th.
An old doll with cracked paint - a reference to a wounded childhood.
The stones represent a Jewish custom to put stones on graves. There are different interpretations, for example meaning enduring memory. Unlike flowers, which wilt and fade quickly, stones endure, symbolizing the timeless presence of the departed in our hearts.
Milk Bottle Crate - Symbolizing freedom of choice. For Pyrsky and Hayat, this image refers to the story of 'Tevye the Dairyman' by Sholem Aleichem.
In this story, the theme of choice centers on Tevye's decisions and their consequences in the face of changing social and economic conditions. As a Jewish dairyman in Tsarist Russia, Tevye navigates challenges related to family, tradition, and faith. His choices regarding arranged marriages, religious observance, and societal interactions reflect his efforts to balance tradition with modernity. Ultimately, the theme of choice highlights Tevye's struggle to preserve his cultural identity and moral integrity amidst societal changes.
Baby Dolls
Polaroid photography, print on rice paper, 84 x 105 cm
The baby doll, in an association with childhood and innocence, symbolizes playfulness, joy and carefree moments. However, on October 7 childhood and joy were shattered, leaving behind only stones.
Stones can symbolize a connection to the departed and serve as a lasting reminder that memories of the dead endure eternally, akin to the resilience of stone against the passage of time. Additionally, they reference the biblical tale of David and Goliath, representing protection and defense.
The baby doll, in an association with childhood and innocence, symbolizes playfulness, joy and carefree moments. However, on October 7 childhood and joy were shattered, leaving behind only stones.
Stones can symbolize a connection to the departed and serve as a lasting reminder that memories of the dead endure eternally, akin to the resilience of stone against the passage of time. Additionally, they reference the biblical tale of David and Goliath, representing protection and defense.
NFT
artist profile
作品のお問い合わせ
Artist Voice
私たちは約30年間エルサレムに住んでいましたが、2019年末にイスラエルの中心部に位置する小さな町モディインに引っ越しました。モディインはエルサレムとテルアビブのちょうど中間に位置しています。新型コロナウイルス感染症以前はよく旅行し、イスラエル全土で撮影していましたが、今は主に周辺地域での撮影と自宅スタジオでの作業をしています。私たちには24歳になる娘がおり、彼女は現在、音楽制作を学んでいます。5年前、彼女は兵役の一環としてレイム（Reim）基地のシステム管理者として勤務していましたが、この基地は10月7日にハマスのテロリストに占拠されていました。その日、彼女の何人かの友人や同僚がこの基地やレイム周辺で開催された音楽フェスティバルに参加し亡くなりました。その後、彼女は徴兵命令を待たずに数か月間軍に戻りました。
"戦争が起きていて、爆弾が落ちて銃声が聞こえるのに、なぜあなたたちは国を去らないのか"と誰かが尋ねる時、私たちは、"私達には他に国がない"という「アイン・リ・エレツ」という有名なイスラエルの歌の言葉で答えます。本当にないのです。私たちの子供たち、友人たちがここにいます。そして、石を背中に投げられることを恐れずにただ安心してヘブライ語を話せる国を、私たちはイスラエル以外で知りません。
ビュー
bottom of page