In and Out, Between and Beyond: Jüdisches Alltagsleben im mittelalterlichen Europa, 2022
Die Ausstellung und der Katalog, In and Out, Between and Beyond: Jüdisches Alltagsleben im
mittel... more Die Ausstellung und der Katalog, In and Out, Between and Beyond: Jüdisches Alltagsleben im mittelalterlichen Europa (Eröffnung Juni 2021) ist das Gemeinschaftswerk eines internationalen Teams von MittelalterhistorikerInnen unter der Leitung von Prof. Elisheva Baumgarten von der Hebräischen Universität von Jerusalem und zeitgenössischen Künstlern aus Israel. Gemeinsam haben wir modernste Technologien und digitale Werkzeuge eingesetzt, um unsere Forschungen zum mittelalterlichen Stadtleben greifbar zu machen. Die Ergebnisse können sowohl virtuell als auch vor Ort besichtigt werden. Die Forschungsgruppe Beyond the Elite: Jewish Daily Life in Medieval Europe, die vom Europäischen Forschungsrat finanziert wird, versucht zu verstehen, wie das Leben von Jüdinnen und Juden in den mittelalterlichen städtischen Zentren West- und Nordeuropas aussah. In Anbetracht der Tatsache, dass Juden sowohl Teil ihrer lokalen Gemeinschaften als auch eine oft verfolgte religiöse Minderheit waren, stellen wir die Frage, wie sie alltägliche Räume und Erfahrungen mit ihren christlichen Nachbarn teilten und sich dennoch abgrenzten. Wie wurden sie gleichzeitig in ihre Gemeinden integriert und von ihnen ausgegrenzt? Nach mehreren Jahren konzentrierter Arbeit wollten wir die Ergebnisse unseres Projekts mit der Öffentlichkeit teilen. Um ein breites Publikum anzusprechen, haben wir uns entschieden, die mittelalterliche Realität nicht nur anhand von Texten oder originalen Funden zu beschreiben, sondern einen kreativeren Ansatz zu verfolgen, indem wir in zeitgenössischer künstlerischer Form vielfältige Perspektiven des mittelalterlichen jüdischen Lebens aufzeigen – “innerhalb und außerhalb”, “zwischen” und “jenseits” des täglichen Lebens in ihrer christlichen städtischen Umgebung. Dr. Ido Noy, Kunsthistoriker und Mitglied des Beyond the Elite-Teams, kuratierte und gestaltete die Ausstellung, und wir begannen die Zusammenarbeit mit einem Team zeitgenössischer Künstler, die wie wir auf ein breites Spektrum von Disziplinen zurückgreifen konnten, von Kunst und Kalligrafie über Grafikdesign bis hin zu Animation, Klangkunst sowie 3D-Modellierung und Druck. Unsere Strategie war mehrstufig: Zunächst schrieb jede/r HistorikerIn einen kurzen Artikel, der sich auf eine Primärquelle konzentrierte und seine/ihre Forschungen beleuchtete. Diese Artikel bildeten den Hauptteil des Katalogs. Zweitens wurde jeder Artikel den sieben KünstlerInnen vorgestellt, und wir bildeten Gruppen von HistorikerInnen und KünstlerInnen, die sich gegenseitig in ihren Fähigkeiten ergänzten. Drittens trafen sich diese Teams, um zu entscheiden, wie die historischen Details durch zeitgenössische Kunst vermittelt werden sollten. Nach zwei langen Jahren Arbeit wurde die Ausstellung im Juni 2021 in der Max and Iris Stern Gallery auf dem Mount Scopus Campus der Hebräischen Universität von Jerusalem eröffnet und war auch für Online-Besucher über eine virtuelle Ausstellung zugänglich. Es war unser Traum, dass die Ausstellung auch an anderen Orten und in anderen Gemeinschaften zu sehen sein würde, nicht nur virtuell, sondern auch physisch. Wir haben uns daher sehr gefreut, als unsere Kollegin und Freundin Dr. Maria Stürzebecher vom Museum Alte Synagoge in Erfurt auf uns zukam und uns bat, die Ausstellung in Erfurt zu zeigen. Einer der Hauptunterschiede zwischen der Erfurter Ausstellung und der in Jerusalem ist die Präsenz der mittelalterlichen Juden in Erfurt und die Präsentation der Ausstellung in der mittelalterlichen Synagoge zusammen mit originalen Artefakten. Durch die Reise der Ausstellung nach Erfurt konnten wir das Beste aus allen Welten nutzen. Die Ausstellung in der Alten Synagoge zeigt die modernen künstlerischen Darstellungen der mittelalterlichen Kultur neben Originalen. Erstere wurden neu angeordnet, um sich besser in die Dauerausstellung einzufügen und das multisensorische Erlebnis in der Ausstellung zu verbessern. Diese Neupositionierung ermöglicht ein neues Verständnis und unterstreicht die Verwobenheit der Juden mit der christlichen Kultur des Mittelalters sowie die Art und Weise, wie Juden gleichzeitig “innerhalb und außerhalb”, “zwischen” und “jenseits” der städtischen Milieus waren, in denen sie lebten. Darüber hinaus haben wir beim Künstler Kalman Gavriel Delmoor, dessen monumentale Kalligrafie das Rückgrat der Ausstellung bildet, ein Originalwerk in Auftrag gegeben, um diesen neuen Bedeutungsebenen Ausdruck zu verleihen. Der Katalog zu dieser Ausstellung enthält nicht nur neue Einführungen, sondern auch Fotos der Galerien an beiden Standorten, so dass die Leser beide Versionen der Ausstellung genießen können. Wir hoffen, dass die Ausstellung in den kommenden Jahren an weiteren Orten zu sehen sein wird und mit jeder Station neue Interpretationen hinzukommen. Die Zusammenarbeit zwischen unserem Forschungsteam in Jerusalem und unseren KollegInnen in Erfurt begann bereits Jahre vor dieser gemeinsamen Unternehmung, hat sich aber im Rahmen dieses Projekts intensiviert. Wir sind Dr. Stürzebecher und ihren KollegInnen sehr dankbar und freuen uns auf zukünftige Kooperationen zwischen der Hebräischen Universität von Jerusalem und der Alten Synagoge. Unser Dank gilt auch den Wissenschaftlern und vor allem den KünstlerInnen, die mit den Kuratoren zusammengearbeitet haben, um ihre Kunstwerke für den neuen Raum umzugestalten.
This book, produced for the exhibition In and Out, Between and Beyond, presents the scholarly wor... more This book, produced for the exhibition In and Out, Between and Beyond, presents the scholarly work of a group of historians who study the Jews of medieval Ashkenaz at The Hebrew University of Jerusalem, in dialogue with the work of contemporary Israeli artists. This is one of the culminating projects of the European Research Council-funded research group Beyond the Elite: Jewish Daily Life in Medieval Europe.
Since the inception of the project (fall 2016), the team has worked to construct a history which includes those who were not part of the learned elite as well as those who were learned, about whom we know more. The research team trained its sights on everyday moments, investigating daily routines and the ways medieval Jews understood their lives amidst their host cultures. At the heart of this work is the complexity of the circumstances in which medieval Jews lived: the integration of Ashkenazic Jews within their Christian surroundings, alongside their maintenance of a distinct religious identity. To complement the medieval study underlying this endeavor, the exhibit’s curator, Dr. Ido Noy, orchestrated a fruitful exchange between the research team and seven Israeli artists, who then produced contemporary expressions of the historic ideas under discussion. This book, mirroring the structure of the exhibit, is comprised of sixteen articles. Each one is built around a primary source from a particular literary genre. The colorful catalogue at the end of the volume documents the objects created especially for the exhibition that was displayed physically at the gallery on the Mount Scopus campus of The Hebrew University of Jerusalem and can still be viewed virtually.
Rash Rash Rash: Contemporary Noisemakers of the Bezalel School, 2020
Hava narishah: Rash- Rash- Rash!
Hava narishah: Rash- Rash- Rash!
Hava narishah: Rash- Rash- Rash... more Hava narishah: Rash- Rash- Rash! Hava narishah: Rash- Rash- Rash! Hava narishah: Rash- Rash- Rash! Bara’ashanim!... (A song for Purim by Levin Kipnis)
The exhibition, “Rash, Rash, Rash: Contemporary Noisemakers of the Bezalel School” is a group exhibition featuring contemporary Jewish art. The exhibition’s title suggests two aspects, the children’s song by Kipnis and the tradition of producing noisemakers as part of the popular Jewish creation. In many cases the simplest and readily available materials were used in making these noisemakers that even included materials normally considered as “inferior” or “poor”.
The noisemakers created for this exhibition cannot be defined in line with any of the approaches cited above, but simultaneously fit in with both. In preparing the exhibition the curators approached contemporary artists and designers, seeking to create new noisemakers that would relate to their consumption culture. To make the task more interesting, the curators put a simple limitation. All noisemakers must be made of cheap, simple and available materials, the total cost of which could not exceed 50 NIS. The resulting creations do not include “inferior” noisemakers, but rather the absolute opposite. The noisemakers created for this exhibition are rich in material, technological and creative solutions that abounded with original and critical thought and are full of humor.
For Heaven's Sake!
It’s not every day that one has the opportunity to be part of something momen... more For Heaven's Sake!
It’s not every day that one has the opportunity to be part of something momentous. Such an opportunity may arise once in a lifetime, or perhaps not at all. Producing the exhibition catalogue for the 4th Jerusalem Biennale (2019) is, without doubt, a chance to be part of a vast undertaking, one with many partners. How many? The answer is that no fewer than 250 individuals contributed to the publication of this catalogue.
The completed product in your hands is greater than the sum of its parts. The catalogue of the 4th Biennale joins the previous catalogues and together they tell the story of the Jerusalem Biennale. The catalogues document the exhibitions, provide a stage for the artworks, and commemorate the events, locations, people, and partners. They simultaneously serve as a written record, and a snapshot of the current state of mind and of observations related to the world of contemporary Jewish art. The City of Jerusalem is also felt throughout the catalogue through its recurring reflection in geographical locations and social events. In that sense, the Jerusalem Biennale is a further landmark in the city’s development and its position as a center of local and universal creativity.
The catalogue is designed to provide an enjoyable reading experience. It seeks to create a uniform style of language, both in the scope of texts accompanying the visual materials and in its graphic layout. Readers will feel the underlying tempo, like individual instruments in an orchestra, as each curator receives equal space irrespective of the size or scope of the exhibition. While the space allotted is modest, it is enough to tell the exhibition’s story and to convey, at least in part, the spirit and essence of the curated works.
As the catalogue’s editor, I naturally worked closely with the exhibition curators and less with the participating artists. Each curator, responsible for their exhibition’s content and arrangement, was asked to tell its story and provide the textual and visual materials. Just imagine the number of emails, WhatsApp messages and telephone conversations in different languages needed to bring the exhibitions (31 in total) together to the finish line! I want to offer my profound gratitude to the curators for their work, talent, patience and rewarding cooperation: Matan, Asaf and Izek, Shimon, Bitya and Gabi, Porat and Ronen, Smadar, Ilan, Shirat-Miriam (Mimi), Mirta, Rachel, Susan, Hillel, Andi, Amit, Emily and Nurit, Gargi, Eyal, Vera and Ram, Judy and Susan, Duchi, Ewa, Motti, Scott, Haya, Mindy, Sagi, Doni and Moully.
Israel Dahan: Fifty Years of Judaica shows 21 ritual
objects created by Israel Dahan over a perio... more Israel Dahan: Fifty Years of Judaica shows 21 ritual objects created by Israel Dahan over a period of 50 years, as well as one work commissioned especially for the 4th Jerusalem Biennale. Dahan taught at the Bezalel Academy of Art and Design from 1969-2018. Although Dahan grew up in a religiously observant home and creates his objects in keeping with halacha (Jewish religious law) and its cultural context, his objects are far from conventional. He succeeds in maintaining the balance between the drive to create and innovate, and the pull to ensure that his works remain ritually relevant.
During his tenure at Bezalel, Dahan encouraged dialogue among students and teachers based on the core of Jewish achievement and creation. He also gave expression to creativity for secular and non-Jewish ritual works to embrace for multi-faceted Israeli identity. Muslim, Christian and Druze students studying under Dahan produced ritual vessels in the spirit of their own heritage. Dahan shared knowledge based on enlightenment and faith, which empowered his students to formulate the act of creation according to their own inclinations.
Dahan seeks to apply rational debate and creative tension to achieve solutions that inspire, support and accept. These are summarized in Dahan's new work that is exhibited here for the first time: a memorial candle, where two parts are severed from a metal pipe to form two hands that support and protect the candle on both sides. This exhibition is a modest tribute to Israel Dahan and his tremendous contribution to the development of Judaica.
Khamsa Khamsa Khamsa: The Evolution of a Motif in Contemporary Israeli Art, 2018
The exhibition Khamsa Khamsa Khamsa: The Evolution of a Motif in Contemporary Israeli Art is devo... more The exhibition Khamsa Khamsa Khamsa: The Evolution of a Motif in Contemporary Israeli Art is devoted to the Khamsa, one of the prevailing motifs in local folk culture in Israel.. The exhibition’s title hints at its content: the Arabic word Khamsa, meaning ‘five’ or ‘the five fingers of the hand’, denotes the widespread middle eastern amulet that, in the broadest terms, wards off the evil eye. In modern Israeli culture, the common colloquial phrase ‘Khamsa Khamsa Khamsa’ (often followed by the equivalent expression ‘tfu tfu tfu’) might be the Israeli equivalent of the phrase ‘knock on wood’, invoked to avoid ‘tempting fate’ and to ward off the evil eye.
This exhibition displays exactly 555 different Khamsas, echoing the literal meaning of the expression ‘Khamsa, Khamsa, Khamsa’ and breaking the record for the number of these amulets displayed in an exhibition in Israel. Unlike the majority of exhibitions that have addressed the Khamsa as an object and motif of historical significance, this exhibition seeks to locate the Khamsa in time and place while highlighting its cultural significance, now more than ever, in Israeli society.
The exhibition Keep It Light addresses the end of life, a painful topic that for many is a waters... more The exhibition Keep It Light addresses the end of life, a painful topic that for many is a watershed in the topography of the life cycle. Despite the seriousness and gravity of the subject, this exhibition focuses on black humor, irony and absurdity. Through the display of vessels for memorial and remembrance candles created with unusual and innovative perspectives, the exhibition aims to surprise and stimulate the viewer to reconsider the place of death within the life cycle, the mourning process and the religious customs associated with each.
The Bezalel exhibition 'Judaica Now'!: Goblets and
Kiddush Cups of the Bezalel School"is displaye... more The Bezalel exhibition 'Judaica Now'!: Goblets and Kiddush Cups of the Bezalel School"is displayed from the contemporary artistic standpoint. In this exhibition also some 48 exhibits of contemporary wine and Kiddush cups, handmade by artists and designers belonging to the Bezalel School, are displayed. The philosophy and artistic language of the School's members, men and women, were apparent as expressed in the holy vessels and articles. The participants in this group show had all attended Bezalel either as students or teachers, some served as department heads. A large group among these artists later became the elite of leading Judaica artists, whose creations now enrich the collections of important museums in Israel and throughout the world.
Curators: "Hallel. Carmel Winery": Yona Shapira "'Judaica Now!': Wine goblets and Kiddush cups of the Bezalel School": Dr. Shirat‑Miriam Shamir, Ido Noy
שתי התערוכות עוסקות בשני מפעלים חלוציים: יקב ראשון־לציון ובית הספר לאמנויות "בצלאל". שניהם, כל אחד בתחומו, הניחו תשתית חומרית ותרבותית ליישוב היהודי המתחדש בארץ ישראל. שתי התערוכות המוצגות במשולב, מציגות את נקודות ההשקה בין שני המפעלים. העיקרית שבהן היא העובדה שתוצריהם, היין ואמנות בצלאל, היוו סמל ליישוב היהודי המתחדש ונרכשו על ידי יהודי הגולה כמחווה רגשית של אהבת ארץ ישראל וכתרומה למען הגשמת הרעיון של יישובה. היקב מוצג מן הזווית ההיסטורית ואילו בצלאל מוצג מנקודת מבט אמנותית עכשווית. היקב היה סמל להגשמת חזון יישוב ארץ ישראל, מקור לגאווה ואבן שואבת למנהיגי עם ועולם שנשאו עיניהם אליו וביקרו בו. התערוכה "הלל. יקב כרמל" מבקשת להציג את החדשנות של יקב ראשון־לציון בשנותיו הראשונות כמפעל תעשיה חקלאית מודרני הבולט במרחב המזרח התיכון ועומד במרכז חיי הכלכלה של ראשון־לציון ומושבות הסביבה. בתערוכה מוצגים התפתחותו, הישגיו, אתגריו, גלגוליו, קשריו עם הגולה והשפעתו על ראשון־לציון ועל הישוב בארץ־ישראל. עיקר התערוכה עוסק בעשורים הראשונים לקיום היקב שהיו השנים המשמעותיות בתולדותיו שבמהלכן עוצב בו מודל תעשייתי חדשני ופורץ דרך בארץ. התערוכה, "׳יודאיקה עכשיו!׳: כוסות וגביעי יין לקידוש של אסכולת בצלאל" מציגה 48 גביעי יין וקידוש עכשוויים מעשה ידיהם של אמנים ומעצבים השייכים לאסכולת בצלאל. מהתערוכה ניבטת תפיסת העולם ושפתם האמנותית של חברי וחברות האסכולה כפי שאלו מקבלות ביטוי בתשמישי קדושה. משתתפי התערוכה הקבוצתית, עברו כולם בבצלאל: בין שלמדו או שלימדו בו או בין שהובילו אותו כראשי המחלקות. חלק נכבד מאמנים אלה נעשו לאמני היודאיקה המובילים, שיצירותיהם מעטרות את אוספי המוזיאונים החשובים בישראל ובעולם.
אוצרים: הלל, יקב כרמל: יונה שפירא 'יודאיקה עכשיו!': כוסות וגביעי יין לקידוש של אסכולת בצלאל: ד"ר שירת־מרים שמיר ועידו נוי
The group exhibition The Bezalel School: In and Out in Contemporary Jewish Art, shown as part of ... more The group exhibition The Bezalel School: In and Out in Contemporary Jewish Art, shown as part of the 2015 Jerusalem Biennale, seeks to present the worldview and artistic language of the Bezalel School through a focus on contemporary Jewish art as expressed in ritual objects.
Israeli Journal of Humor Research: An International Journal , 2024
Originally produced by Topps Chewing Gum, Inc. (Brooklyn, New York), a localized version of Garba... more Originally produced by Topps Chewing Gum, Inc. (Brooklyn, New York), a localized version of Garbage Pail Kids sticker cards was distributed in Israel between 1987 and 1988. Although intended as a children's product, the Israeli version of Garbage Pail Kids had a significant impact on local political discourse. The Hebrew translation, "Havurat HaZevel," became a coined term frequently used by publicists and Israeli parliament members to describe the ultimate "other"-be it a movement, group, party, or a faction within the coalition or opposition. Choosing "Havurat HaZevel" as a model for political satire, the artists aimed to express their aversion to what they perceived as wrong, loathsome, and shameful. This paper highlights how the use of "Havurat HaZevel" in the Israeli political arena has led to several spin-offs. The emergence of these creative initiatives over the past three decades reflects political conditions, particularly related to Knesset (Israeli Parliament) and Prime Minister elections, as well as expressions of political dissent and protest. Analyzing both the visual and textual elements employed by illustrators and art directors reveals insights into the public image of Israeli politicians and the political events depicted.
Ars Judaica: The Bar Ilan Journal of Jewish Art, 2016
In my research for this article I was fortunate to have the advice of several leading scholars: P... more In my research for this article I was fortunate to have the advice of several leading scholars: Prof. Shalom Sabar, Prof. Elisheva Baumgarten, and Dr Sarit Shalev-Eyni, and I am deeply indebted to all of them. Special thanks also to Dr Vladimir Levin and the Center for Jewish Art at the Hebrew University of Jerusalem for providing me with unlimited access to the archives and for supporting this research.
Examining a selection of modern urban spaces, this article describes how the history of medieval ... more Examining a selection of modern urban spaces, this article describes how the history of medieval Ashkenazi Jewry is displayed in Germany today, as well as who displays it and for whom. The preoccupation of Germany with its Jewish past is not trivial; it is an institutionalized trend designed not only to teach the public about local medieval history, but also to educate it to re-include medieval Jews into its history.
The discovery of pawned objects in treasure troves attributed to Jews enables investigation of th... more The discovery of pawned objects in treasure troves attributed to Jews enables investigation of the use and understanding of these objects by Jews, especially regarding those of a more secular nature, i.e. objects that have little relationship to Jewish or Christian liturgy and that lack explicit Jewish or Christian religious iconography or inscriptions. One of these pawned objects is a girdle, which was found in a Jewish context in Erfurt. Through examining this girdle in the context of similar imagery in Jewish art, we see that Jews were not only exposed to such girdles but also were well aware of their symbolic meaning in noble love and romance.
Examining a selection of modern urban spaces, this article describes how
the history of medieval ... more Examining a selection of modern urban spaces, this article describes how the history of medieval Ashkenazi Jewry is displayed in Germany today, as well as who displays it and for whom. The preoccupation of Germany with its Jewish past is not trivial; it is an institutionalized trend designed not only to teach the public about local medieval history, but also to educate it to re-include medieval Jews into its history.
Garbage Pail Kids: On Caricature, Satire and Political Stench
Originally produced by Topps Chewi... more Garbage Pail Kids: On Caricature, Satire and Political Stench
Originally produced by Topps Chewing Gum, Inc. (Brooklyn, New York), a local version of Garbage Pail Kids (GPK) sticker cards were distributed in Israel in 1987-8. Although designed as product for children, the Israeli version of GPK left a deep impression on its local political discourse. “Havurat HaZevel” - the Hebrew transliteration of GPK, became a newly coined word, often used by publicists as well as by members of the Israeli parliament in order to portray the ultimate “other”, whether movement, group or party, whether part of the coalition or the opposition. As this paper wishes to point out, the use of the GPK in Israeli political context gave birth to several spinoffs. Moreover, appearance of these creative initiatives over the last three decades correspond the political circumstances, mainly to the elections for parliament and for prime minister as well as to expressions of dissent. Examination both the visual and textual means used by the illustrators and copywriters shed light public image of Israeli politicians as well as of the political events in question.
Neshot Haẖayil VaH̱akhmot HaLev: On Women and Genger in Contemporary Jewish Art of Bezalel School... more Neshot Haẖayil VaH̱akhmot HaLev: On Women and Genger in Contemporary Jewish Art of Bezalel School (Hebrew)
In and Out, Between and Beyond: Jüdisches Alltagsleben im mittelalterlichen Europa, 2022
Die Ausstellung und der Katalog, In and Out, Between and Beyond: Jüdisches Alltagsleben im
mittel... more Die Ausstellung und der Katalog, In and Out, Between and Beyond: Jüdisches Alltagsleben im mittelalterlichen Europa (Eröffnung Juni 2021) ist das Gemeinschaftswerk eines internationalen Teams von MittelalterhistorikerInnen unter der Leitung von Prof. Elisheva Baumgarten von der Hebräischen Universität von Jerusalem und zeitgenössischen Künstlern aus Israel. Gemeinsam haben wir modernste Technologien und digitale Werkzeuge eingesetzt, um unsere Forschungen zum mittelalterlichen Stadtleben greifbar zu machen. Die Ergebnisse können sowohl virtuell als auch vor Ort besichtigt werden. Die Forschungsgruppe Beyond the Elite: Jewish Daily Life in Medieval Europe, die vom Europäischen Forschungsrat finanziert wird, versucht zu verstehen, wie das Leben von Jüdinnen und Juden in den mittelalterlichen städtischen Zentren West- und Nordeuropas aussah. In Anbetracht der Tatsache, dass Juden sowohl Teil ihrer lokalen Gemeinschaften als auch eine oft verfolgte religiöse Minderheit waren, stellen wir die Frage, wie sie alltägliche Räume und Erfahrungen mit ihren christlichen Nachbarn teilten und sich dennoch abgrenzten. Wie wurden sie gleichzeitig in ihre Gemeinden integriert und von ihnen ausgegrenzt? Nach mehreren Jahren konzentrierter Arbeit wollten wir die Ergebnisse unseres Projekts mit der Öffentlichkeit teilen. Um ein breites Publikum anzusprechen, haben wir uns entschieden, die mittelalterliche Realität nicht nur anhand von Texten oder originalen Funden zu beschreiben, sondern einen kreativeren Ansatz zu verfolgen, indem wir in zeitgenössischer künstlerischer Form vielfältige Perspektiven des mittelalterlichen jüdischen Lebens aufzeigen – “innerhalb und außerhalb”, “zwischen” und “jenseits” des täglichen Lebens in ihrer christlichen städtischen Umgebung. Dr. Ido Noy, Kunsthistoriker und Mitglied des Beyond the Elite-Teams, kuratierte und gestaltete die Ausstellung, und wir begannen die Zusammenarbeit mit einem Team zeitgenössischer Künstler, die wie wir auf ein breites Spektrum von Disziplinen zurückgreifen konnten, von Kunst und Kalligrafie über Grafikdesign bis hin zu Animation, Klangkunst sowie 3D-Modellierung und Druck. Unsere Strategie war mehrstufig: Zunächst schrieb jede/r HistorikerIn einen kurzen Artikel, der sich auf eine Primärquelle konzentrierte und seine/ihre Forschungen beleuchtete. Diese Artikel bildeten den Hauptteil des Katalogs. Zweitens wurde jeder Artikel den sieben KünstlerInnen vorgestellt, und wir bildeten Gruppen von HistorikerInnen und KünstlerInnen, die sich gegenseitig in ihren Fähigkeiten ergänzten. Drittens trafen sich diese Teams, um zu entscheiden, wie die historischen Details durch zeitgenössische Kunst vermittelt werden sollten. Nach zwei langen Jahren Arbeit wurde die Ausstellung im Juni 2021 in der Max and Iris Stern Gallery auf dem Mount Scopus Campus der Hebräischen Universität von Jerusalem eröffnet und war auch für Online-Besucher über eine virtuelle Ausstellung zugänglich. Es war unser Traum, dass die Ausstellung auch an anderen Orten und in anderen Gemeinschaften zu sehen sein würde, nicht nur virtuell, sondern auch physisch. Wir haben uns daher sehr gefreut, als unsere Kollegin und Freundin Dr. Maria Stürzebecher vom Museum Alte Synagoge in Erfurt auf uns zukam und uns bat, die Ausstellung in Erfurt zu zeigen. Einer der Hauptunterschiede zwischen der Erfurter Ausstellung und der in Jerusalem ist die Präsenz der mittelalterlichen Juden in Erfurt und die Präsentation der Ausstellung in der mittelalterlichen Synagoge zusammen mit originalen Artefakten. Durch die Reise der Ausstellung nach Erfurt konnten wir das Beste aus allen Welten nutzen. Die Ausstellung in der Alten Synagoge zeigt die modernen künstlerischen Darstellungen der mittelalterlichen Kultur neben Originalen. Erstere wurden neu angeordnet, um sich besser in die Dauerausstellung einzufügen und das multisensorische Erlebnis in der Ausstellung zu verbessern. Diese Neupositionierung ermöglicht ein neues Verständnis und unterstreicht die Verwobenheit der Juden mit der christlichen Kultur des Mittelalters sowie die Art und Weise, wie Juden gleichzeitig “innerhalb und außerhalb”, “zwischen” und “jenseits” der städtischen Milieus waren, in denen sie lebten. Darüber hinaus haben wir beim Künstler Kalman Gavriel Delmoor, dessen monumentale Kalligrafie das Rückgrat der Ausstellung bildet, ein Originalwerk in Auftrag gegeben, um diesen neuen Bedeutungsebenen Ausdruck zu verleihen. Der Katalog zu dieser Ausstellung enthält nicht nur neue Einführungen, sondern auch Fotos der Galerien an beiden Standorten, so dass die Leser beide Versionen der Ausstellung genießen können. Wir hoffen, dass die Ausstellung in den kommenden Jahren an weiteren Orten zu sehen sein wird und mit jeder Station neue Interpretationen hinzukommen. Die Zusammenarbeit zwischen unserem Forschungsteam in Jerusalem und unseren KollegInnen in Erfurt begann bereits Jahre vor dieser gemeinsamen Unternehmung, hat sich aber im Rahmen dieses Projekts intensiviert. Wir sind Dr. Stürzebecher und ihren KollegInnen sehr dankbar und freuen uns auf zukünftige Kooperationen zwischen der Hebräischen Universität von Jerusalem und der Alten Synagoge. Unser Dank gilt auch den Wissenschaftlern und vor allem den KünstlerInnen, die mit den Kuratoren zusammengearbeitet haben, um ihre Kunstwerke für den neuen Raum umzugestalten.
This book, produced for the exhibition In and Out, Between and Beyond, presents the scholarly wor... more This book, produced for the exhibition In and Out, Between and Beyond, presents the scholarly work of a group of historians who study the Jews of medieval Ashkenaz at The Hebrew University of Jerusalem, in dialogue with the work of contemporary Israeli artists. This is one of the culminating projects of the European Research Council-funded research group Beyond the Elite: Jewish Daily Life in Medieval Europe.
Since the inception of the project (fall 2016), the team has worked to construct a history which includes those who were not part of the learned elite as well as those who were learned, about whom we know more. The research team trained its sights on everyday moments, investigating daily routines and the ways medieval Jews understood their lives amidst their host cultures. At the heart of this work is the complexity of the circumstances in which medieval Jews lived: the integration of Ashkenazic Jews within their Christian surroundings, alongside their maintenance of a distinct religious identity. To complement the medieval study underlying this endeavor, the exhibit’s curator, Dr. Ido Noy, orchestrated a fruitful exchange between the research team and seven Israeli artists, who then produced contemporary expressions of the historic ideas under discussion. This book, mirroring the structure of the exhibit, is comprised of sixteen articles. Each one is built around a primary source from a particular literary genre. The colorful catalogue at the end of the volume documents the objects created especially for the exhibition that was displayed physically at the gallery on the Mount Scopus campus of The Hebrew University of Jerusalem and can still be viewed virtually.
Rash Rash Rash: Contemporary Noisemakers of the Bezalel School, 2020
Hava narishah: Rash- Rash- Rash!
Hava narishah: Rash- Rash- Rash!
Hava narishah: Rash- Rash- Rash... more Hava narishah: Rash- Rash- Rash! Hava narishah: Rash- Rash- Rash! Hava narishah: Rash- Rash- Rash! Bara’ashanim!... (A song for Purim by Levin Kipnis)
The exhibition, “Rash, Rash, Rash: Contemporary Noisemakers of the Bezalel School” is a group exhibition featuring contemporary Jewish art. The exhibition’s title suggests two aspects, the children’s song by Kipnis and the tradition of producing noisemakers as part of the popular Jewish creation. In many cases the simplest and readily available materials were used in making these noisemakers that even included materials normally considered as “inferior” or “poor”.
The noisemakers created for this exhibition cannot be defined in line with any of the approaches cited above, but simultaneously fit in with both. In preparing the exhibition the curators approached contemporary artists and designers, seeking to create new noisemakers that would relate to their consumption culture. To make the task more interesting, the curators put a simple limitation. All noisemakers must be made of cheap, simple and available materials, the total cost of which could not exceed 50 NIS. The resulting creations do not include “inferior” noisemakers, but rather the absolute opposite. The noisemakers created for this exhibition are rich in material, technological and creative solutions that abounded with original and critical thought and are full of humor.
For Heaven's Sake!
It’s not every day that one has the opportunity to be part of something momen... more For Heaven's Sake!
It’s not every day that one has the opportunity to be part of something momentous. Such an opportunity may arise once in a lifetime, or perhaps not at all. Producing the exhibition catalogue for the 4th Jerusalem Biennale (2019) is, without doubt, a chance to be part of a vast undertaking, one with many partners. How many? The answer is that no fewer than 250 individuals contributed to the publication of this catalogue.
The completed product in your hands is greater than the sum of its parts. The catalogue of the 4th Biennale joins the previous catalogues and together they tell the story of the Jerusalem Biennale. The catalogues document the exhibitions, provide a stage for the artworks, and commemorate the events, locations, people, and partners. They simultaneously serve as a written record, and a snapshot of the current state of mind and of observations related to the world of contemporary Jewish art. The City of Jerusalem is also felt throughout the catalogue through its recurring reflection in geographical locations and social events. In that sense, the Jerusalem Biennale is a further landmark in the city’s development and its position as a center of local and universal creativity.
The catalogue is designed to provide an enjoyable reading experience. It seeks to create a uniform style of language, both in the scope of texts accompanying the visual materials and in its graphic layout. Readers will feel the underlying tempo, like individual instruments in an orchestra, as each curator receives equal space irrespective of the size or scope of the exhibition. While the space allotted is modest, it is enough to tell the exhibition’s story and to convey, at least in part, the spirit and essence of the curated works.
As the catalogue’s editor, I naturally worked closely with the exhibition curators and less with the participating artists. Each curator, responsible for their exhibition’s content and arrangement, was asked to tell its story and provide the textual and visual materials. Just imagine the number of emails, WhatsApp messages and telephone conversations in different languages needed to bring the exhibitions (31 in total) together to the finish line! I want to offer my profound gratitude to the curators for their work, talent, patience and rewarding cooperation: Matan, Asaf and Izek, Shimon, Bitya and Gabi, Porat and Ronen, Smadar, Ilan, Shirat-Miriam (Mimi), Mirta, Rachel, Susan, Hillel, Andi, Amit, Emily and Nurit, Gargi, Eyal, Vera and Ram, Judy and Susan, Duchi, Ewa, Motti, Scott, Haya, Mindy, Sagi, Doni and Moully.
Israel Dahan: Fifty Years of Judaica shows 21 ritual
objects created by Israel Dahan over a perio... more Israel Dahan: Fifty Years of Judaica shows 21 ritual objects created by Israel Dahan over a period of 50 years, as well as one work commissioned especially for the 4th Jerusalem Biennale. Dahan taught at the Bezalel Academy of Art and Design from 1969-2018. Although Dahan grew up in a religiously observant home and creates his objects in keeping with halacha (Jewish religious law) and its cultural context, his objects are far from conventional. He succeeds in maintaining the balance between the drive to create and innovate, and the pull to ensure that his works remain ritually relevant.
During his tenure at Bezalel, Dahan encouraged dialogue among students and teachers based on the core of Jewish achievement and creation. He also gave expression to creativity for secular and non-Jewish ritual works to embrace for multi-faceted Israeli identity. Muslim, Christian and Druze students studying under Dahan produced ritual vessels in the spirit of their own heritage. Dahan shared knowledge based on enlightenment and faith, which empowered his students to formulate the act of creation according to their own inclinations.
Dahan seeks to apply rational debate and creative tension to achieve solutions that inspire, support and accept. These are summarized in Dahan's new work that is exhibited here for the first time: a memorial candle, where two parts are severed from a metal pipe to form two hands that support and protect the candle on both sides. This exhibition is a modest tribute to Israel Dahan and his tremendous contribution to the development of Judaica.
Khamsa Khamsa Khamsa: The Evolution of a Motif in Contemporary Israeli Art, 2018
The exhibition Khamsa Khamsa Khamsa: The Evolution of a Motif in Contemporary Israeli Art is devo... more The exhibition Khamsa Khamsa Khamsa: The Evolution of a Motif in Contemporary Israeli Art is devoted to the Khamsa, one of the prevailing motifs in local folk culture in Israel.. The exhibition’s title hints at its content: the Arabic word Khamsa, meaning ‘five’ or ‘the five fingers of the hand’, denotes the widespread middle eastern amulet that, in the broadest terms, wards off the evil eye. In modern Israeli culture, the common colloquial phrase ‘Khamsa Khamsa Khamsa’ (often followed by the equivalent expression ‘tfu tfu tfu’) might be the Israeli equivalent of the phrase ‘knock on wood’, invoked to avoid ‘tempting fate’ and to ward off the evil eye.
This exhibition displays exactly 555 different Khamsas, echoing the literal meaning of the expression ‘Khamsa, Khamsa, Khamsa’ and breaking the record for the number of these amulets displayed in an exhibition in Israel. Unlike the majority of exhibitions that have addressed the Khamsa as an object and motif of historical significance, this exhibition seeks to locate the Khamsa in time and place while highlighting its cultural significance, now more than ever, in Israeli society.
The exhibition Keep It Light addresses the end of life, a painful topic that for many is a waters... more The exhibition Keep It Light addresses the end of life, a painful topic that for many is a watershed in the topography of the life cycle. Despite the seriousness and gravity of the subject, this exhibition focuses on black humor, irony and absurdity. Through the display of vessels for memorial and remembrance candles created with unusual and innovative perspectives, the exhibition aims to surprise and stimulate the viewer to reconsider the place of death within the life cycle, the mourning process and the religious customs associated with each.
The Bezalel exhibition 'Judaica Now'!: Goblets and
Kiddush Cups of the Bezalel School"is displaye... more The Bezalel exhibition 'Judaica Now'!: Goblets and Kiddush Cups of the Bezalel School"is displayed from the contemporary artistic standpoint. In this exhibition also some 48 exhibits of contemporary wine and Kiddush cups, handmade by artists and designers belonging to the Bezalel School, are displayed. The philosophy and artistic language of the School's members, men and women, were apparent as expressed in the holy vessels and articles. The participants in this group show had all attended Bezalel either as students or teachers, some served as department heads. A large group among these artists later became the elite of leading Judaica artists, whose creations now enrich the collections of important museums in Israel and throughout the world.
Curators: "Hallel. Carmel Winery": Yona Shapira "'Judaica Now!': Wine goblets and Kiddush cups of the Bezalel School": Dr. Shirat‑Miriam Shamir, Ido Noy
שתי התערוכות עוסקות בשני מפעלים חלוציים: יקב ראשון־לציון ובית הספר לאמנויות "בצלאל". שניהם, כל אחד בתחומו, הניחו תשתית חומרית ותרבותית ליישוב היהודי המתחדש בארץ ישראל. שתי התערוכות המוצגות במשולב, מציגות את נקודות ההשקה בין שני המפעלים. העיקרית שבהן היא העובדה שתוצריהם, היין ואמנות בצלאל, היוו סמל ליישוב היהודי המתחדש ונרכשו על ידי יהודי הגולה כמחווה רגשית של אהבת ארץ ישראל וכתרומה למען הגשמת הרעיון של יישובה. היקב מוצג מן הזווית ההיסטורית ואילו בצלאל מוצג מנקודת מבט אמנותית עכשווית. היקב היה סמל להגשמת חזון יישוב ארץ ישראל, מקור לגאווה ואבן שואבת למנהיגי עם ועולם שנשאו עיניהם אליו וביקרו בו. התערוכה "הלל. יקב כרמל" מבקשת להציג את החדשנות של יקב ראשון־לציון בשנותיו הראשונות כמפעל תעשיה חקלאית מודרני הבולט במרחב המזרח התיכון ועומד במרכז חיי הכלכלה של ראשון־לציון ומושבות הסביבה. בתערוכה מוצגים התפתחותו, הישגיו, אתגריו, גלגוליו, קשריו עם הגולה והשפעתו על ראשון־לציון ועל הישוב בארץ־ישראל. עיקר התערוכה עוסק בעשורים הראשונים לקיום היקב שהיו השנים המשמעותיות בתולדותיו שבמהלכן עוצב בו מודל תעשייתי חדשני ופורץ דרך בארץ. התערוכה, "׳יודאיקה עכשיו!׳: כוסות וגביעי יין לקידוש של אסכולת בצלאל" מציגה 48 גביעי יין וקידוש עכשוויים מעשה ידיהם של אמנים ומעצבים השייכים לאסכולת בצלאל. מהתערוכה ניבטת תפיסת העולם ושפתם האמנותית של חברי וחברות האסכולה כפי שאלו מקבלות ביטוי בתשמישי קדושה. משתתפי התערוכה הקבוצתית, עברו כולם בבצלאל: בין שלמדו או שלימדו בו או בין שהובילו אותו כראשי המחלקות. חלק נכבד מאמנים אלה נעשו לאמני היודאיקה המובילים, שיצירותיהם מעטרות את אוספי המוזיאונים החשובים בישראל ובעולם.
אוצרים: הלל, יקב כרמל: יונה שפירא 'יודאיקה עכשיו!': כוסות וגביעי יין לקידוש של אסכולת בצלאל: ד"ר שירת־מרים שמיר ועידו נוי
The group exhibition The Bezalel School: In and Out in Contemporary Jewish Art, shown as part of ... more The group exhibition The Bezalel School: In and Out in Contemporary Jewish Art, shown as part of the 2015 Jerusalem Biennale, seeks to present the worldview and artistic language of the Bezalel School through a focus on contemporary Jewish art as expressed in ritual objects.
Israeli Journal of Humor Research: An International Journal , 2024
Originally produced by Topps Chewing Gum, Inc. (Brooklyn, New York), a localized version of Garba... more Originally produced by Topps Chewing Gum, Inc. (Brooklyn, New York), a localized version of Garbage Pail Kids sticker cards was distributed in Israel between 1987 and 1988. Although intended as a children's product, the Israeli version of Garbage Pail Kids had a significant impact on local political discourse. The Hebrew translation, "Havurat HaZevel," became a coined term frequently used by publicists and Israeli parliament members to describe the ultimate "other"-be it a movement, group, party, or a faction within the coalition or opposition. Choosing "Havurat HaZevel" as a model for political satire, the artists aimed to express their aversion to what they perceived as wrong, loathsome, and shameful. This paper highlights how the use of "Havurat HaZevel" in the Israeli political arena has led to several spin-offs. The emergence of these creative initiatives over the past three decades reflects political conditions, particularly related to Knesset (Israeli Parliament) and Prime Minister elections, as well as expressions of political dissent and protest. Analyzing both the visual and textual elements employed by illustrators and art directors reveals insights into the public image of Israeli politicians and the political events depicted.
Ars Judaica: The Bar Ilan Journal of Jewish Art, 2016
In my research for this article I was fortunate to have the advice of several leading scholars: P... more In my research for this article I was fortunate to have the advice of several leading scholars: Prof. Shalom Sabar, Prof. Elisheva Baumgarten, and Dr Sarit Shalev-Eyni, and I am deeply indebted to all of them. Special thanks also to Dr Vladimir Levin and the Center for Jewish Art at the Hebrew University of Jerusalem for providing me with unlimited access to the archives and for supporting this research.
Examining a selection of modern urban spaces, this article describes how the history of medieval ... more Examining a selection of modern urban spaces, this article describes how the history of medieval Ashkenazi Jewry is displayed in Germany today, as well as who displays it and for whom. The preoccupation of Germany with its Jewish past is not trivial; it is an institutionalized trend designed not only to teach the public about local medieval history, but also to educate it to re-include medieval Jews into its history.
The discovery of pawned objects in treasure troves attributed to Jews enables investigation of th... more The discovery of pawned objects in treasure troves attributed to Jews enables investigation of the use and understanding of these objects by Jews, especially regarding those of a more secular nature, i.e. objects that have little relationship to Jewish or Christian liturgy and that lack explicit Jewish or Christian religious iconography or inscriptions. One of these pawned objects is a girdle, which was found in a Jewish context in Erfurt. Through examining this girdle in the context of similar imagery in Jewish art, we see that Jews were not only exposed to such girdles but also were well aware of their symbolic meaning in noble love and romance.
Examining a selection of modern urban spaces, this article describes how
the history of medieval ... more Examining a selection of modern urban spaces, this article describes how the history of medieval Ashkenazi Jewry is displayed in Germany today, as well as who displays it and for whom. The preoccupation of Germany with its Jewish past is not trivial; it is an institutionalized trend designed not only to teach the public about local medieval history, but also to educate it to re-include medieval Jews into its history.
Garbage Pail Kids: On Caricature, Satire and Political Stench
Originally produced by Topps Chewi... more Garbage Pail Kids: On Caricature, Satire and Political Stench
Originally produced by Topps Chewing Gum, Inc. (Brooklyn, New York), a local version of Garbage Pail Kids (GPK) sticker cards were distributed in Israel in 1987-8. Although designed as product for children, the Israeli version of GPK left a deep impression on its local political discourse. “Havurat HaZevel” - the Hebrew transliteration of GPK, became a newly coined word, often used by publicists as well as by members of the Israeli parliament in order to portray the ultimate “other”, whether movement, group or party, whether part of the coalition or the opposition. As this paper wishes to point out, the use of the GPK in Israeli political context gave birth to several spinoffs. Moreover, appearance of these creative initiatives over the last three decades correspond the political circumstances, mainly to the elections for parliament and for prime minister as well as to expressions of dissent. Examination both the visual and textual means used by the illustrators and copywriters shed light public image of Israeli politicians as well as of the political events in question.
Neshot Haẖayil VaH̱akhmot HaLev: On Women and Genger in Contemporary Jewish Art of Bezalel School... more Neshot Haẖayil VaH̱akhmot HaLev: On Women and Genger in Contemporary Jewish Art of Bezalel School (Hebrew)
Chidushim - Studies in the History of German and Central European Jewry, 2019
הכתר של מרת צמח בת ר' אהרן: תפיסות של מלכוּת מעמד ובתולין בקרב כלות אשכנזיות בימה"ב
תקציר: עניינ... more הכתר של מרת צמח בת ר' אהרן: תפיסות של מלכוּת מעמד ובתולין בקרב כלות אשכנזיות בימה"ב
תקציר: עניינו של מאמר זה הוא כתר הפלורינים שחובשת דמותה המצוירת של מרת צמח בת רבי אהרן, גיבורת הכתובה מקרמס. הממצאים החומריים וחזותיים ועדויות כתובות מהספרות העברית בת התקופה מצביעים על כך שיהודים לא רק נחשפו למגוון רחב של כתרי פלוירונים, אלא גם היו מודעים למשמעותם כסמלי מעמד של אצולה ומלוכה וכן כסמלים של בתולין. הצבתו של כתר פלוירונים על דמותה המצוירת של הכלה היהודייה נועד לציירה בדיוק כך – כמלכה וכבתולה.
The Crown of Mrs. Zemah, Daughter of Rabbi Aaron: Conceptions of Royalty, Status, and Chastity among Ashkenazi Brides during the Middle Ages
Abstract This article addresses the fleuron crown of Mrs. Zemah, daughter of Rabbi Aaron, who is the heroine of the illuminated medieval ketubbah from Krems, Austria. Scrutiny of fleuron crowns in the context of similar imagery in Jewish art as well as in Hebrew literature of the same period, indicates that Jews were not only familiar with such crowns but were also aware of the crown's twofold significance, as an emblem of royalty and nobility, and as a symbol of virginity. Placing such a crown on Mrs. Zemah's head was designed to portray the Jewish bride precisely in those terms, as queen and as virgin.
Images: A Journal of Jewish Art and Visual Culture, 2018
Abstract
The discovery of pawned objects in treasure troves attributed to Jews enables investigat... more Abstract The discovery of pawned objects in treasure troves attributed to Jews enables investigation of the use and understanding of these objects by Jews, especially regarding those of a more secular nature, i.e. objects that have little relationship to Jewish or Christian liturgy and that lack explicit Jewish or Christian religious iconography or inscriptions. One of these pawned objects is a girdle, which was found in a Jewish context in Erfurt. Through examining this girdle in the context of similar imagery in Jewish art, we see that Jews were not only exposed to such girdles but also were well aware of their symbolic meaning in noble love and romance.
The discovery of pawned objects in treasure troves attributed to Jews enables investigation of th... more The discovery of pawned objects in treasure troves attributed to Jews enables investigation of the use and understanding of these objects by Jews, especially regarding those of a more secular nature, i.e. objects that have little relationship to Jewish or Christian liturgy and that lack explicit Jewish or Christian religious iconography or inscriptions. One of these pawned objects is a gold fleuron crown signifying nobility or royalty, which was found in a Jewish context in Neumarkt in Silesia (Środa Śląska). Through examining this crown in the context of similar imagery in Jewish art, we see that Jews were not only exposed to such crowns but also were well aware of their symbolic meaning as royal and noble insignia. Moreover, it seems likely that Jewish elites used such crowns as a means of defining their social status, presenting themselves as part of the secular nobility.
Research into representations of head decorations on ancient Jewish coins reveals aspects of thei... more Research into representations of head decorations on ancient Jewish coins reveals aspects of their evolution, reflecting the complex relationship between their Jewish and the Hellenistic
cultural settings.
The head decorations’ origin and meaning in Hellenistic culture as well as the circumstances of their appearance in Jewish iconography shed light on the visual means used by the Jewish rulers in proclaiming their sovereignty.
Wreaths, among the most common symbols on Jewish coins, appear on John Hyrcanus I’s first coins. ... more Wreaths, among the most common symbols on Jewish coins, appear on John Hyrcanus I’s first coins. This iconographical study suggests that it symbolized victory, borrowing from some Seleucid coin types. This meaning for the wreath seems to have been maintained throughout two centuries of Jewish coinage.
The Laurie M. Tisch Gallery, Marlene Meyerson JCC Manhattan, 2024
The exhibition "Hamsa | خمسة | ח׳מסה " is entirely dedicated to the open palm with its five fing... more The exhibition "Hamsa | خمسة | ח׳מסה " is entirely dedicated to the open palm with its five fingers, one of the most common motifs in visual, folk, and popular culture. The title of the exhibition hints at its content, as it features as many as five hundred and fifty-five (555) different Hamsas—a Typological number—in various objects and media. The palm of the human hand is an ancient universal motif, as evidenced by cave paintings found worldwide—its origins trace back to human culture's cradle. In fact, the folk practice of imprinting a seal using the hand continues to this day. Moreover, it seems that all of us, whether born in Jerusalem or Nazareth, Sydney or Kuala Lumpur, Johannesburg or Cairo, Beijing or Moscow, New York or Buenos Aires, share in the universal practice of imprinting our hands. And indeed, we all did this even in the early stages of our lives, long before we learned to read and write, using just three simple tools: a piece of paper, a bit of paint, and our hand. The open palm with its five fingers (as well as the number five) gained significant power as a healing source and sign of good health and fertility in many cultures, especially in Jewish and Muslim traditions. Seen as a symbol of protection and good fortune, it is often used as an amulet or talisman to ward off negative forces and bring blessings and good luck to its owner. Whether worn as jewelry, displayed in homes, used during travels, or incorporated into rituals and rites of passage, the open palm with its five fingers serves as a potent reminder of hope, resilience, and the enduring belief in the power of positivity to overcome adversity. The exhibition features creations by ten Israeli and American artists, accompanied by a diverse array of hundreds of popular items sourced from Jerusalem's Old City markets, reflecting local traditions and cultural exchange.
In and Out, Between and Beyond: Jewish Daily Life in Medieval Europe
The exhibition In and Out, B... more In and Out, Between and Beyond: Jewish Daily Life in Medieval Europe The exhibition In and Out, Between and Beyond: Jewish Daily Life in Medieval Europe is among the final fruits of the European Research Council research group Beyond the Elite: Jewish Daily Life in Medieval Europe, headed by Prof. Elisheva Baumgarten, that studies daily life in the Jewish communities of medieval Ashkenaz. The team has worked to construct a history which includes those who were not part of the learned elite alongside those who were learned, about whom we know more. Rather than spotlighting the dramatic events of this period, we have trained our sights on its everyday moments. In addition, we have investigated a complex historical reality: the integration of Ashkenazic Jews within their Christian surroundings, alongside their maintenance of a distinct religious identity. Reflecting its textual origins, the exhibition is comprised of sixteen units, at the heart of each of which stands a primary source from a particular literary genre. The curator, Dr. Ido Noy, orchestrated a fruitful exchange between the research team and seven Israeli artists, who then produced contemporary expressions of the historic ideas under discussion. The display includes several installations based on medieval artifacts, as well as original works created especially for the exhibition by contemporary artists. Rather than being constructed along a specific linear narrative, the space is divided by pillars into three distinct spaces, reflecting our three guiding themes: In and Out, Between and Beyond. Visitors may begin by reading the historical sources and continue by viewing the objects, or vice versa. We envision viewers making their own way among the displays at the exhibition and experiencing these connections between past and present.
L. A. Mayer Museum for Islamic Art
Khamsa Khamsa Khamsa: The Evolution of a Motif
in Contemporary... more L. A. Mayer Museum for Islamic Art Khamsa Khamsa Khamsa: The Evolution of a Motif in Contemporary Israeli Art May 2018 EXHIBITION Guest Curators: Dr. Shirat־Miriam (Mimi) Shamir, Ido Noy
The exhibition Khamsa Khamsa Khamsa: The Evolution of a Motif in Contemporary Israeli Art is devoted to the Khamsa, one of the prevailing motifs in local folk culture in Israel.. The exhibition’s title hints at its content: the Arabic word Khamsa, meaning ‘five’ or ‘the five fingers of the hand’, denotes the widespread middle eastern amulet that, in the broadest terms, wards off the evil eye. In modern Israeli culture, the common colloquial phrase ‘Khamsa Khamsa Khamsa’ (often followed by the equivalent expression ‘tfu tfu tfu’) might be the Israeli equivalent of the phrase ‘knock on wood’, invoked to avoid ‘tempting fate’ and to ward off the evil eye.
"Keep It Light": Vessels for Memorial and Remembrance Candles in the Contemporary Jewish Art of t... more "Keep It Light": Vessels for Memorial and Remembrance Candles in the Contemporary Jewish Art of the Bezalel School Curators: Dr. Shirat-Miriam Shamir, Ido Noy
The exhibition Keep It Light addresses the end of life, a painful topic that for many is a watershed in the topography of the life cycle. Despite the seriousness and gravity of the subject, this exhibition focuses on black humor, irony and absurdity. Through the display of vessels for memorial and remembrance candles created with unusual and innovative perspectives, the exhibition aims to surprise and stimulate the viewer to reconsider the place of death within the lifecycle, the mourning process and the religious customs associated with each.
Judaica Now'!: Goblets and Kiddush Cups of the Bezalel School"
Dr. Shirat-Miriam Shamir and Ido N... more Judaica Now'!: Goblets and Kiddush Cups of the Bezalel School" Dr. Shirat-Miriam Shamir and Ido Noy In this exhibition some 48 exhibits of contemporary wine and Kiddush cups, handmade by artists and designers belonging to the Bezalel School, are displayed. The philosophy and artistic language of the School's members, men and women, were apparent as expressed in the holy vessels and articles. The participants had all attended Bezalel either as students or teachers, some served as department heads. A large group among these artists later became the elite of leading Judaica artists, whose creations now enrich the collections of important museums in Israel and throughout the world.
"יודאיקה עכשיו: גביעי יין של אסכולת בצלאל" ד"ר שירת-מרים שמיר ועידו נוי התערוכה תעסוק ב- 48 כוסות וגביעי יין וקידוש עכשוויים מעשה ידיהם של אמנים ומעצבים השייכים לאסכולת בצלאל. מהחפצים ניבטת תפיסת העולם ושפתם האמנותית של חברי וחברות האסכולה כפי שאלו מקבלות ביטוי בתשמישי קדושה. חברי האסכולה עברו כולם בבצלאל: בין שלמדו או שלימדו בו או בין שהובילו אותו כראשי המחלקות. חלק נכבד מאמנים אלה נעשו לאמני היודאיקה המובילים, שיצירותיהם מעטרות את אוספי המוזיאונים החשובים בישראל ובעולם.
This conference is set to take place in person, but we will remain attentive to current circumsta... more This conference is set to take place in person, but we will remain attentive to current circumstances and open to hosting this event virtually. The final decision will be made two weeks prior to the conference.
Ido Noy, "Beyond the Elite: Jewish Daily Life in
Medieval Europe" research group, The Hebrew
Univ... more Ido Noy, "Beyond the Elite: Jewish Daily Life in Medieval Europe" research group, The Hebrew University of Jerusalem: In and Out, Between and Beyond: Jewish Daily Life in Medieval Europe, at The Max and Iris Stern Gallery on the Mount Scopus Campus
הכנס אמנות יהודית עכשווית, עכשיו! ירושלים, תל אביב, ניו יורק
ידון בנושאים מרכזיים העומדים על הפרק... more הכנס אמנות יהודית עכשווית, עכשיו! ירושלים, תל אביב, ניו יורק ידון בנושאים מרכזיים העומדים על הפרק בעולם האמנות היהודית העכשווית. מושבי הכנס יבקשו למפות את מרחבי השיח החברתיים, התרבותיים והדתיים של התחום המתקיים כיום בתוך עולם גלובלי. בעוד שיח האמנות בישראל דן באבחנות שבין אמנות ישראלית לאמנות יהודית, בין החילוני לדתי, השיח האמריקאי שם במקום מרכזי את הדיון סביב מקומו של המוזיאון היהודי בתוך עולם תפוצתי. במסגרת זו עולות לאחרונה שאלות של פרטיקולריזם מול אוניברסליזם ומקומה של ההבעה היהודית בתוך המרחב המוזיאלי. מארגני הכנס: ד״ר עידו נוי, סמנכ"ל הביאנלה ומנהל התוכן ד״ר דוד שפרבר, אוני' ייל ומכון הרטמן
עידו נוי, המחלקה להיסטוריה של עם ישראל, האוניברסיטה העברית בירושלים ימי הביניים עכשיו: הצגתה של ה... more עידו נוי, המחלקה להיסטוריה של עם ישראל, האוניברסיטה העברית בירושלים ימי הביניים עכשיו: הצגתה של ההיסטוריה היהודית המדיאבלית בגרמניה העכשווית
Ashkenazi Treasure Troves: Christian Material Culture in a Jewish Context
Ido Noy
Over the pas... more Ashkenazi Treasure Troves: Christian Material Culture in a Jewish Context Ido Noy
Over the past two centuries, several treasure troves, dated to the Black-Death persecutions in the middle of the 14th century, have been found in areas associated with medieval Jewish habitation. They often contain a mix of identifiable Jewish and Christian artifacts, suggesting that they belonged to Jewish pawnbrokers. Moreover, their composition implies that these pawnbrokers preserved little distinction between items taken as security for loans and their own private property. The discovery of these treasures raises questions regarding Jewish ownership and use of pawned objects, especially secular objects that have little connection to Jewish or Christian liturgical practice and that do not bear explicit Jewish or Christian religious iconography or inscriptions. My talk deals with the ownership and provenance of these artifacts: Were the Jews of the time aware of the true meaning of these objects? Were they able to understand the original context in which they were used by Christians? Did the Jews consider them as belonging to their own cultural milieu? Finally, how scholars can and should address these objects in light of their status as pledges.
Head Decoration Representations on Ancient Jewish Coins (Hebrew), 16th World Congress of Jewish S... more Head Decoration Representations on Ancient Jewish Coins (Hebrew), 16th World Congress of Jewish Studies, The World Union of Jewish Studies, The Hebrew University of Jerusalem.
תקציר ההרצאה: "ייצוגי עיטורי ראש על מטבעות יהודים בעת העתיקה"
הרצאה זו דנה בייצוגי עיטורי ראש על מטבעות היהודים בעת העתיקה. אף על פי שישנן קבוצות מטבעות רבות נוספות, הקשורות באופן ישיר או עקיף למטבעות היהודים, יינתן דגש רב יותר על מטבעות שטבעו השליטים היהודים באופן עצמאי, תוך התמקדות במטבעות בית חשמונאי, מטבעות בית הורדוס, מטבעות המרד הגדול ומטבעות מרד בר-כוכבא. מטבעות היהודים בעת העתיקה ייחודיים ביחס למטבעות של קבוצות אחרות בעיקר משום דבקותם באיסור שמופיע בדיבר השני "לֹא תַעֲשֶׂה לְךָ פֶסֶל וְכָל תְּמוּנָה...". הפתרון היהודי לאיסור מרתק, ומתרכז בהחלפתו של הדיוקן התמוני בדיוקן טקסטואלי, כלומר, בכתובת בעברית עתיקה שמוסרת את שמו ותפקידו של השליט. אך היהודים אינם מסתפקים רק בכך, ומסביב לכתובת העברית הם טובעים גם את עיטור הראש שמתאים לכל אחד מהשליטים, ובעיקר את עטרת הניצחון והדיאדמה המלכותית, אשר הופיעו החל מהרבע השני של המאה ה-2 לפנה"ס, בהשפעתה של התרבות ההלניסטית ובפרט זו הסלבקית. לסיכום, הרצאה זו עוקבת אחר שינויים והתפתחויות שהתרחשו בהופעת ייצוגי עיטורי ראש על ראשם של השליטים היהודיים כמו כן היא מזהה את הסיבות העיקריות לכך בכל תקופה ותקופה.
The Victory Wreath of Hyrcanus I (Hebrew), Israel Numismatic Society, The Kadman Numismatic Pavi... more The Victory Wreath of Hyrcanus I (Hebrew), Israel Numismatic Society, The Kadman Numismatic Pavilion, Eretz Israel Museum, Tel Aviv
הרצאה זו דנה בייצוגי עיטורי ראש על מטבעות היהודים בעת העתיקה. אף על פי שישנן קבוצות מטבעות רבות נוספות, הקשורות באופן ישיר או עקיף למטבעות היהודים, יינתן דגש רב יותר על מטבעות שטבעו השליטים היהודים באופן עצמאי, תוך התמקדות במטבעות בית חשמונאי, מטבעות בית הורדוס, מטבעות המרד הגדול ומטבעות מרד בר-כוכבא. מטבעות היהודים בעת העתיקה ייחודיים ביחס למטבעות של קבוצות אחרות בעיקר משום דבקותם באיסור שמופיע בדיבר השני "לֹא תַעֲשֶׂה לְךָ פֶסֶל וְכָל תְּמוּנָה...". הפתרון היהודי לאיסור מרתק, ומתרכז בהחלפתו של הדיוקן התמוני בדיוקן טקסטואלי, כלומר, בכתובת בעברית עתיקה שמוסרת את שמו ותפקידו של השליט. אך היהודים אינם מסתפקים רק בכך, ומסביב לכתובת העברית הם טובעים גם את עיטור הראש שמתאים לכל אחד מהשליטים, ובעיקר את עטרת הניצחון והדיאדמה המלכותית, אשר הופיעו החל מהרבע השני של המאה ה-2 לפנה"ס, בהשפעתה של התרבות ההלניסטית ובפרט זו הסלבקית. לסיכום, הרצאה זו עוקבת אחר שינויים והתפתחויות שהתרחשו בהופעת ייצוגי עיטורי ראש על ראשם של השליטים היהודיים כמו כן היא מזהה את הסיבות העיקריות לכך בכל תקופה ותקופה.
Crowns and Kings, Wreaths and Victories (Hebrew), With Hands on Materials, Jewelry and Fashion De... more Crowns and Kings, Wreaths and Victories (Hebrew), With Hands on Materials, Jewelry and Fashion Department, Bezalel Academy of Art and Design, Jerusalem.
הסימפוזיום השלישי לתלמידי מחקר: מחקרים בתולדות האמנות החזותית
Head Decoration Representations on ancient Jewish Coins (Hebrew), The Third Symposium of Research... more Head Decoration Representations on ancient Jewish Coins (Hebrew), The Third Symposium of Research Students: Research of Visual Art, The History of Art Department, The Hebrew University of Jerusalem.
The Victory Wreath of Hyrcanus I (Hebrew) ,The 9th Convention of Modiin's and its Environments He... more The Victory Wreath of Hyrcanus I (Hebrew) ,The 9th Convention of Modiin's and its Environments Heritage, Israel Antiquity Authority & Midrashat Harei Gofna.
ההרצאה דנה בייצוגים של עיטורי ראש על מטבעות יהודיים למן התקופה ההלניסטית ועד למרד בר-כוכבא. ההרצאה בוחנת את משמעותם של עיטורי הראש בזיקה להקשריהם ההיסטוריים, הפוליטיים והתרבותיים ושופכת אור על היחסים המורכבים של היהודים עם התרבות הנכרית הסובבת.
מטבעות היהודים ייחודיים ביחס למטבעות של קבוצות אתניות אחרות בעיקר בשל הדבקות באיסור שבדיבר השני "לֹא תַעֲשֶׂה לְךָ פֶסֶל וְכָל תְּמוּנָה...". הפתרון היהודי לאיסור, מתבטא בכך שהיהודים מחליפים את דיוקנו של השליט (כהן גדול, מלך וכו') בכתובת בעברית עתיקה, מוקפת בעיטור הראש המתאים.
עטרות הניצחון הופיעו לראשונה בהיקף מטבעותיו של יהוחנן הורקנוס הראשון, מסביב לכתובת העברית "יהוחנן הכהן הגדול וחבר היהודים" והפכו לעיטור הראש השכיח ביותר במטבעות היהודים. אחת מן המסקנות העיקריות של המחקר היא שעטרות אלה "הושאלו" מכמה טיפוסי עטרות ניצחון סלבקיות שהופיעו בין תקופתו של דמטריוס הראשון (162 לפנה"ס) לבין תחילת הטביעה של הורקנוס הראשון (128 לפנה"ס).
This thesis examines head decoration representations on Jewish coins that were minted between the... more This thesis examines head decoration representations on Jewish coins that were minted between the days of The Return to Zion and the end of Jewish coinage in antiquity during Bar-Kokhva revolt. The coins were minted by (or for) Jews in Erez-Israel, Yehuda and other territories. One could ask why be content with studying the representations and not examining the actual head decorations; the answer is complex. First, some of the head decorations didn’t survive the millennia either as a result of conversion to alternative precious metal items or because they were made out of perishable materials. Though the head decorations didn't last, their preserved images on coins provide permanent representations of the unknown original piece. Second, in antiquity, coins played an important role in distributing the messages and symbols of the authorities. As such, the obverse of those coins frequently depicts deities and rulers wearing head decorations reflecting their identity and status. These images illustrate the exact way that people used to wear them. These coins were minted in mass production and distributed widely even beyond the borders of the authorities who had produced them.
The Jewish coins are unique in relation to coins of other ethnic groups mainly due to the adherence to the second commandment לֹא תַעֲשֶׂה לְךָ פֶסֶל וְכָל תְּמוּנָה..."". The Jewish solution to this religious prohibition is creative in that they replaced the portrait of the ruler (High Priest, King, etc) with text written in ancient Hebrew script along with a head decoration which reveals the status or the aspirations of the ruler.
This research reveals different aspects of the evolution of these head decorations which can be seen as clear reflection of the complex relationship between the Jewish and the Hellenistic cultures. The origin and meaning of the head decorations in Hellenistic culture and also the timing of their appearance in Jewish culture shed light on the visual means that were used by the Jewish rulers in order to claim their authority as ruler. Hence the head decorations can be used as a practical tool for archaeologists, numismatists and jewelry historians for dating and identifying the owner and his status.
Among the variety of different head decorations stands out the wreath of John Hyrcanus which is the most common head decoration in ancient Jewish coinage. Surprisingly the numismatic research does not give explanation in respect to its origin and meaning. The main conclusion of this research regarding these aspects is that the Hyrcanus wreath was taken from a number of Seleucid victory wreath types which appeared on Seleucid royal coins between the era of Demetrius I (starting 162 BC) and the beginning of Hyrcanus minting (128 BC). Although wreaths were already known in the Hellenistic Erez-Israel and Yehuda, one can assume that their assimilation into the Jewish materialistic culture accrued fully only after they first appeared on Hyrcanus coins and in a great deal thanks to it. We still can't know if this wreath were accepted in its full pagan meaning of victory or only in a partial way. The fact that it appeared on important governmental objects like coins is sure evidence of the wreath's importance in Hellenistic Judaism.
In conclusion, this research highlights the changes in head decoration representation on ancient Jewish coinage and explores the reasons for these changes. Questions connected to the origin and meaning of the different head decoration representations and nature of the Jewish authority are addressed. It is my hope that this research will contribute to the historical, literary and archaeological knowledge of the time period.
Ido Noy
Abstract of M.A Thesis
This thesis examines head decoration representations on Jewish co... more Ido Noy Abstract of M.A Thesis
This thesis examines head decoration representations on Jewish coins that were minted between the days of The Return to Zion and the end of Jewish coinage in antiquity during Bar-Kokhva revolt. The coins were minted by (or for) Jews in Erez-Israel, Yehuda and other territories. One could ask why be content with studying the representations and not examining the actual head decorations; the answer is complex. First, some of the head decorations didn’t survive the millennia either as a result of conversion to alternative precious metal items or because they were made out of perishable materials. Though the head decorations didn't last, their preserved images on coins provide permanent representations of the unknown original piece. Second, in antiquity, coins played an important role in distributing the messages and symbols of the authorities. As such, the obverse of those coins frequently depicts deities and rulers wearing head decorations reflecting their identity and status. These images illustrate the exact way that people used to wear them. These coins were minted in mass production and distributed widely even beyond the borders of the authorities who had produced them.
The Jewish coins are unique in relation to coins of other ethnic groups mainly due to the adherence to the second commandment לֹא תַעֲשֶׂה לְךָ פֶסֶל וְכָל תְּמוּנָה..."". The Jewish solution to this religious prohibition is creative in that they replaced the portrait of the ruler (High Priest, King, etc) with text written in ancient Hebrew script along with a head decoration which reveals the status or the aspirations of the ruler.
This research reveals different aspects of the evolution of these head decorations which can be seen as clear reflection of the complex relationship between the Jewish and the Hellenistic cultures. The origin and meaning of the head decorations in Hellenistic culture and also the timing of their appearance in Jewish culture shed light on the visual means that were used by the Jewish rulers in order to claim their authority as ruler. Hence the head decorations can be used as a practical tool for archaeologists, numismatists and jewelry historians for dating and identifying the owner and his status.
Among the variety of different head decorations stands out the wreath of John Hyrcanus which is the most common head decoration in ancient Jewish coinage. Surprisingly the numismatic research does not give explanation in respect to its origin and meaning. The main conclusion of this research regarding these aspects is that the Hyrcanus wreath was taken from a number of Seleucid victory wreath types which appeared on Seleucid royal coins between the era of Demetrius I (starting 162 BC) and the beginning of Hyrcanus minting (128 BC). Although wreaths were already known in the Hellenistic Erez-Israel and Yehuda, one can assume that their assimilation into the Jewish materialistic culture accrued fully only after they first appeared on Hyrcanus coins and in a great deal thanks to it. We still can't know if this wreath were accepted in its full pagan meaning of victory or only in a partial way. The fact that it appeared on important governmental objects like coins is sure evidence of the wreath's importance in Hellenistic Judaism.
In conclusion, this research highlights the changes in head decoration representation on ancient Jewish coinage and explores the reasons for these changes. Questions connected to the origin and meaning of the different head decoration representations and nature of the Jewish authority are addressed. It is my hope that this research will contribute to the historical, literary and archaeological knowledge of the time period.
The group exhibition The Bezalel School: In and
Out in Contemporary Jewish Art, shown as part
o... more The group exhibition The Bezalel School: In and Out in Contemporary Jewish Art, shown as part of the 2015 Jerusalem Biennale, seeks to present the worldview and artistic language of the Bezalel School through a focus on contemporary Jewish art as expressed in ritual objects. Curators: Dr. Shirat-Miriam Shamir and Ido Noy
Hallel. Carmel. Bezalel
The Exhibitions:
Halel. Carmel Winery
'Judaica Now!':
Goblets and Kiddu... more Hallel. Carmel. Bezalel
The Exhibitions: Halel. Carmel Winery 'Judaica Now!': Goblets and Kiddush Cups of the Bezalel School
These two exhibitions: "Halel. Carmel Winery" and "'Judaica Now!': Goblets and Kiddush Cups of the Bezalel School" focus on two pioneering phenomenon. Both of them, each one in its own specific field, established a material and cultural infrastructure for the renewal of the Jewish settlement in Eretz Israel. The two integrated exhibitions presented here show the primary aspects where these two enterprises overlap. The principal point here is the fact that their produce, wine in Rishon Le‑Zion and art in Bezalel, symbolized the regenerated Jewish settlement. Moreover, most of their products were purchased by Jews in the Diaspora as an emotional gesture of love for Eretz Israel together with a contribution for the realization of the idea for its settlement. The "Halel. Carmel Winery" exhibition tells the story of the winery from its historical perspective. The winery symbolized the realization of the dream of settling Eretz Israel. Thus, it became a source of pride and a center of attraction for the leaders of the people and the world who pinned their hopes on it and visited the winery. The historical exhibition aims to show how innovative the Rishon Le-Zion winery was during its early years as it was recognized as the prominent modern agricultural-industrial plant in the Middle Eastern region. The winery played a key role in the economic life of Rishon Le-Zion and the Jewish settlements in the surrounding area. The exhibition displays its development, achievements, challenges, transitions, connections with the Diaspora and how it influenced Rishon Le-Zion and the Yishuv in Eretz Israel. The exhibition focuses mainly on the first few decades of the winery's existence which were also the most momentous years in its history, during which a modern industrial model was developed leading to a breakthrough in the country. The Bezalel exhibition 'Judaica Now'!: Goblets and Kiddush Cups of the Bezalel School"is displayed from the contemporary artistic standpoint. In this exhibition also some 48 exhibits of contemporary wine and Kiddush cups, handmade by artists and designers belonging to the Bezalel School, are displayed. The philosophy and artistic language of the School's members, men and women, were apparent as expressed in the holy vessels and articles. The participants in this group show had all attended Bezalel either as students or teachers, some served as department heads. A large group among these artists later became the elite of leading Judaica artists, whose creations now enrich the collections of important museums in Israel and throughout the world.
Curators: "Hallel. Carmel Winery": Yona Shapira "'Judaica Now!': Wine goblets and Kiddush cups of the Bezalel School": Dr. Shirat‑Miriam Shamir, Ido Noy
שתי התערוכות עוסקות בשני מפעלים חלוציים: יקב ראשון־לציון ובית הספר לאמנויות "בצלאל". שניהם, כל אחד בתחומו, הניחו תשתית חומרית ותרבותית ליישוב היהודי המתחדש בארץ ישראל. שתי התערוכות המוצגות במשולב, מציגות את נקודות ההשקה בין שני המפעלים. העיקרית שבהן היא העובדה שתוצריהם, היין ואמנות בצלאל, היוו סמל ליישוב היהודי המתחדש ונרכשו על ידי יהודי הגולה כמחווה רגשית של אהבת ארץ ישראל וכתרומה למען הגשמת הרעיון של יישובה. היקב מוצג מן הזווית ההיסטורית ואילו בצלאל מוצג מנקודת מבט אמנותית עכשווית. היקב היה סמל להגשמת חזון יישוב ארץ ישראל, מקור לגאווה ואבן שואבת למנהיגי עם ועולם שנשאו עיניהם אליו וביקרו בו. התערוכה "הלל. יקב כרמל" מבקשת להציג את החדשנות של יקב ראשון־לציון בשנותיו הראשונות כמפעל תעשיה חקלאית מודרני הבולט במרחב המזרח התיכון ועומד במרכז חיי הכלכלה של ראשון־לציון ומושבות הסביבה. בתערוכה מוצגים התפתחותו, הישגיו, אתגריו, גלגוליו, קשריו עם הגולה והשפעתו על ראשון־לציון ועל הישוב בארץ־ישראל. עיקר התערוכה עוסק בעשורים הראשונים לקיום היקב שהיו השנים המשמעותיות בתולדותיו שבמהלכן עוצב בו מודל תעשייתי חדשני ופורץ דרך בארץ. התערוכה, "׳יודאיקה עכשיו!׳: כוסות וגביעי יין לקידוש של אסכולת בצלאל" מציגה 48 גביעי יין וקידוש עכשוויים מעשה ידיהם של אמנים ומעצבים השייכים לאסכולת בצלאל. מהתערוכה ניבטת תפיסת העולם ושפתם האמנותית של חברי וחברות האסכולה כפי שאלו מקבלות ביטוי בתשמישי קדושה. משתתפי התערוכה הקבוצתית, עברו כולם בבצלאל: בין שלמדו או שלימדו בו או בין שהובילו אותו כראשי המחלקות. חלק נכבד מאמנים אלה נעשו לאמני היודאיקה המובילים, שיצירותיהם מעטרות את אוספי המוזיאונים החשובים בישראל ובעולם.
אוצרים: הלל, יקב כרמל: יונה שפירא 'יודאיקה עכשיו!': כוסות וגביעי יין לקידוש של אסכולת בצלאל: ד"ר שירת־מרים שמיר ועידו נוי
In and Out – Between and Beyond. Jüdisches Alltagsleben im mittelalterlichen Europa. , 2022
The exhibition was conceived by the research group Beyond
the Elite: Jewish Daily Life in Medieva... more The exhibition was conceived by the research group Beyond the Elite: Jewish Daily Life in Medieval Europe at the Hebrew University of Jerusalem, led by Prof. Elisheva Baumgarten. Based on the group‘s research results, seven Israeli artists created contemporary works that address the various aspects regarding the daily life of Jewish communities in medieval Ashkenaz. Curated by Dr. Ido Noy, the exhibition is on view for the first time outside Jerusalem - at the Old Synagogue Erfurt, where it will enter into dialogue with the authentic evidence of medieval Jewish everyday life in the permanent exhibition.
הסרט המזובל-הלהיט הבינלאומי המטריף לילדים ולהורים סוף סוף על מסכי הקולנוע בישראל"
ב-1 בספטמבר 198... more הסרט המזובל-הלהיט הבינלאומי המטריף לילדים ולהורים סוף סוף על מסכי הקולנוע בישראל" ב-1 בספטמבר 1987 נולדה חבורת הזבל בגרסתה הישראלית והיקום כפי שאנו מכירים אותו - נוצר. עבור מאות אלפי ילדי ישראל חבורת הזבל הייתה לא פחות מתופעה משנה חיים. בהרצאה מאת ד"ר עידו נוי, יסופר סיפור לידתה של החבורה בגרסתה העברית, האהבה וההתלהבות שרחשו לה ילדי ישראל וכן ההתנגדות שהיא עוררה במבוגרים - ההורים ומורי בתי הספר. חלקה האחרון של ההרצאה יוקדש לסקירת חבורת הזבל: הסרט, שיצא לאקרנים במרץ 1988. נחשב עד היום בעיני רבים – כאחד הסרטים הגרועים ביותר בהיסטוריה.
חבורת הזבל: הסרט כמו כל סרט בשנות ה80, גם סרט חבורת הזבל מתחיל כאשר חללית, הפעם בצורת פח זבל, נאלצת לנחות על כדור הארץ, וכמובן מוצאת את דרכה לחנות עתיקות של מנזיני. וכמו כל סרט משנות ה80 גם הסרט הזה מתחיל כאשר ילד קטן וחנון סובל מהצקות של בריונים בבית הספר. ילד בשם דודג'ר, דחוי חברתית, מגיע לחנות עתיקות
חבורת הזבל: הסרט, שיצא לאקרנים במרץ 1988. נחשב עד היום בעיני רבים – כאחד הסרטים הגרועים ביותר בהיסטוריה. הכל מתחיל כשחללית
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Edited Books by Ido Noy
mittelalterlichen Europa (Eröffnung Juni 2021) ist das Gemeinschaftswerk eines internationalen
Teams von MittelalterhistorikerInnen unter der Leitung von Prof. Elisheva Baumgarten von der
Hebräischen Universität von Jerusalem und zeitgenössischen Künstlern aus Israel. Gemeinsam
haben wir modernste Technologien und digitale Werkzeuge eingesetzt, um unsere Forschungen
zum mittelalterlichen Stadtleben greifbar zu machen. Die Ergebnisse können sowohl virtuell
als auch vor Ort besichtigt werden.
Die Forschungsgruppe Beyond the Elite: Jewish Daily Life in Medieval Europe, die vom Europäischen
Forschungsrat finanziert wird, versucht zu verstehen, wie das Leben von Jüdinnen und Juden
in den mittelalterlichen städtischen Zentren West- und Nordeuropas aussah. In Anbetracht
der Tatsache, dass Juden sowohl Teil ihrer lokalen Gemeinschaften als auch eine oft verfolgte
religiöse Minderheit waren, stellen wir die Frage, wie sie alltägliche Räume und Erfahrungen mit
ihren christlichen Nachbarn teilten und sich dennoch abgrenzten. Wie wurden sie gleichzeitig
in ihre Gemeinden integriert und von ihnen ausgegrenzt?
Nach mehreren Jahren konzentrierter Arbeit wollten wir die Ergebnisse unseres Projekts mit der
Öffentlichkeit teilen. Um ein breites Publikum anzusprechen, haben wir uns entschieden, die
mittelalterliche Realität nicht nur anhand von Texten oder originalen Funden zu beschreiben,
sondern einen kreativeren Ansatz zu verfolgen, indem wir in zeitgenössischer künstlerischer
Form vielfältige Perspektiven des mittelalterlichen jüdischen Lebens aufzeigen – “innerhalb und
außerhalb”, “zwischen” und “jenseits” des täglichen Lebens in ihrer christlichen städtischen
Umgebung.
Dr. Ido Noy, Kunsthistoriker und Mitglied des Beyond the Elite-Teams, kuratierte und gestaltete
die Ausstellung, und wir begannen die Zusammenarbeit mit einem Team zeitgenössischer
Künstler, die wie wir auf ein breites Spektrum von Disziplinen zurückgreifen konnten, von Kunst
und Kalligrafie über Grafikdesign bis hin zu Animation, Klangkunst sowie 3D-Modellierung und
Druck. Unsere Strategie war mehrstufig: Zunächst schrieb jede/r HistorikerIn einen kurzen
Artikel, der sich auf eine Primärquelle konzentrierte und seine/ihre Forschungen beleuchtete.
Diese Artikel bildeten den Hauptteil des Katalogs. Zweitens wurde jeder Artikel den sieben
KünstlerInnen vorgestellt, und wir bildeten Gruppen von HistorikerInnen und KünstlerInnen,
die sich gegenseitig in ihren Fähigkeiten ergänzten. Drittens trafen sich diese Teams, um zu entscheiden, wie die historischen Details durch zeitgenössische Kunst vermittelt werden sollten.
Nach zwei langen Jahren Arbeit wurde die Ausstellung im Juni 2021 in der Max and Iris Stern
Gallery auf dem Mount Scopus Campus der Hebräischen Universität von Jerusalem eröffnet
und war auch für Online-Besucher über eine virtuelle Ausstellung zugänglich.
Es war unser Traum, dass die Ausstellung auch an anderen Orten und in anderen Gemeinschaften
zu sehen sein würde, nicht nur virtuell, sondern auch physisch. Wir haben uns daher sehr gefreut,
als unsere Kollegin und Freundin Dr. Maria Stürzebecher vom Museum Alte Synagoge in Erfurt
auf uns zukam und uns bat, die Ausstellung in Erfurt zu zeigen. Einer der Hauptunterschiede
zwischen der Erfurter Ausstellung und der in Jerusalem ist die Präsenz der mittelalterlichen
Juden in Erfurt und die Präsentation der Ausstellung in der mittelalterlichen Synagoge
zusammen mit originalen Artefakten.
Durch die Reise der Ausstellung nach Erfurt konnten wir das Beste aus allen Welten nutzen.
Die Ausstellung in der Alten Synagoge zeigt die modernen künstlerischen Darstellungen der
mittelalterlichen Kultur neben Originalen. Erstere wurden neu angeordnet, um sich besser
in die Dauerausstellung einzufügen und das multisensorische Erlebnis in der Ausstellung zu
verbessern. Diese Neupositionierung ermöglicht ein neues Verständnis und unterstreicht die
Verwobenheit der Juden mit der christlichen Kultur des Mittelalters sowie die Art und Weise,
wie Juden gleichzeitig “innerhalb und außerhalb”, “zwischen” und “jenseits” der städtischen
Milieus waren, in denen sie lebten. Darüber hinaus haben wir beim Künstler Kalman Gavriel
Delmoor, dessen monumentale Kalligrafie das Rückgrat der Ausstellung bildet, ein Originalwerk
in Auftrag gegeben, um diesen neuen Bedeutungsebenen Ausdruck zu verleihen. Der Katalog
zu dieser Ausstellung enthält nicht nur neue Einführungen, sondern auch Fotos der Galerien
an beiden Standorten, so dass die Leser beide Versionen der Ausstellung genießen können. Wir
hoffen, dass die Ausstellung in den kommenden Jahren an weiteren Orten zu sehen sein wird
und mit jeder Station neue Interpretationen hinzukommen.
Die Zusammenarbeit zwischen unserem Forschungsteam in Jerusalem und unseren KollegInnen
in Erfurt begann bereits Jahre vor dieser gemeinsamen Unternehmung, hat sich aber im Rahmen
dieses Projekts intensiviert. Wir sind Dr. Stürzebecher und ihren KollegInnen sehr dankbar
und freuen uns auf zukünftige Kooperationen zwischen der Hebräischen Universität von
Jerusalem und der Alten Synagoge. Unser Dank gilt auch den Wissenschaftlern und vor allem
den KünstlerInnen, die mit den Kuratoren zusammengearbeitet haben, um ihre Kunstwerke für
den neuen Raum umzugestalten.
Since the inception of the project (fall 2016), the team has worked to construct a history which includes those who were not part of the learned elite as well as those who were learned, about whom we know more. The research team trained its sights on everyday moments, investigating daily routines and the ways medieval Jews understood their lives amidst their host cultures. At the heart of this work is the complexity of the circumstances in which medieval Jews lived: the integration of Ashkenazic Jews within their Christian surroundings, alongside their maintenance of a distinct religious identity. To complement the medieval study underlying this endeavor, the exhibit’s curator, Dr. Ido Noy, orchestrated a fruitful exchange between the research team and seven Israeli artists, who then produced contemporary expressions of the historic ideas under discussion. This book, mirroring the structure of the exhibit, is comprised of sixteen articles. Each one is built around a primary source from a particular literary genre. The colorful catalogue at the end of the volume documents the objects created especially for the exhibition that was displayed physically at the gallery on the Mount Scopus campus of The Hebrew University of Jerusalem and can still be viewed virtually.
Hava narishah: Rash- Rash- Rash!
Hava narishah: Rash- Rash- Rash!
Bara’ashanim!...
(A song for Purim by Levin Kipnis)
The exhibition, “Rash, Rash, Rash: Contemporary Noisemakers of the Bezalel School” is a group exhibition featuring contemporary Jewish art. The exhibition’s title suggests two aspects, the children’s song by Kipnis and the tradition of producing noisemakers as part of the popular Jewish creation. In many cases the simplest and readily available materials were used in making these noisemakers that even included materials normally considered as “inferior” or “poor”.
The noisemakers created for this exhibition cannot be defined in line with any of the approaches cited above, but simultaneously fit in with both. In preparing the exhibition the curators approached contemporary artists and designers, seeking to create new noisemakers that would relate to their consumption culture. To make the task more interesting, the curators put a simple limitation. All noisemakers must be made of cheap, simple and available materials, the total cost of which could not exceed 50 NIS. The resulting creations do not include “inferior” noisemakers, but rather the absolute opposite. The noisemakers created for this exhibition are rich in material, technological and creative solutions that abounded with original and critical thought and are full of humor.
It’s not every day that one has the opportunity to be part of something momentous. Such an opportunity may arise once in a lifetime, or perhaps not at all. Producing the exhibition catalogue for the 4th Jerusalem Biennale (2019) is, without doubt, a chance to be part of a vast undertaking, one with many partners. How many? The answer is that no fewer than 250 individuals contributed to the publication of this catalogue.
The completed product in your hands is greater than the sum of its parts. The catalogue of the 4th Biennale joins the previous catalogues and together they tell the story of the Jerusalem Biennale. The catalogues document the exhibitions, provide a stage for the artworks, and commemorate the events, locations, people, and partners. They simultaneously serve as a written record, and a snapshot of the current state of mind and of observations related to the world of contemporary Jewish art. The City of Jerusalem is also felt throughout the catalogue through its recurring reflection in geographical locations and social events. In that sense, the Jerusalem Biennale is a further landmark in the city’s development and its position as a center of local and universal creativity.
The catalogue is designed to provide an enjoyable reading experience. It seeks to create a uniform style of language, both in the scope of texts accompanying the visual materials and in its graphic layout. Readers will feel the underlying tempo, like individual instruments in an orchestra, as each curator receives equal space irrespective of the size or scope of the exhibition. While the space allotted is modest, it is enough to tell the exhibition’s story and to convey, at least in part, the spirit and essence of the curated works.
As the catalogue’s editor, I naturally worked closely with the exhibition curators and less with the participating artists. Each curator, responsible for their exhibition’s content and arrangement, was asked to tell its story and provide the textual and visual materials. Just imagine the number of emails, WhatsApp messages and telephone conversations in different languages needed to bring the exhibitions (31 in total) together to the finish line! I want to offer my profound gratitude to the curators for their work, talent, patience and rewarding cooperation: Matan, Asaf and Izek, Shimon, Bitya and Gabi, Porat and Ronen, Smadar, Ilan, Shirat-Miriam (Mimi), Mirta, Rachel, Susan, Hillel, Andi, Amit, Emily and Nurit, Gargi, Eyal, Vera and Ram, Judy and Susan, Duchi, Ewa, Motti, Scott, Haya, Mindy, Sagi, Doni and Moully.
objects created by Israel Dahan over a period of 50 years, as well as one work commissioned especially for the 4th Jerusalem Biennale. Dahan taught at the Bezalel Academy of Art and Design from 1969-2018. Although Dahan grew up in a religiously observant home and creates his objects in keeping with halacha (Jewish religious law) and its cultural context, his objects are far from conventional. He succeeds in maintaining the balance between the drive to create and innovate, and the pull to ensure that his works remain ritually relevant.
During his tenure at Bezalel, Dahan encouraged dialogue among students and teachers based on the core of Jewish achievement and creation. He also gave expression to creativity for secular and non-Jewish ritual works to embrace for multi-faceted Israeli identity. Muslim, Christian and Druze students studying under Dahan produced ritual vessels in the spirit of their own heritage. Dahan shared knowledge based on enlightenment and faith, which empowered his students to formulate the act of creation according to their own inclinations.
Dahan seeks to apply rational debate and creative tension to achieve solutions that inspire, support and accept. These are summarized in Dahan's new work that is exhibited here for the first time: a memorial
candle, where two parts are severed from a metal pipe to form two hands that support and protect the candle on both sides. This exhibition is a modest tribute to Israel Dahan and his tremendous contribution to the development of Judaica.
This exhibition displays exactly 555 different Khamsas, echoing the literal meaning of the expression ‘Khamsa, Khamsa, Khamsa’ and breaking the record for the number of these amulets displayed in an exhibition in Israel. Unlike the majority of exhibitions that have addressed the Khamsa as an object and motif of historical significance, this exhibition seeks to locate the Khamsa in time and place while highlighting its cultural significance, now more than ever, in Israeli society.
Kiddush Cups of the Bezalel School"is displayed from the
contemporary artistic standpoint. In this exhibition also
some 48 exhibits of contemporary wine and Kiddush cups,
handmade by artists and designers belonging to the Bezalel
School, are displayed. The philosophy and artistic language
of the School's members, men and women, were apparent as
expressed in the holy vessels and articles. The participants in
this group show had all attended Bezalel either as students
or teachers, some served as department heads. A large
group among these artists later became the elite of leading
Judaica artists, whose creations now enrich the collections of
important museums in Israel and throughout the world.
Curators:
"Hallel. Carmel Winery": Yona Shapira
"'Judaica Now!': Wine goblets and Kiddush cups of the
Bezalel School": Dr. Shirat‑Miriam Shamir, Ido Noy
הלַלֵּ. כרמל. בצלאל
התערוכות:
הַללֵּ. יקב כרמל
'יודאיקה עכשיו!':
כוסות וגביעי יין לקידוש
של אסכולת בצלאל
שתי התערוכות עוסקות בשני מפעלים חלוציים: יקב ראשון־לציון
ובית הספר לאמנויות "בצלאל". שניהם, כל אחד בתחומו, הניחו
תשתית חומרית ותרבותית ליישוב היהודי המתחדש בארץ ישראל.
שתי התערוכות המוצגות במשולב, מציגות את נקודות ההשקה בין שני
המפעלים. העיקרית שבהן היא העובדה שתוצריהם, היין ואמנות בצלאל,
היוו סמל ליישוב היהודי המתחדש ונרכשו על ידי יהודי הגולה כמחווה
רגשית של אהבת ארץ ישראל וכתרומה למען הגשמת הרעיון של
יישובה. היקב מוצג מן הזווית ההיסטורית ואילו בצלאל מוצג מנקודת
מבט אמנותית עכשווית.
היקב היה סמל להגשמת חזון יישוב ארץ ישראל, מקור לגאווה ואבן
שואבת למנהיגי עם ועולם שנשאו עיניהם אליו וביקרו בו. התערוכה
"הלל. יקב כרמל" מבקשת להציג את החדשנות של יקב ראשון־לציון
בשנותיו הראשונות כמפעל תעשיה חקלאית מודרני הבולט במרחב
המזרח התיכון ועומד במרכז חיי הכלכלה של ראשון־לציון ומושבות
הסביבה. בתערוכה מוצגים התפתחותו, הישגיו, אתגריו, גלגוליו,
קשריו עם הגולה והשפעתו על ראשון־לציון ועל הישוב בארץ־ישראל.
עיקר התערוכה עוסק בעשורים הראשונים לקיום היקב שהיו השנים
המשמעותיות בתולדותיו שבמהלכן עוצב בו מודל תעשייתי חדשני
ופורץ דרך בארץ.
התערוכה, "׳יודאיקה עכשיו!׳: כוסות וגביעי יין לקידוש של אסכולת
בצלאל" מציגה 48 גביעי יין וקידוש עכשוויים מעשה ידיהם של אמנים
ומעצבים השייכים לאסכולת בצלאל. מהתערוכה ניבטת תפיסת העולם
ושפתם האמנותית של חברי וחברות האסכולה כפי שאלו מקבלות ביטוי
בתשמישי קדושה. משתתפי התערוכה הקבוצתית, עברו כולם בבצלאל:
בין שלמדו או שלימדו בו או בין שהובילו אותו כראשי המחלקות. חלק
נכבד מאמנים אלה נעשו לאמני היודאיקה המובילים, שיצירותיהם
מעטרות את אוספי המוזיאונים החשובים בישראל ובעולם.
אוצרים:
הלל, יקב כרמל: יונה שפירא
'יודאיקה עכשיו!': כוסות וגביעי יין לקידוש
של אסכולת בצלאל: ד"ר שירת־מרים שמיר ועידו נוי
Curators: Dr. Shirat-Miriam Shamir and Ido Noy
Papers by Ido Noy
the history of medieval Ashkenazi Jewry is displayed in Germany today, as well as
who displays it and for whom. The preoccupation of Germany with its Jewish past
is not trivial; it is an institutionalized trend designed not only to teach the public
about local medieval history, but also to educate it to re-include medieval Jews into
its history.
Originally produced by Topps Chewing Gum, Inc. (Brooklyn, New York), a local version of Garbage Pail Kids (GPK) sticker cards were distributed in Israel in 1987-8. Although designed as product for children, the Israeli version of GPK left a deep impression on its local political discourse. “Havurat HaZevel” - the Hebrew transliteration of GPK, became a newly coined word, often used by publicists as well as by members of the Israeli parliament in order to portray the ultimate “other”, whether movement, group or party, whether part of the coalition or the opposition. As this paper wishes to point out, the use of the GPK in Israeli political context gave birth to several spinoffs. Moreover, appearance of these creative initiatives over the last three decades correspond the political circumstances, mainly to the elections for parliament and for prime minister as well as to expressions of dissent. Examination both the visual and textual means used by the illustrators and copywriters shed light public image of Israeli politicians as well as of the political events in question.
mittelalterlichen Europa (Eröffnung Juni 2021) ist das Gemeinschaftswerk eines internationalen
Teams von MittelalterhistorikerInnen unter der Leitung von Prof. Elisheva Baumgarten von der
Hebräischen Universität von Jerusalem und zeitgenössischen Künstlern aus Israel. Gemeinsam
haben wir modernste Technologien und digitale Werkzeuge eingesetzt, um unsere Forschungen
zum mittelalterlichen Stadtleben greifbar zu machen. Die Ergebnisse können sowohl virtuell
als auch vor Ort besichtigt werden.
Die Forschungsgruppe Beyond the Elite: Jewish Daily Life in Medieval Europe, die vom Europäischen
Forschungsrat finanziert wird, versucht zu verstehen, wie das Leben von Jüdinnen und Juden
in den mittelalterlichen städtischen Zentren West- und Nordeuropas aussah. In Anbetracht
der Tatsache, dass Juden sowohl Teil ihrer lokalen Gemeinschaften als auch eine oft verfolgte
religiöse Minderheit waren, stellen wir die Frage, wie sie alltägliche Räume und Erfahrungen mit
ihren christlichen Nachbarn teilten und sich dennoch abgrenzten. Wie wurden sie gleichzeitig
in ihre Gemeinden integriert und von ihnen ausgegrenzt?
Nach mehreren Jahren konzentrierter Arbeit wollten wir die Ergebnisse unseres Projekts mit der
Öffentlichkeit teilen. Um ein breites Publikum anzusprechen, haben wir uns entschieden, die
mittelalterliche Realität nicht nur anhand von Texten oder originalen Funden zu beschreiben,
sondern einen kreativeren Ansatz zu verfolgen, indem wir in zeitgenössischer künstlerischer
Form vielfältige Perspektiven des mittelalterlichen jüdischen Lebens aufzeigen – “innerhalb und
außerhalb”, “zwischen” und “jenseits” des täglichen Lebens in ihrer christlichen städtischen
Umgebung.
Dr. Ido Noy, Kunsthistoriker und Mitglied des Beyond the Elite-Teams, kuratierte und gestaltete
die Ausstellung, und wir begannen die Zusammenarbeit mit einem Team zeitgenössischer
Künstler, die wie wir auf ein breites Spektrum von Disziplinen zurückgreifen konnten, von Kunst
und Kalligrafie über Grafikdesign bis hin zu Animation, Klangkunst sowie 3D-Modellierung und
Druck. Unsere Strategie war mehrstufig: Zunächst schrieb jede/r HistorikerIn einen kurzen
Artikel, der sich auf eine Primärquelle konzentrierte und seine/ihre Forschungen beleuchtete.
Diese Artikel bildeten den Hauptteil des Katalogs. Zweitens wurde jeder Artikel den sieben
KünstlerInnen vorgestellt, und wir bildeten Gruppen von HistorikerInnen und KünstlerInnen,
die sich gegenseitig in ihren Fähigkeiten ergänzten. Drittens trafen sich diese Teams, um zu entscheiden, wie die historischen Details durch zeitgenössische Kunst vermittelt werden sollten.
Nach zwei langen Jahren Arbeit wurde die Ausstellung im Juni 2021 in der Max and Iris Stern
Gallery auf dem Mount Scopus Campus der Hebräischen Universität von Jerusalem eröffnet
und war auch für Online-Besucher über eine virtuelle Ausstellung zugänglich.
Es war unser Traum, dass die Ausstellung auch an anderen Orten und in anderen Gemeinschaften
zu sehen sein würde, nicht nur virtuell, sondern auch physisch. Wir haben uns daher sehr gefreut,
als unsere Kollegin und Freundin Dr. Maria Stürzebecher vom Museum Alte Synagoge in Erfurt
auf uns zukam und uns bat, die Ausstellung in Erfurt zu zeigen. Einer der Hauptunterschiede
zwischen der Erfurter Ausstellung und der in Jerusalem ist die Präsenz der mittelalterlichen
Juden in Erfurt und die Präsentation der Ausstellung in der mittelalterlichen Synagoge
zusammen mit originalen Artefakten.
Durch die Reise der Ausstellung nach Erfurt konnten wir das Beste aus allen Welten nutzen.
Die Ausstellung in der Alten Synagoge zeigt die modernen künstlerischen Darstellungen der
mittelalterlichen Kultur neben Originalen. Erstere wurden neu angeordnet, um sich besser
in die Dauerausstellung einzufügen und das multisensorische Erlebnis in der Ausstellung zu
verbessern. Diese Neupositionierung ermöglicht ein neues Verständnis und unterstreicht die
Verwobenheit der Juden mit der christlichen Kultur des Mittelalters sowie die Art und Weise,
wie Juden gleichzeitig “innerhalb und außerhalb”, “zwischen” und “jenseits” der städtischen
Milieus waren, in denen sie lebten. Darüber hinaus haben wir beim Künstler Kalman Gavriel
Delmoor, dessen monumentale Kalligrafie das Rückgrat der Ausstellung bildet, ein Originalwerk
in Auftrag gegeben, um diesen neuen Bedeutungsebenen Ausdruck zu verleihen. Der Katalog
zu dieser Ausstellung enthält nicht nur neue Einführungen, sondern auch Fotos der Galerien
an beiden Standorten, so dass die Leser beide Versionen der Ausstellung genießen können. Wir
hoffen, dass die Ausstellung in den kommenden Jahren an weiteren Orten zu sehen sein wird
und mit jeder Station neue Interpretationen hinzukommen.
Die Zusammenarbeit zwischen unserem Forschungsteam in Jerusalem und unseren KollegInnen
in Erfurt begann bereits Jahre vor dieser gemeinsamen Unternehmung, hat sich aber im Rahmen
dieses Projekts intensiviert. Wir sind Dr. Stürzebecher und ihren KollegInnen sehr dankbar
und freuen uns auf zukünftige Kooperationen zwischen der Hebräischen Universität von
Jerusalem und der Alten Synagoge. Unser Dank gilt auch den Wissenschaftlern und vor allem
den KünstlerInnen, die mit den Kuratoren zusammengearbeitet haben, um ihre Kunstwerke für
den neuen Raum umzugestalten.
Since the inception of the project (fall 2016), the team has worked to construct a history which includes those who were not part of the learned elite as well as those who were learned, about whom we know more. The research team trained its sights on everyday moments, investigating daily routines and the ways medieval Jews understood their lives amidst their host cultures. At the heart of this work is the complexity of the circumstances in which medieval Jews lived: the integration of Ashkenazic Jews within their Christian surroundings, alongside their maintenance of a distinct religious identity. To complement the medieval study underlying this endeavor, the exhibit’s curator, Dr. Ido Noy, orchestrated a fruitful exchange between the research team and seven Israeli artists, who then produced contemporary expressions of the historic ideas under discussion. This book, mirroring the structure of the exhibit, is comprised of sixteen articles. Each one is built around a primary source from a particular literary genre. The colorful catalogue at the end of the volume documents the objects created especially for the exhibition that was displayed physically at the gallery on the Mount Scopus campus of The Hebrew University of Jerusalem and can still be viewed virtually.
Hava narishah: Rash- Rash- Rash!
Hava narishah: Rash- Rash- Rash!
Bara’ashanim!...
(A song for Purim by Levin Kipnis)
The exhibition, “Rash, Rash, Rash: Contemporary Noisemakers of the Bezalel School” is a group exhibition featuring contemporary Jewish art. The exhibition’s title suggests two aspects, the children’s song by Kipnis and the tradition of producing noisemakers as part of the popular Jewish creation. In many cases the simplest and readily available materials were used in making these noisemakers that even included materials normally considered as “inferior” or “poor”.
The noisemakers created for this exhibition cannot be defined in line with any of the approaches cited above, but simultaneously fit in with both. In preparing the exhibition the curators approached contemporary artists and designers, seeking to create new noisemakers that would relate to their consumption culture. To make the task more interesting, the curators put a simple limitation. All noisemakers must be made of cheap, simple and available materials, the total cost of which could not exceed 50 NIS. The resulting creations do not include “inferior” noisemakers, but rather the absolute opposite. The noisemakers created for this exhibition are rich in material, technological and creative solutions that abounded with original and critical thought and are full of humor.
It’s not every day that one has the opportunity to be part of something momentous. Such an opportunity may arise once in a lifetime, or perhaps not at all. Producing the exhibition catalogue for the 4th Jerusalem Biennale (2019) is, without doubt, a chance to be part of a vast undertaking, one with many partners. How many? The answer is that no fewer than 250 individuals contributed to the publication of this catalogue.
The completed product in your hands is greater than the sum of its parts. The catalogue of the 4th Biennale joins the previous catalogues and together they tell the story of the Jerusalem Biennale. The catalogues document the exhibitions, provide a stage for the artworks, and commemorate the events, locations, people, and partners. They simultaneously serve as a written record, and a snapshot of the current state of mind and of observations related to the world of contemporary Jewish art. The City of Jerusalem is also felt throughout the catalogue through its recurring reflection in geographical locations and social events. In that sense, the Jerusalem Biennale is a further landmark in the city’s development and its position as a center of local and universal creativity.
The catalogue is designed to provide an enjoyable reading experience. It seeks to create a uniform style of language, both in the scope of texts accompanying the visual materials and in its graphic layout. Readers will feel the underlying tempo, like individual instruments in an orchestra, as each curator receives equal space irrespective of the size or scope of the exhibition. While the space allotted is modest, it is enough to tell the exhibition’s story and to convey, at least in part, the spirit and essence of the curated works.
As the catalogue’s editor, I naturally worked closely with the exhibition curators and less with the participating artists. Each curator, responsible for their exhibition’s content and arrangement, was asked to tell its story and provide the textual and visual materials. Just imagine the number of emails, WhatsApp messages and telephone conversations in different languages needed to bring the exhibitions (31 in total) together to the finish line! I want to offer my profound gratitude to the curators for their work, talent, patience and rewarding cooperation: Matan, Asaf and Izek, Shimon, Bitya and Gabi, Porat and Ronen, Smadar, Ilan, Shirat-Miriam (Mimi), Mirta, Rachel, Susan, Hillel, Andi, Amit, Emily and Nurit, Gargi, Eyal, Vera and Ram, Judy and Susan, Duchi, Ewa, Motti, Scott, Haya, Mindy, Sagi, Doni and Moully.
objects created by Israel Dahan over a period of 50 years, as well as one work commissioned especially for the 4th Jerusalem Biennale. Dahan taught at the Bezalel Academy of Art and Design from 1969-2018. Although Dahan grew up in a religiously observant home and creates his objects in keeping with halacha (Jewish religious law) and its cultural context, his objects are far from conventional. He succeeds in maintaining the balance between the drive to create and innovate, and the pull to ensure that his works remain ritually relevant.
During his tenure at Bezalel, Dahan encouraged dialogue among students and teachers based on the core of Jewish achievement and creation. He also gave expression to creativity for secular and non-Jewish ritual works to embrace for multi-faceted Israeli identity. Muslim, Christian and Druze students studying under Dahan produced ritual vessels in the spirit of their own heritage. Dahan shared knowledge based on enlightenment and faith, which empowered his students to formulate the act of creation according to their own inclinations.
Dahan seeks to apply rational debate and creative tension to achieve solutions that inspire, support and accept. These are summarized in Dahan's new work that is exhibited here for the first time: a memorial
candle, where two parts are severed from a metal pipe to form two hands that support and protect the candle on both sides. This exhibition is a modest tribute to Israel Dahan and his tremendous contribution to the development of Judaica.
This exhibition displays exactly 555 different Khamsas, echoing the literal meaning of the expression ‘Khamsa, Khamsa, Khamsa’ and breaking the record for the number of these amulets displayed in an exhibition in Israel. Unlike the majority of exhibitions that have addressed the Khamsa as an object and motif of historical significance, this exhibition seeks to locate the Khamsa in time and place while highlighting its cultural significance, now more than ever, in Israeli society.
Kiddush Cups of the Bezalel School"is displayed from the
contemporary artistic standpoint. In this exhibition also
some 48 exhibits of contemporary wine and Kiddush cups,
handmade by artists and designers belonging to the Bezalel
School, are displayed. The philosophy and artistic language
of the School's members, men and women, were apparent as
expressed in the holy vessels and articles. The participants in
this group show had all attended Bezalel either as students
or teachers, some served as department heads. A large
group among these artists later became the elite of leading
Judaica artists, whose creations now enrich the collections of
important museums in Israel and throughout the world.
Curators:
"Hallel. Carmel Winery": Yona Shapira
"'Judaica Now!': Wine goblets and Kiddush cups of the
Bezalel School": Dr. Shirat‑Miriam Shamir, Ido Noy
הלַלֵּ. כרמל. בצלאל
התערוכות:
הַללֵּ. יקב כרמל
'יודאיקה עכשיו!':
כוסות וגביעי יין לקידוש
של אסכולת בצלאל
שתי התערוכות עוסקות בשני מפעלים חלוציים: יקב ראשון־לציון
ובית הספר לאמנויות "בצלאל". שניהם, כל אחד בתחומו, הניחו
תשתית חומרית ותרבותית ליישוב היהודי המתחדש בארץ ישראל.
שתי התערוכות המוצגות במשולב, מציגות את נקודות ההשקה בין שני
המפעלים. העיקרית שבהן היא העובדה שתוצריהם, היין ואמנות בצלאל,
היוו סמל ליישוב היהודי המתחדש ונרכשו על ידי יהודי הגולה כמחווה
רגשית של אהבת ארץ ישראל וכתרומה למען הגשמת הרעיון של
יישובה. היקב מוצג מן הזווית ההיסטורית ואילו בצלאל מוצג מנקודת
מבט אמנותית עכשווית.
היקב היה סמל להגשמת חזון יישוב ארץ ישראל, מקור לגאווה ואבן
שואבת למנהיגי עם ועולם שנשאו עיניהם אליו וביקרו בו. התערוכה
"הלל. יקב כרמל" מבקשת להציג את החדשנות של יקב ראשון־לציון
בשנותיו הראשונות כמפעל תעשיה חקלאית מודרני הבולט במרחב
המזרח התיכון ועומד במרכז חיי הכלכלה של ראשון־לציון ומושבות
הסביבה. בתערוכה מוצגים התפתחותו, הישגיו, אתגריו, גלגוליו,
קשריו עם הגולה והשפעתו על ראשון־לציון ועל הישוב בארץ־ישראל.
עיקר התערוכה עוסק בעשורים הראשונים לקיום היקב שהיו השנים
המשמעותיות בתולדותיו שבמהלכן עוצב בו מודל תעשייתי חדשני
ופורץ דרך בארץ.
התערוכה, "׳יודאיקה עכשיו!׳: כוסות וגביעי יין לקידוש של אסכולת
בצלאל" מציגה 48 גביעי יין וקידוש עכשוויים מעשה ידיהם של אמנים
ומעצבים השייכים לאסכולת בצלאל. מהתערוכה ניבטת תפיסת העולם
ושפתם האמנותית של חברי וחברות האסכולה כפי שאלו מקבלות ביטוי
בתשמישי קדושה. משתתפי התערוכה הקבוצתית, עברו כולם בבצלאל:
בין שלמדו או שלימדו בו או בין שהובילו אותו כראשי המחלקות. חלק
נכבד מאמנים אלה נעשו לאמני היודאיקה המובילים, שיצירותיהם
מעטרות את אוספי המוזיאונים החשובים בישראל ובעולם.
אוצרים:
הלל, יקב כרמל: יונה שפירא
'יודאיקה עכשיו!': כוסות וגביעי יין לקידוש
של אסכולת בצלאל: ד"ר שירת־מרים שמיר ועידו נוי
Curators: Dr. Shirat-Miriam Shamir and Ido Noy
the history of medieval Ashkenazi Jewry is displayed in Germany today, as well as
who displays it and for whom. The preoccupation of Germany with its Jewish past
is not trivial; it is an institutionalized trend designed not only to teach the public
about local medieval history, but also to educate it to re-include medieval Jews into
its history.
Originally produced by Topps Chewing Gum, Inc. (Brooklyn, New York), a local version of Garbage Pail Kids (GPK) sticker cards were distributed in Israel in 1987-8. Although designed as product for children, the Israeli version of GPK left a deep impression on its local political discourse. “Havurat HaZevel” - the Hebrew transliteration of GPK, became a newly coined word, often used by publicists as well as by members of the Israeli parliament in order to portray the ultimate “other”, whether movement, group or party, whether part of the coalition or the opposition. As this paper wishes to point out, the use of the GPK in Israeli political context gave birth to several spinoffs. Moreover, appearance of these creative initiatives over the last three decades correspond the political circumstances, mainly to the elections for parliament and for prime minister as well as to expressions of dissent. Examination both the visual and textual means used by the illustrators and copywriters shed light public image of Israeli politicians as well as of the political events in question.
תקציר: עניינו של מאמר זה הוא כתר הפלורינים שחובשת דמותה המצוירת של מרת
צמח בת רבי אהרן, גיבורת הכתובה מקרמס. הממצאים החומריים וחזותיים ועדויות
כתובות מהספרות העברית בת התקופה מצביעים על כך שיהודים לא רק נחשפו למגוון
רחב של כתרי פלוירונים, אלא גם היו מודעים למשמעותם כסמלי מעמד של אצולה
ומלוכה וכן כסמלים של בתולין. הצבתו של כתר פלוירונים על דמותה המצוירת של
הכלה היהודייה נועד לציירה בדיוק כך – כמלכה וכבתולה.
The Crown of Mrs. Zemah, Daughter of Rabbi Aaron: Conceptions of Royalty, Status, and Chastity among Ashkenazi Brides during the Middle Ages
Abstract
This article addresses the fleuron crown of Mrs. Zemah, daughter of Rabbi Aaron, who is the heroine of the illuminated medieval ketubbah from Krems, Austria. Scrutiny of fleuron crowns in the context of similar imagery in Jewish art as well as in Hebrew literature of the same period, indicates that Jews were not only familiar with such crowns but were also aware of the crown's twofold significance, as an emblem of royalty and nobility, and as a symbol of virginity. Placing such a crown on Mrs. Zemah's head was designed to portray the Jewish bride precisely in those terms, as queen and as virgin.
The discovery of pawned objects in treasure troves attributed to Jews enables investigation of the use and understanding of these objects by Jews, especially regarding those of a more secular nature, i.e. objects that have little relationship to Jewish or Christian liturgy and that lack explicit Jewish or Christian religious iconography or inscriptions. One of these pawned objects is a girdle, which was found in a Jewish context in Erfurt. Through examining this girdle in the context of similar imagery in Jewish art, we see that Jews were not only exposed to such girdles but also were well aware of their symbolic meaning in noble love and romance.
cultural settings.
The head decorations’ origin and meaning in Hellenistic culture as well as the circumstances of their appearance in Jewish iconography shed light on the visual means used by the Jewish rulers in proclaiming their sovereignty.
The palm of the human hand is an ancient universal motif, as evidenced by cave paintings found worldwide—its origins trace back to human culture's cradle. In fact, the folk practice of imprinting a seal using the hand continues to this day. Moreover, it seems that all of us, whether born in Jerusalem or Nazareth, Sydney or Kuala Lumpur, Johannesburg or Cairo, Beijing or Moscow, New York or Buenos Aires, share in the universal practice of imprinting our hands. And indeed, we all did this even in the early stages of our lives, long before we learned to read and write, using just three simple tools: a piece of paper, a bit of paint, and our hand.
The open palm with its five fingers (as well as the number five) gained significant power as a healing source and sign of good health and fertility in many cultures, especially in Jewish and Muslim traditions. Seen as a symbol of protection and good fortune, it is often used as an amulet or talisman to ward off negative forces and bring blessings and good luck to its owner. Whether worn as jewelry, displayed in homes, used during travels, or incorporated into rituals and rites of passage, the open palm with its five fingers serves as a potent reminder of hope, resilience, and the enduring belief in the power of positivity to overcome adversity.
The exhibition features creations by ten Israeli and American artists, accompanied by a diverse array of hundreds of popular items sourced from Jerusalem's Old City markets, reflecting local traditions and cultural exchange.
The exhibition In and Out, Between and Beyond: Jewish Daily Life in Medieval Europe is among the final fruits of the European Research Council research group Beyond the Elite: Jewish Daily Life in Medieval Europe, headed by Prof. Elisheva Baumgarten, that studies daily life in the Jewish communities of medieval Ashkenaz. The team has worked to construct a history which includes those who were not part of the learned elite alongside those who were learned, about whom we know more. Rather than spotlighting the dramatic events of this period, we have trained our sights on its everyday moments. In addition, we have investigated a complex historical reality: the integration of Ashkenazic Jews within their Christian surroundings, alongside their maintenance of a distinct religious identity.
Reflecting its textual origins, the exhibition is comprised of sixteen units, at the heart of each of which stands a primary source from a particular literary genre. The curator, Dr. Ido Noy, orchestrated a fruitful exchange between the research team and seven Israeli artists, who then produced contemporary expressions of the historic ideas under discussion. The display includes several installations based on medieval artifacts, as well as original works created especially for the exhibition by contemporary artists. Rather than being constructed along a specific linear narrative, the space is divided by pillars into three distinct spaces, reflecting our three guiding themes: In and Out, Between and Beyond. Visitors may begin by reading the historical sources and continue by viewing the objects, or vice versa. We envision viewers making their own way among the displays at the exhibition and experiencing these connections between past and present.
Khamsa Khamsa Khamsa: The Evolution of a Motif
in Contemporary Israeli Art
May 2018
EXHIBITION
Guest Curators: Dr. Shirat־Miriam (Mimi) Shamir, Ido Noy
The exhibition Khamsa Khamsa Khamsa: The
Evolution of a Motif in Contemporary Israeli
Art is devoted to the Khamsa, one of the prevailing
motifs in local folk culture in Israel.. The exhibition’s
title hints at its content: the Arabic word
Khamsa, meaning ‘five’ or ‘the five fingers of the
hand’, denotes the widespread middle eastern
amulet that, in the broadest terms, wards off the
evil eye. In modern Israeli culture, the common
colloquial phrase ‘Khamsa Khamsa Khamsa’ (often
followed by the equivalent expression ‘tfu tfu
tfu’) might be the Israeli equivalent of the phrase
‘knock on wood’, invoked to avoid ‘tempting fate’
and to ward off the evil eye.
Curators: Dr. Shirat-Miriam Shamir, Ido Noy
The exhibition Keep It Light addresses the end of life, a painful topic that for many is a watershed in the topography of the life cycle. Despite the seriousness and gravity of the subject, this exhibition focuses on black humor, irony and absurdity. Through the display of vessels for memorial and remembrance candles created with unusual and innovative perspectives, the exhibition aims to surprise and stimulate the viewer to reconsider the place of death within the lifecycle, the mourning process and the religious customs associated with each.
Dr. Shirat-Miriam Shamir and Ido Noy
In this exhibition some 48 exhibits of contemporary wine and Kiddush cups, handmade by artists and designers belonging to the Bezalel School, are displayed. The philosophy and artistic language of the School's members, men and women, were apparent as expressed in the holy vessels and articles. The participants had all attended Bezalel either as students or teachers, some served as department heads. A large group among these artists later became the elite of leading Judaica artists, whose creations now enrich the collections of important museums in Israel and throughout the world.
"יודאיקה עכשיו: גביעי יין של אסכולת בצלאל"
ד"ר שירת-מרים שמיר ועידו נוי
התערוכה תעסוק ב- 48 כוסות וגביעי יין וקידוש עכשוויים מעשה ידיהם של אמנים ומעצבים השייכים לאסכולת בצלאל. מהחפצים ניבטת תפיסת העולם ושפתם האמנותית של חברי וחברות האסכולה כפי שאלו מקבלות ביטוי בתשמישי קדושה. חברי האסכולה עברו כולם בבצלאל: בין שלמדו או שלימדו בו או בין שהובילו אותו כראשי המחלקות. חלק נכבד מאמנים אלה נעשו לאמני היודאיקה המובילים, שיצירותיהם מעטרות את אוספי המוזיאונים החשובים בישראל ובעולם.
Medieval Europe" research group, The Hebrew
University of Jerusalem: In and Out, Between
and Beyond: Jewish Daily Life in Medieval
Europe, at The Max and Iris Stern Gallery on
the Mount Scopus Campus
ידון בנושאים מרכזיים העומדים על הפרק בעולם האמנות היהודית
העכשווית. מושבי הכנס יבקשו למפות את מרחבי השיח החברתיים,
התרבותיים והדתיים של התחום המתקיים כיום בתוך עולם גלובלי.
בעוד שיח האמנות בישראל דן באבחנות שבין אמנות ישראלית לאמנות
יהודית, בין החילוני לדתי, השיח האמריקאי שם במקום מרכזי את
הדיון סביב מקומו של המוזיאון היהודי בתוך עולם תפוצתי. במסגרת
זו עולות לאחרונה שאלות של פרטיקולריזם מול אוניברסליזם ומקומה
של ההבעה היהודית בתוך המרחב המוזיאלי.
מארגני הכנס:
ד״ר עידו נוי, סמנכ"ל הביאנלה ומנהל התוכן
ד״ר דוד שפרבר, אוני' ייל ומכון הרטמן
Ido Noy
Over the past two centuries, several treasure troves, dated to the Black-Death persecutions in the middle of the 14th century, have been found in areas associated with medieval Jewish habitation. They often contain a mix of identifiable Jewish and Christian artifacts, suggesting that they belonged to Jewish pawnbrokers. Moreover, their composition implies that these pawnbrokers preserved little distinction between items taken as security for loans and their own private property. The discovery of these treasures raises questions regarding Jewish ownership and use of pawned objects, especially secular objects that have little connection to Jewish or Christian liturgical practice and that do not bear explicit Jewish or Christian religious iconography or inscriptions. My talk deals with the ownership and provenance of these artifacts: Were the Jews of the time aware of the true meaning of these objects? Were they able to understand the original context in which they were used by Christians? Did the Jews consider them as belonging to their own cultural milieu? Finally, how scholars can and should address these objects in light of their status as pledges.
תקציר ההרצאה: "ייצוגי עיטורי ראש על מטבעות יהודים בעת העתיקה"
הרצאה זו דנה בייצוגי עיטורי ראש על מטבעות היהודים בעת העתיקה. אף על פי שישנן קבוצות מטבעות רבות נוספות, הקשורות באופן ישיר או עקיף למטבעות היהודים, יינתן דגש רב יותר על מטבעות שטבעו השליטים היהודים באופן עצמאי, תוך התמקדות במטבעות בית חשמונאי, מטבעות בית הורדוס, מטבעות המרד הגדול ומטבעות מרד בר-כוכבא.
מטבעות היהודים בעת העתיקה ייחודיים ביחס למטבעות של קבוצות אחרות בעיקר משום דבקותם באיסור שמופיע בדיבר השני "לֹא תַעֲשֶׂה לְךָ פֶסֶל וְכָל תְּמוּנָה...". הפתרון היהודי לאיסור מרתק, ומתרכז בהחלפתו של הדיוקן התמוני בדיוקן טקסטואלי, כלומר, בכתובת בעברית עתיקה שמוסרת את שמו ותפקידו של השליט. אך היהודים אינם מסתפקים רק בכך, ומסביב לכתובת העברית הם טובעים גם את עיטור הראש שמתאים לכל אחד מהשליטים, ובעיקר את עטרת הניצחון והדיאדמה המלכותית, אשר הופיעו החל מהרבע השני של המאה ה-2 לפנה"ס, בהשפעתה של התרבות ההלניסטית ובפרט זו הסלבקית.
לסיכום, הרצאה זו עוקבת אחר שינויים והתפתחויות שהתרחשו בהופעת ייצוגי עיטורי ראש על ראשם של השליטים היהודיים כמו כן היא מזהה את הסיבות העיקריות לכך בכל תקופה ותקופה.
הרצאה זו דנה בייצוגי עיטורי ראש על מטבעות היהודים בעת העתיקה. אף על פי שישנן קבוצות מטבעות רבות נוספות, הקשורות באופן ישיר או עקיף למטבעות היהודים, יינתן דגש רב יותר על מטבעות שטבעו השליטים היהודים באופן עצמאי, תוך התמקדות במטבעות בית חשמונאי, מטבעות בית הורדוס, מטבעות המרד הגדול ומטבעות מרד בר-כוכבא.
מטבעות היהודים בעת העתיקה ייחודיים ביחס למטבעות של קבוצות אחרות בעיקר משום דבקותם באיסור שמופיע בדיבר השני "לֹא תַעֲשֶׂה לְךָ פֶסֶל וְכָל תְּמוּנָה...". הפתרון היהודי לאיסור מרתק, ומתרכז בהחלפתו של הדיוקן התמוני בדיוקן טקסטואלי, כלומר, בכתובת בעברית עתיקה שמוסרת את שמו ותפקידו של השליט. אך היהודים אינם מסתפקים רק בכך, ומסביב לכתובת העברית הם טובעים גם את עיטור הראש שמתאים לכל אחד מהשליטים, ובעיקר את עטרת הניצחון והדיאדמה המלכותית, אשר הופיעו החל מהרבע השני של המאה ה-2 לפנה"ס, בהשפעתה של התרבות ההלניסטית ובפרט זו הסלבקית.
לסיכום, הרצאה זו עוקבת אחר שינויים והתפתחויות שהתרחשו בהופעת ייצוגי עיטורי ראש על ראשם של השליטים היהודיים כמו כן היא מזהה את הסיבות העיקריות לכך בכל תקופה ותקופה.
ההרצאה דנה בייצוגים של עיטורי ראש על מטבעות יהודיים למן התקופה ההלניסטית ועד למרד בר-כוכבא. ההרצאה בוחנת את משמעותם של עיטורי הראש בזיקה להקשריהם ההיסטוריים, הפוליטיים והתרבותיים ושופכת אור על היחסים המורכבים של היהודים עם התרבות הנכרית הסובבת.
מטבעות היהודים ייחודיים ביחס למטבעות של קבוצות אתניות אחרות בעיקר בשל הדבקות באיסור שבדיבר השני "לֹא תַעֲשֶׂה לְךָ פֶסֶל וְכָל תְּמוּנָה...". הפתרון היהודי לאיסור, מתבטא בכך שהיהודים מחליפים את דיוקנו של השליט (כהן גדול, מלך וכו') בכתובת בעברית עתיקה, מוקפת בעיטור הראש המתאים.
עטרות הניצחון הופיעו לראשונה בהיקף מטבעותיו של יהוחנן הורקנוס הראשון, מסביב לכתובת העברית "יהוחנן הכהן הגדול וחבר היהודים" והפכו לעיטור הראש השכיח ביותר במטבעות היהודים. אחת מן המסקנות העיקריות של המחקר היא שעטרות אלה "הושאלו" מכמה טיפוסי עטרות ניצחון סלבקיות שהופיעו בין תקופתו של דמטריוס הראשון (162 לפנה"ס) לבין תחילת הטביעה של הורקנוס הראשון (128 לפנה"ס).
The coins were minted by (or for) Jews in Erez-Israel, Yehuda and other territories. One could ask why be content with studying the representations and not examining the actual head decorations; the answer is complex. First, some of the head decorations didn’t survive the millennia either as a result of conversion to alternative precious metal items or because they were made out of perishable materials. Though the head decorations didn't last, their preserved images on coins provide permanent representations of the unknown original piece. Second, in antiquity, coins played an important role in distributing the messages and symbols of the authorities. As such, the obverse of those coins frequently depicts deities and rulers wearing head decorations reflecting their identity and status. These images illustrate the exact way that people used to wear them. These coins were minted in mass production and distributed widely even beyond the borders of the authorities who had produced them.
The Jewish coins are unique in relation to coins of other ethnic groups mainly due to the adherence to the second commandment לֹא תַעֲשֶׂה לְךָ פֶסֶל וְכָל תְּמוּנָה..."". The Jewish solution to this religious prohibition is creative in that they replaced the portrait of the ruler (High Priest, King, etc) with text written in ancient Hebrew script along with a head decoration which reveals the status or the aspirations of the ruler.
This research reveals different aspects of the evolution of these head decorations which can be seen as clear reflection of the complex relationship between the Jewish and the Hellenistic cultures. The origin and meaning of the head decorations in Hellenistic culture and also the timing of their appearance in Jewish culture shed light on the visual means that were used by the Jewish rulers in order to claim their authority as ruler. Hence the head decorations can be used as a practical tool for archaeologists, numismatists and jewelry historians for dating and identifying the owner and his status.
Among the variety of different head decorations stands out the wreath of John Hyrcanus which is the most common head decoration in ancient Jewish coinage. Surprisingly the numismatic research does not give explanation in respect to its origin and meaning. The main conclusion of this research regarding these aspects is that the Hyrcanus wreath was taken from a number of Seleucid victory wreath types which appeared on Seleucid royal coins between the era of Demetrius I (starting 162 BC) and the beginning of Hyrcanus minting (128 BC). Although wreaths were already known in the Hellenistic Erez-Israel and Yehuda, one can assume that their assimilation into the Jewish materialistic culture accrued fully only after they first appeared on Hyrcanus coins and in a great deal thanks to it. We still can't know if this wreath were accepted in its full pagan meaning of victory or only in a partial way. The fact that it appeared on important governmental objects like coins is sure evidence of the wreath's importance in Hellenistic Judaism.
In conclusion, this research highlights the changes in head decoration representation on ancient Jewish coinage and explores the reasons for these changes. Questions connected to the origin and meaning of the different head decoration representations and nature of the Jewish authority are addressed. It is my hope that this research will contribute to the historical, literary and archaeological knowledge of the time period.
Abstract of M.A Thesis
This thesis examines head decoration representations on Jewish coins that were minted between the days of The Return to Zion and the end of Jewish coinage in antiquity during Bar-Kokhva revolt.
The coins were minted by (or for) Jews in Erez-Israel, Yehuda and other territories. One could ask why be content with studying the representations and not examining the actual head decorations; the answer is complex. First, some of the head decorations didn’t survive the millennia either as a result of conversion to alternative precious metal items or because they were made out of perishable materials. Though the head decorations didn't last, their preserved images on coins provide permanent representations of the unknown original piece. Second, in antiquity, coins played an important role in distributing the messages and symbols of the authorities. As such, the obverse of those coins frequently depicts deities and rulers wearing head decorations reflecting their identity and status. These images illustrate the exact way that people used to wear them. These coins were minted in mass production and distributed widely even beyond the borders of the authorities who had produced them.
The Jewish coins are unique in relation to coins of other ethnic groups mainly due to the adherence to the second commandment לֹא תַעֲשֶׂה לְךָ פֶסֶל וְכָל תְּמוּנָה..."". The Jewish solution to this religious prohibition is creative in that they replaced the portrait of the ruler (High Priest, King, etc) with text written in ancient Hebrew script along with a head decoration which reveals the status or the aspirations of the ruler.
This research reveals different aspects of the evolution of these head decorations which can be seen as clear reflection of the complex relationship between the Jewish and the Hellenistic cultures. The origin and meaning of the head decorations in Hellenistic culture and also the timing of their appearance in Jewish culture shed light on the visual means that were used by the Jewish rulers in order to claim their authority as ruler. Hence the head decorations can be used as a practical tool for archaeologists, numismatists and jewelry historians for dating and identifying the owner and his status.
Among the variety of different head decorations stands out the wreath of John Hyrcanus which is the most common head decoration in ancient Jewish coinage. Surprisingly the numismatic research does not give explanation in respect to its origin and meaning. The main conclusion of this research regarding these aspects is that the Hyrcanus wreath was taken from a number of Seleucid victory wreath types which appeared on Seleucid royal coins between the era of Demetrius I (starting 162 BC) and the beginning of Hyrcanus minting (128 BC). Although wreaths were already known in the Hellenistic Erez-Israel and Yehuda, one can assume that their assimilation into the Jewish materialistic culture accrued fully only after they first appeared on Hyrcanus coins and in a great deal thanks to it. We still can't know if this wreath were accepted in its full pagan meaning of victory or only in a partial way. The fact that it appeared on important governmental objects like coins is sure evidence of the wreath's importance in Hellenistic Judaism.
In conclusion, this research highlights the changes in head decoration representation on ancient Jewish coinage and explores the reasons for these changes. Questions connected to the origin and meaning of the different head decoration representations and nature of the Jewish authority are addressed. It is my hope that this research will contribute to the historical, literary and archaeological knowledge of the time period.
Out in Contemporary Jewish Art, shown as part
of the 2015 Jerusalem Biennale, seeks to present
the worldview and artistic language of the Bezalel
School through a focus on contemporary Jewish
art as expressed in ritual objects.
Curators: Dr. Shirat-Miriam Shamir and Ido Noy
The Exhibitions:
Halel. Carmel Winery
'Judaica Now!':
Goblets and Kiddush Cups
of the Bezalel School
These two exhibitions: "Halel. Carmel Winery" and
"'Judaica Now!': Goblets and Kiddush Cups of the Bezalel
School" focus on two pioneering phenomenon. Both of them,
each one in its own specific field, established a material
and cultural infrastructure for the renewal of the Jewish
settlement in Eretz Israel. The two integrated exhibitions
presented here show the primary aspects where these two
enterprises overlap. The principal point here is the fact that
their produce, wine in Rishon Le‑Zion and art in Bezalel,
symbolized the regenerated Jewish settlement. Moreover,
most of their products were purchased by Jews in the
Diaspora as an emotional gesture of love for Eretz Israel
together with a contribution for the realization of the idea
for its settlement.
The "Halel. Carmel Winery" exhibition tells the story of
the winery from its historical perspective. The winery
symbolized the realization of the dream of settling
Eretz Israel. Thus, it became a source of pride and a center
of attraction for the leaders of the people and the world
who pinned their hopes on it and visited the winery. The
historical exhibition aims to show how innovative the
Rishon Le-Zion winery was during its early years as it was
recognized as the prominent modern agricultural-industrial
plant in the Middle Eastern region. The winery played a key
role in the economic life of Rishon Le-Zion and the Jewish
settlements in the surrounding area. The exhibition displays
its development, achievements, challenges, transitions,
connections with the Diaspora and how it influenced
Rishon Le-Zion and the Yishuv in Eretz Israel. The exhibition
focuses mainly on the first few decades of the winery's
existence which were also the most momentous years in
its history, during which a modern industrial model was
developed leading to a breakthrough in the country.
The Bezalel exhibition 'Judaica Now'!: Goblets and
Kiddush Cups of the Bezalel School"is displayed from the
contemporary artistic standpoint. In this exhibition also
some 48 exhibits of contemporary wine and Kiddush cups,
handmade by artists and designers belonging to the Bezalel
School, are displayed. The philosophy and artistic language
of the School's members, men and women, were apparent as
expressed in the holy vessels and articles. The participants in
this group show had all attended Bezalel either as students
or teachers, some served as department heads. A large
group among these artists later became the elite of leading
Judaica artists, whose creations now enrich the collections of
important museums in Israel and throughout the world.
Curators:
"Hallel. Carmel Winery": Yona Shapira
"'Judaica Now!': Wine goblets and Kiddush cups of the
Bezalel School": Dr. Shirat‑Miriam Shamir, Ido Noy
הלַלֵּ. כרמל. בצלאל
התערוכות:
הַללֵּ. יקב כרמל
'יודאיקה עכשיו!':
כוסות וגביעי יין לקידוש
של אסכולת בצלאל
שתי התערוכות עוסקות בשני מפעלים חלוציים: יקב ראשון־לציון
ובית הספר לאמנויות "בצלאל". שניהם, כל אחד בתחומו, הניחו
תשתית חומרית ותרבותית ליישוב היהודי המתחדש בארץ ישראל.
שתי התערוכות המוצגות במשולב, מציגות את נקודות ההשקה בין שני
המפעלים. העיקרית שבהן היא העובדה שתוצריהם, היין ואמנות בצלאל,
היוו סמל ליישוב היהודי המתחדש ונרכשו על ידי יהודי הגולה כמחווה
רגשית של אהבת ארץ ישראל וכתרומה למען הגשמת הרעיון של
יישובה. היקב מוצג מן הזווית ההיסטורית ואילו בצלאל מוצג מנקודת
מבט אמנותית עכשווית.
היקב היה סמל להגשמת חזון יישוב ארץ ישראל, מקור לגאווה ואבן
שואבת למנהיגי עם ועולם שנשאו עיניהם אליו וביקרו בו. התערוכה
"הלל. יקב כרמל" מבקשת להציג את החדשנות של יקב ראשון־לציון
בשנותיו הראשונות כמפעל תעשיה חקלאית מודרני הבולט במרחב
המזרח התיכון ועומד במרכז חיי הכלכלה של ראשון־לציון ומושבות
הסביבה. בתערוכה מוצגים התפתחותו, הישגיו, אתגריו, גלגוליו,
קשריו עם הגולה והשפעתו על ראשון־לציון ועל הישוב בארץ־ישראל.
עיקר התערוכה עוסק בעשורים הראשונים לקיום היקב שהיו השנים
המשמעותיות בתולדותיו שבמהלכן עוצב בו מודל תעשייתי חדשני
ופורץ דרך בארץ.
התערוכה, "׳יודאיקה עכשיו!׳: כוסות וגביעי יין לקידוש של אסכולת
בצלאל" מציגה 48 גביעי יין וקידוש עכשוויים מעשה ידיהם של אמנים
ומעצבים השייכים לאסכולת בצלאל. מהתערוכה ניבטת תפיסת העולם
ושפתם האמנותית של חברי וחברות האסכולה כפי שאלו מקבלות ביטוי
בתשמישי קדושה. משתתפי התערוכה הקבוצתית, עברו כולם בבצלאל:
בין שלמדו או שלימדו בו או בין שהובילו אותו כראשי המחלקות. חלק
נכבד מאמנים אלה נעשו לאמני היודאיקה המובילים, שיצירותיהם
מעטרות את אוספי המוזיאונים החשובים בישראל ובעולם.
אוצרים:
הלל, יקב כרמל: יונה שפירא
'יודאיקה עכשיו!': כוסות וגביעי יין לקידוש
של אסכולת בצלאל: ד"ר שירת־מרים שמיר ועידו נוי
the Elite: Jewish Daily Life in Medieval Europe at the Hebrew
University of Jerusalem, led by Prof. Elisheva Baumgarten.
Based on the group‘s research results, seven Israeli artists
created contemporary works that address the various aspects
regarding the daily life of Jewish communities in medieval
Ashkenaz. Curated by Dr. Ido Noy, the exhibition is on view
for the first time outside Jerusalem - at the Old Synagogue
Erfurt, where it will enter into dialogue with the authentic
evidence of medieval Jewish everyday life in the permanent
exhibition.
ב-1 בספטמבר 1987 נולדה חבורת הזבל בגרסתה הישראלית והיקום כפי שאנו מכירים אותו - נוצר. עבור מאות אלפי ילדי ישראל חבורת הזבל הייתה לא פחות מתופעה משנה חיים. בהרצאה מאת ד"ר עידו נוי, יסופר סיפור לידתה של החבורה בגרסתה העברית, האהבה וההתלהבות שרחשו לה ילדי ישראל וכן ההתנגדות שהיא עוררה במבוגרים - ההורים ומורי בתי הספר.
חלקה האחרון של ההרצאה יוקדש לסקירת חבורת הזבל: הסרט, שיצא לאקרנים במרץ 1988. נחשב עד היום בעיני רבים – כאחד הסרטים הגרועים ביותר בהיסטוריה.
חבורת הזבל: הסרט
כמו כל סרט בשנות ה80, גם סרט חבורת הזבל מתחיל כאשר חללית, הפעם בצורת פח זבל, נאלצת לנחות על כדור הארץ, וכמובן מוצאת את דרכה לחנות עתיקות של מנזיני. וכמו כל סרט משנות ה80 גם הסרט הזה מתחיל כאשר ילד קטן וחנון סובל מהצקות של בריונים בבית הספר.
ילד בשם דודג'ר, דחוי חברתית, מגיע לחנות עתיקות
חבורת הזבל: הסרט, שיצא לאקרנים במרץ 1988. נחשב עד היום בעיני רבים – כאחד הסרטים הגרועים ביותר בהיסטוריה. הכל מתחיל כשחללית