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New exhibition in Barbur

Downtown Jerusalem

14-05-2006

On Friday, May 12 there was the opening of the second part of the exhibition “Downtown Jerusalem” – the group show of Jerusalem-based artists working at the Jerusalem Artists Studios in Talpiot. The first part of the exhibition was opened a week ago, on May 5, in the “Yellow Submarine” club.
Artists participating in the show:
Etty Abergil,
Shai Azulai,
Dan Orimian,
Amnon Ben Ami,
Asaff Ben Zvi,
Reuben Zahavi,
Avi Sabah,
Yanai Segal,
Lihi Shulov,
Ariane Litman Cohen,
Talia Tukatli,
Yael Rubin,
Ronen Siman Tov,
Masha Zusman,
Maya Mochevski Parnas,
Miriam Niger.

Curator: Yonatan Amir.

  

The opening event in Barbur was accompanied by the fair of comics and independent music labels.

Screenings in Barbur

How I Learned to Overcome My Fear and Love Arik Sharon

09-05-2006

Thursday, May 11th, 20:30


Meeting with the film director Avi Mograbi and screening of his film
How I Learned to Overcome My Fear and Love Arik Sharon (1997)

With the 1996 election campaign approaching, director Avi Mograbi set out to make a film about Arik Sharon. To the filmmaker’s surprise, he finds Sharon extremely likable. In the course of the campaign, Mograbi sets aside his leftist political beliefs and gets surprisingly close to Sharon.

This ironic fictitious documentary tells the story of the film’s making, which turns into a domestic melodrama threaded with nightmares about Sharon and arguments with his wife. The real story is of the impossible close encounter between left and right in present-day Israel.



Screenings at Barbur

Avner Kauffmann’s Déjà Vu

30-04-2006

Thursday, May 4th, 20:30


Video Installation by Dani Gal
Avner Kauffmann’s Déjà Vu

Simultaneous screening of two films:
“Munich” by Steven Spielberg and “Sword of Gideon” by Michael Anderson

In his new film “Munich”, which was screened recently in cinemas all over the country, Steven Spielberg deals with one of the delicate issues in Israeli history – the terrorist attack during Olympic Games in Munich, 1972, in which eleven Israeli sportsmen were killed by members of terrorist group “Black September”.

The story of the movie revolves around the character of Avner Kaufmann, an Israeli military officer who is personally recruited to the mossad by then Prime Minister Golda Meir to lead the spy team who will avenge the terror attack and will kill the terrorist involved in the attack.

Twenty years ago, HBO produced a television movie about the same historical events.
The thriller film, “Sword of Gideon,” also focuses on an Israeli agent named Avner who faces a similar crisis of conscience as Spielberg’s Avner and is wracked by guilt after helping assassinate Palestinians believed to be behind the Munich slayings.

Both movies are based on the same 1984 book, “Vengeance: The True Story of an Israeli Counter-Terrorist Team” by Canadian author George Jonas. But there are some scenes in the new movie that are staged very similarly to those in the older one. For example, in recreating the bloody last moments of the Munich crisis, when Palestinians fire on Israeli Olympians held captive in a helicopter, both movies use the same camera angle — from the perspective of the hostages. And both “Sword” and “Munich” feature a noteworthy scene that doesn’t appear in the book: a shot of a pensive Avner picking up the tobacco pipe of a fallen team member in a London hotel room.

Remaking movies and directors ripping each other off is not a new phenomenon in the movie industry. Munich’s case, though, is more interesting because of Spielberg’s attempt to show his take on world terror and his original position as a Zionist Jew while, actually, making a movie that had already been done and denying even seeing it.

Through the parallel screening, a situation occurs where cinematographic mechanisms become transparent and new connections emerge. For example, some scenes in one movie function as a cinematic visualization of a dialogue in the other.

What becomes interesting are the subtle readings that arise when the two films are screened together, namely, Spielberg’s kitchified simulacra take on the representation of terror. This results in a kind of “déjà vu” that underlines society’s tendency to emotionally frame ideas of terror and justice.



Screenings at Barbur

Bridge Over the Wadi

21-04-2006

Monday, April 24, 20:30 chapters 1-2
Thursday, April 27, 20:30 chapters 3-4


documentary mini-series produced by
Tomer Heymann and Barak Heymann

In Kafr Qara, which is located in Wadi Ara, there is a school with Jewish and Arab pupils from kindergarden through fourth grade. The pupils learn in both languages and there are two teachers in each classroom – a Jew and an Arab.
Bridge Over The Wadi School seemed to spring out of nowhere in a most unlikely place. In fact, this small miracle was the result of the hard work of a dedicated group of Jewish and Arab parents, who, seeking a context for hope in light of local tensions, joined forces with Hand in Hand and pushed the proposed school plan through one obstacle after another until it was realized.

Thursday, after the screening, a talk with
Ala Khatib, Dalia Perez, Adam Yakin and parents from
The Bilingual School in Jerusalem
about
education and civil action
and the cultivation of a grassroots project for living together in Jerusalem

A Matter of Scale – workshop in Barbur

19-04-2006

On April 16 -17 we hosted in Barbur two days workshop “A Matter of Scale” by the German artists Jan Köchermann, a lecturer in Hochschule Wissenschaften, Hamburg School of Art and Design, and Yenni Tietze with the participation of students from the Art Department of Bezalel.

The aim of the workshop was to create and produce a model for a one-man show for a specific space ‐ KX Gallery in Hamburg, Germany, which is, like Barbur, run by a group of young artists.

  

Jan Köchermann has built and brought to Barbur a large model of the KX Gallery, consisting all details and refering to its unique space. The partisipants were asked to propose and build model of their own one-man show. Each model was photographed and documented from different angels.
At the end of the workshop the slideshow of all the images were shown at the presentation event in Barbur and at the end of the year the photos will be exhibited at the KX Gallery in Hamburg.

  

The regular procedure in using a model is to plan and arrange an exhibition before entering the real space. In this case, the model is replacing the gallery itself.
This will raise new questions concerning the approach to the work and it’s dimensions and also gives the possibility to play and to work with ordinary materials in a short period (and with a low budget).

The event became possible thanks to personal efforts of our dear friend Irit Hemmo, an artist and lecture in the Art Department of Bezalel.



All you didn’t want to know about
East Jerusalem
and were afraid to ask

After the third meeting

15-04-2006

Two months ago, we started a series of lectures and discussions in Barbur regarding East Jerusalem. Last Monday (April 10) we met with the lawyer Said Ghalieh and Ibtesam Terabieh, coordinator of Ataa Center (the Office for Information and Assistance for East Jerusalem Residents in matters concerning the Ministry of Interior).
The main subjects of the discussion were the 2003 law limiting citizenship and entry into Israel and issues concerning family unification and child registration in East Jerusalem.

For more information, please see:
Adalah, The Legal Center for Arab Minority Rights in Israel
Shahar Ilan’s article in “Ha’aretz”