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ÚÈ‚‰Ï È„Î Æ±π–‰ ‰‡Ó‰Ó ÏÁ‰ ¢˙ÂÈ¯„ÂÓ¢ ‚˘ÂÓ‰ ˙‡ ÂÂÎ˘ ÌÈÈ˙Â·¯˙‰Â ÌÈÈÏÎÏÎ‰
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˙ÂÈ˘Ï ‰Ï‡ ÏÎ Ï˘ ‰˜ÈÊ‰ ˙„ÈÓ· ÏÎÏ ÏÚÓÂ ¨È¯ÓÂÁÂ È˘ÂÁ ˘„Â‚·Â ÌÈÈÏËÓ¯Â‡
Â„·ÂÚ Ì‰·˘ ÁÈ˘‰ ˙Â„˘ ˙‡ ˘„ÁÓ ÔÂÁ·ÏÂ ±π–‰ ‰‡Ó‰ È‰Ï˘Ï ¯ÂÊÁÏ ÂÈÏÚ ¨‰˜Â˘˙ÏÂ
Æ‰Â˘‡¯Ï ‰Ï‡ ÌÈ‚˘ÂÓ
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Â˙ÂÚÓ˘Ó ÏÚ ÌÈÁÂÎÈÂÂ‰ Æ˙Ù¯ˆ· ¨±π–‰ ‰‡Ó‰ Ï˘ ‰Â˘‡¯‰ ˙ÈˆÁÓ· ¯·Î ˘·‚˙‰Ï
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ÌÈ„‚··Â ÌÈËÈ‰¯· ¨‰¯Á˙· ¨ÔÏ·Â‚· ˙ÂÈÈÚ˙‰ ÆÂÊ ‰‡Ó Ï˘ ÌÈÚ˘˙‰Â ÌÈÂÓ˘‰ ˙Â˘·
Æ¯ÂÈˆ‰Â ˙Â¯ÙÒ‰ ¨˙È·ÈË¯Â˜„‰ ˙ÂÓ‡‰ ÈÓÂÁ˙Ï Ì‚ ˙Ú ‰˙Â‡· ÏÁÏÁÏ ‰ÏÈÁ˙‰
Ú˜¯ ÏÚ ˙ÂÈË¯Â‡È˙‰ ÂÈ˙ÂÈÂÚÓ˘Ó·Â ËÓ¯Â‡‰ Ï˘ Â„ÓÚÓ· „˜Ó˙Ó ‰Ê ¯Ó‡Ó
‰È‚ÂÏÂÎÈÒÙ‰ ¨È¯Ë‡ÈÎÈÒÙ‰ ¯˜ÁÓ‰ Ï˘ ÁÈ˘‰ ˙Â„˘ ˙‡ ˘È‚Ù‰˘ ÈÂÈÚ¯‰ ˙ÓÂˆ‰
˙ÂÈ˘ ¨ËÓ¯Â‡ ÔÈ· ‰˜ÈÊ‰ È¯˘˜ Â„ÏÂ ÂÊ ˘‚ÙÓ ˙„Â˜ ÍÂ˙Ó Æ‰˜ÈË˙Ò‡‰Â ˙È˙ÒÈÙ˙‰
¯Â˜ÓÎ ‰Î¯Ú‰· ÂÎÊÂ ˙ÂÈ˙ÂÎ‡ÏÓÂ ‰ÈÏ˘‡ ÌÈ‚˘ÂÓÏ Ì‚ Â¯˘˜ Ì‰ Ì˘ÓÂ ˙È˘ ˙ÂÈÈÓÂ
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˙È˘‰ ˙»¯Á‡‰ ˙‡ ˙ÈÂÂ˘ÎÚ Ë·Ó ˙„Â˜Ó ¯È‡Ó‰ ÔÙÂ‡· ¨˜ÂÁ¯‰ Á¯ÊÓ‰ÓÂ ÌÈÈÈ·‰ ÈÓÈÓ
ËÓ¯Â‡Ï ÂÂÏ˘ ˙ÂÂÎ˙ Ô˙Â‡ ¨‰‡¯˘ ÈÙÎ Æ˙È˙Â·¯˙ Â‡ ˙È¯ÂËÒÈ‰ ˙∆Â¯Á‡Ï ‰ÏÈ·˜ÓÎ
ÌÈ‚˘ÂÓ Ï˘ ‰ÈˆÊÈ‚ÂÏÂ˙Ù‰ ÍÈÏ‰˙Ï Â‡È·‰˘ ‰Ï‡ Ì‚ ÂÈ‰ È˙¯ÈˆÈÂ È·ÂÈÁ ¯˘˜‰· ˙ÂÈ˘ÏÂ
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ÔÈ· ˙‡Ê‰ ‰„È¯ËÓ‰ ˙È¯ÂËÒÈ‰‰ ‰˜ÈÊ‰ Ú˜¯ ÏÚ Æ˙ÈÏÂÈˆ¯ ˙È¯·‚ ‰ËÈÏ˘Ï ÌÙÈÙÎ‰Ï ˘È˘
˙Á· ‡È‰ Â·˘ ÔÙÂ‡‰ ˙‡ ˘„Á ¯Â‡· ¯È‡‰Ï ¯˘Ù‡ ±π–‰ ‰‡Ó· ËÓ¯Â‡Â ˙ÂÈ˘
Æ‰ÎÂ¯Ú˙· ˙ÂÙ˙˙˘Ó‰ ˙ÂÈÂÂ˘ÎÚ‰ ˙ÂÈÓ‡‰ Ï˘ Ô˙„Â·Ú·
Ï˘ ˙ÈË¯Â‡È˙‰Â ˙È¯ÂËÒÈ‰‰ ˙Â·Î¯ÂÓÏ ÒÁÈÈ˙‰Ï ÏÎÂ‡ ‡Ï ‰Ê ¯ˆ˜ ÔÂÈ„·˘ ÔÂÂÈÎÓ
ËÓ¯Â‡‰ Ï˘ Â˙Â‰Ó ‰¯˜Á Â·˘ ÔÙÂ‡‰ ˙‡ ˙ÂˆÓ˙ Ï˘ Í¯„· ˙ÂÂ˙‰Ï ˘˜·‡ ¨‡˘Â‰
˙Â¯ÓÏ Æ±π–‰ ‰‡Ó‰ Ï˘ ÌÈÂ¯Á‡‰ ÌÈ¯Â˘Ú· ˙ÂÚ„ È‚Â‰Â ÌÈ¯˜ÂÁ ‰ÓÎ Ï˘ Ì˙„Â·Ú·
ÂÁÂÎ·˘ Ì¯Â‚Î ËÓ¯Â‡‰ ˙‡ ÌÈ¯È„‚Ó ‰Ê ‡˘Â· Â˜ÒÚ˘ ÌÈ¯˜ÂÁ‰ ÏÎ ¨Ì‰ÈÈ· ÌÈÏ„·‰‰
–È˙Ï· ˙Â˜Â˘˙Â ÌÈÙÁ„ Ï˘ Ì˙Â¯¯ÂÚ˙‰ ÏÚ ÚÈÙ˘‰ÏÂ ˙ÂÈ˘‚¯Â ˙ÂÈ˘ÂÁ ˙ÂÈÂÂÁ ˙Â˘Ï
Æ˙ÂÚÓ˘Ó ¯ÒÁÂ ÈÁË˘ ËÂ˘È˜ Ï‡Î ËÓ¯Â‡‰ Ï‡ ÒÁÈÈ˙‰ ‡Ï Ì‰Ó ˘È‡ ÆÌÈÚ„ÂÓ
±∏∏µ ¨ËÙË ¨¯‡ÈÈÂÂ˘≠‰ÈÈÏ‡ÂÂ˘ ‰Ï
La Revue des Arts Décoratifs ÍÂ˙Ó ÂÈÏÂÙË¯ÂÙ
˙Â˘· ‰ÊÂÙÈ‰Â ‰ÈËÒ‚ÂÒ ÏÚ ÌÈÈÈÏ˜ ÌÈ¯˜ÁÓ· ÈÂËÈ· È„ÈÏ ‡· ËÓ¯Â‡· ˜ÂÒÈÚ‰
Â˜¯‡˘ ÔÈË¯Ó Ô‡ßÊ Ï˘ Ì˙„Â·Ú· „ÁÂÈÓ· ËÏÂ· ‰Ê ÔÈÈÚ Æ±π–‰ ‰‡Ó‰ Ï˘ ÌÈÚ˘˙‰
¨˙Ù¯ˆ· ˙È‡È„ÈÂ¯Ù–‰Œ¯Ù‰ ‰È¯Ë‡ÈÎÈÒÙ‰ ÌÂÁ˙· ÌÈˆÂÏÁ Ì‰È˘ ¨ÌÈÈ‰¯· ËÈÏÂÙÈ‰Â
¯˜ÁÓÂ ¨ËÓ¯Â‡ ¨ÌÈÙ ·ÂˆÈÚ ÔÈ· ¯·ÈÁ „ÁÂÈÓ· Â˜¯‡˘ Æ‰˜ÈË˙Ò‡· Ì‚ ÔÈÈÚ˙‰Ï Â·¯‰˘
Ë·Ï˙‰ ¨ÌÈÈËÂ˘È˜ ÌÈ·ÈËÂÓ ¯ÈÈˆÏ Â˙Â„ÏÈÓ ÔÓÂ‡˘ ˙Â¯Î¯Î ‰Â· Ï˘ Â·Î ÆÈ‚ÂÏÂ˙ÙÂÎÈÒÙ
˙ÂÈ·ˆÚ ˙ÂÏÁÓÏ ‰ÁÓÂÓÏ ÍÙ‰ ¯·„ Ï˘ ÂÙÂÒ·Â ¨‰‡ÂÙ¯ È„ÂÓÈÏÏ ˙ÂÓ‡ È„ÂÓÈÏ ÔÈ· Â˜¯‡˘
ÂÁ‰ È˙ÂÊÁ ·ÂˆÈÚ· ˙Â¯Â˘˜‰ ˙ÂÈ‚ÂÒ ≤ÆÊÈ¯Ù·˘ ¯ÈÈ¯ËÙÏ‡Ò ‰Ï ÌÈÏÂÁ‰ ˙È·· ‰È¯ËÒÈ‰ÏÂ
˙ÈÓÂÏÈˆ‰ ‰ÈÙ¯‚ÂÂ˜È‡· „ÁÂÈÓ· ÈÂËÈ· È„ÈÏ Â‡·†Ô‰Â ˙ÈÈÏ˜–˙ÈÂÁ·‡ ‰Ù˘ ˙ÈÈ·· Â˙Â‡
≥Æ‰È¯ËÒÈ‰‰ ˙ÏÁÓÏ Á˙ÈÙ˘
‰ÊÎ¯˙‰ ‰ÁÂÒÈ· Û˙˙˘‰ Â˜¯‡˘˘ ®psychologie nouvelle© ¢‰˘„Á‰ ‰È‚ÂÏÂÎÈÒÙ¢‰
Ï˘ È·ˆÚ ÌÈÙ Â˙Â‡ — (chambre mentale©†¢ÈÏËÓ‰ ÏÏÁ¢‰ ‡¯˜˘ ‰Ó Ï˘ ¯˜ÁÓ·
ÏÎÏ ‰·È‚Ó‰ ¨ÂÊ ÌÈ·ˆÚ ˙Î¯ÚÓ Æ‡Â˘Ó ‰ÏÂ„‚ Â˙Â˘È‚¯˘ È¯„ÂÓ‰ È˘Â‡‰ ÌÊÈ‚¯Â‡‰
˘È„˜‰ Â˜¯‡˘ ÆÈ˘‚¯ ÈÂ¯È‚ Ï˘ ÌÈÂ˘ ÌÈ‚ÂÒÏ „ÁÂÈÓ· ‰˘È‚¯Î ‰ÒÙ˙ ¨ÈÂˆÈÁ ÈÂ¯È‚
˙¯ÈˆÈÏÂ ˙ÈËÂÙÈ‰ ‰ÈËÒ‚ÂÒÏ ÌÈ¯Â˘˜ ÌÈÈÏ‡ÂÊÈÂ ÌÈÈÂÓÈ„ ‰·˘ Í¯„Ï ˙„ÁÂÈÓ ·Ï ˙ÓÂ˘˙
·Ï ˙ÓÂ˘˙ Â˘È„˜‰˘ ÌÈÂ˘‡¯‰ ÌÈ‡ÙÂ¯‰ „Á‡ ‰È‰ Ì‚ ‡Â‰ ÆÌÂÏÁ ÈÈÂÓ„ ÌÈÈÂÊ‰ ÌÈ·ˆÓ
ÌÈ¯¯ÂÚ˙Ó‰ ÌÈÈÏËÓ‰ ÌÈÈÂÓÈ„‰ Ï˘ ‰ÓÈ¯Ê‰ ÈÙÂ‡ÏÂ ‰ÈÊ‰ È·ˆÓ Ï˘ ˙ÂÈ˙ÂÊÁ‰ ˙ÂÂÎ˙Ï
ÈÏËÓ‰ ÏÏÁ‰ ˙‡ ˙ÈÈÙ‡Ó‰ ‰ÓÈ¯Ê‰ ÔÈ·˘ ÔÈÏÓÂ‚‰ ÈÒÁÈ ÏÚ ÚÈ·ˆ‰ Â˜¯‡˘ ÆÂÏ‡ ÌÈ·ˆÓ·
‰·È·ÒÎ Â„È ÏÚ ÒÙ˙ ˙È·‰ ÌÈÙ Æ˙È·‰ ÌÈÙ Ï˘ ¯ËÂÚÓ‰ ÈÊÈÙ‰ ÏÏÁ‰ Ï˘ ˙ÂÈÓÈ„‰ ÔÈ·Ï
‰·È·Ò ¨˙È¯„ÂÓ‰ ¯ÈÚ‰ Ï˘ ˙ÂÈ˘ÂÁ‰ ˙ÂÈÂÂÁ‰ ˘„Â‚Ó Ì„‡‰ ˙‡ ‰ÚÈ‚¯Ó‰ ˙‚ÂÓ
‰Ê ÔÙÂ‡· ÆÌÈÂ˘ ÌÈÈÏËÓ ÌÈ·ˆÓ ¯¯ÂÚÏ ÈÏËÓ¯Â‡‰ ¯ÂËÈÚ‰ ÏÂÎÈ ‰ÎÂ˙·˘ ˙ÈÏÈ„È‡
‰ÊÏ ‰Ê ÌÈ¯Â˘˜Î ˙È¯„ÂÓ‰ ˙ÂÈ·ÈË˜ÈÈ·ÂÒ‰Â È¯„ÂÓ‰ ÈÂË˜ËÈÎ¯‡‰ ÌÈÙ‰ Ô‡Î Â„ÎÏ˙‰
¥Æ‰˜Â„‰ ‰˜ÈÊ·
ıÓÂ‡˘ ‚˘ÂÓ ¨ÌÊÈ˘ÈËÙ‰ ˙Â„Â‡ ÏÚ ¯˜ÁÓ· Ì‚ ÈÊÎ¯Ó „È˜Ù˙ ‡ÏÈÓ ËÓ¯Â‡‰
˙¯·Ú‰ ¯‡˙Ï ˙Ó ÏÚ ˙ÈËÈÏ‡ÂÎÈÒÙ–‰¯Ù‰ ‰·˘ÁÓ‰ ÌÂÁ˙· ÂÊ ‰ÙÂ˜˙· ‰Â˘‡¯Ï
ÔÈ· ¯˘˜‰ ˙‡ ÔÁ·˘ ÌÈ¯˜ÂÁ‰ „Á‡ µÆÌÈÓÓÂ„ ÌÈˆÙÁ ÈÙÏÎ ÌÈÈËÂ¯È‡ ˙Â˘‚¯Â ˙Â˜Â˘˙
˙È·· ÌÈÈ˙˘ „ÓÏ˘ ¯Ë‡ÈÎÈÒÙ ¨Â·ÓÂ¯Ï˜ ‰„ ÔËÈÈ‡‚ ‡Â‰ ËÓ¯Â‡Â ÌÊÈ˘ÈËÙ
˙ÂÙÈ‰ ˙ÂÈÂÓ‡Ï ¯ÙÒ‰ ˙È·· ‰ˆ¯‰Â (Ecole des Arts Décoratifs) ˙ÂÈ˘ÂÓÈ˘†˙ÂÈÂÓ‡Ï†¯ÙÒ‰
˙ÂÈËÈÈˆÙ ÏÚ Â¯˜ÁÓ· ÆÌÈ˘ È„‚·· „·‰ ÈÏÙ˜ ·ÂˆÈÚ ‡˘Â· (Ecole des Beaux Arts)
Â· Ô‰Ï˘ ‰ÚÈ‚·Â „·· ÂÂ·˙‰ Ô‰˘ ÔÙÂ‡· Â·ÓÂ¯Ï˜ ÔÈÁ·‰ ˙ÂÈÓÂËÙÏ˜Â ˙ÂÈ¯ËÒÈ‰
‰ÏÂÚ Â·ÓÂ¯Ï˜ Ï˘ Â¯˜ÁÓÓ Æ˙ÈÈÓ ‰ÈÈËÒÎ ÔÁ·È‡ ‡Â‰˘ ‰ÚÙÂ˙ ¨˙ÈËÂ¯‡ ˙ÂÈ·ÈÒËÈ‡·
˙ÂÈÏÂ˜Â ˙ÂÈÏ‡ÂÊÈÂ ˙ÂÈÂÂÁ ¨¯ÓÂÏÎ ¨˙ÂÈË˙Ò‡ÈÒ ˙ÂÈÂÂÁ ˙¯¯ÂÚÓ Ì‚ „·· Ú‚Ó‰ ˙˘ÂÁ˙ ÈÎ
∂ÆÏÈÏˆÂ Ú·ˆ Ï˘
·Ë˜Â‡ Ï˘ ÂÈ·˙Î· ¯˙ÂÈ ÁÈÎ˘ ÈÂËÈ· ‰Ï·È˜ ËÓ¯Â‡ ÏÚ ÈËÂ¯‡ ˘‚¯ Ï˘ ‰ÎÏ˘‰‰
˙Â¯ÙÒ· ¨˙ÂÓ‡· ‰˙ÚÙÂ‰ ˙‡ ¯˜Ò Â·Â ¨‰ÙÈÓ‰ ÏÚ ÛÈ˜Ó ¯˜ÁÓ ÔÊÂ‡ ÌÒ¯ÈÙ ±∏∏≤≠· ∑ÆÔÊÂ‡
ÔÂ˘‡¯‰ ‰È‰ ‰ Ù È  Ó ‰ Æ˙È¯„ÂÓ‰ ˙Ù¯ˆ „ÚÂ ‰˜È˙Ú‰ ÌÈ¯ˆÓÓ ÏÁ‰ ¨‰È¯ÂËÒÈ‰·Â
˙Â·È˘Á È¯ÒÁ ÌÈˆÙÁ ÏÚ ÂÎÈÏ˘‰ ¯˘‡ ¨ÌÈÈ˘ ÈÂ ÈˆÙÁÏ Â„ÁÂÈ˘ ÌÈ¯˜ÁÓ Ï˘ ‰¯Â˘·
‡˘ÂÓ ˙‡ ÌÈÈËÂ˘È˜ ÌÈË¯ÙÂ ÌÈË˜ÈÈ·Â‡ Â¯ÈÓ‰ Ô‰·˘ ˙ÂÈËÒÈ˘ÈËÙ ˙ÂÈÊËÙ ‰¯Â‡ÎÏ
ÆÈ˘‰ ‰˜Â˘˙‰
±∏µ≥ ¨‰ÈÊ‰ ·ˆÓ· ÌÂ˘È¯ ¨Â˜¯‡˘ ÔÈË¯Ó Ô‡ßÊ
±π–‰ ‰‡Ó‰ ¨˙Ù¯ˆ ¨ÈÈË‡˘ ˙¯Á˙ ¨‰ÙÈÓ
6
ÂˆÁÂ ËÓ¯Â‡‰ Ï˘ ‰˘„Á ˙ÈË˙Ò‡ ‰·‰ ÁÂ˙ÈÙÏ ÂÓ¯˙˘ ˙ÂÈÊÎ¯Ó‰ ˙ÂÈÂÓ„‰ ˙Á‡
ÏÂÙ ‰È‰ È¯Ë‡ÈÎÈÒÙ‰ ¯˜ÁÓ‰ ÔÈ·Ï ˙ÂÈ·ÈË¯Â˜„‰ ˙ÂÈÂÓ‡‰ ÔÈ· ÌÈ„È¯ÙÓ‰ ˙ÂÏÂ·‚‰ ˙‡
ÌÈÈ‰¯· Ï˘ ˙ÂÈ¯Â‡È˙‰Ó ÚÙ˘Â‰ ÂÈ¯ÂÒ ÆÈÒ‡ ˙ËÈÒ¯·ÈÂ‡· ‰˜ÈË˙Ò‡Ï ¯ÂÒÙÂ¯Ù ¨ÂÈ¯ÂÒ
˙Â„ÏÈ ˙ÂÂ¯ÎÈÊ ¯¯ÂÚÏ ÌÈÈÏËÓ¯Â‡ ÌÈË¯Ù Ï˘ ÌÁÂÎ· ÊÎ¯˙‰Â ‰ÈËÒ‚ÂÒÂ ‰ÊÂÙÈ‰ ÏÚ
¨ÂÈ¯ÂÒ ÈÙ ÏÚ ¨ÈÙÂÈ‰ ÆÒ‡¯Ë ÂÏÈÙ‡Â ¨‰ÈÊ‰ ¨˙ÂÓÏÂÁ Ï˘ ÌÈ·ˆÓ ¯ÂˆÈÏÂ ¯·Ú‰ ÔÓ ÌÈÈÂÓÈ„Â
‡Â‰˘ ÈÙÏ ˙È·ˆÚ‰ ˙Î¯ÚÓ‰ ˙‡ ‰¯‚Ó˘ ÌÒ ÂÓÎ Ë˜ÈÈ·ÂÒ‰ Ï˘ ÂÈ˙Â˘ÂÁ˙ ÏÚ ÏÚÂÙ
ÒÁÈÈ˙‰ ‡Â‰ Æ‰‡Â‰Â ÚÂ˙Ú˙ Ï˘ ˙ÂÈÂÂÁÏ Â˙·È˙Î· Â¯˘˜ ËÓ¯Â‡Â ÌÈ˘ ∏Æ‰˙Â‡ ÚÈ‚¯Ó
˙Ó‡ ÂÈ¯ÂÁ‡Ó ˙¯˙˙ÒÓ ‡Ï˘ ‰ÈÊËÙ ˙¯˜‰Ï ÍÒÓ ¨ÈÁË˘ Ë˜Ù‡ ÈÏÏÂÁÓ Ï‡Î Ì‰ÈÏ‡
‰ÈÒÒ·Â‡Â ‰„¯Á ¯¯ÂÚÏ ÈÂ˘Ú ËÓ¯Â‡˘ ÍÎ· ÂÈ¯ÂÒ ¯ÈÎ‰ ˙‡Ê „·ÏÓ πÆÈ‰˘ÏÎ
±∞ÆÔÂÚ‚È˘Ï ÏÈ·Â‰Ï ‰ÏÂÏÚ ˙ÂÈÊËÙ· ‰¯˙È ˙Â˜ÒÚ˙‰˘Â
Ï˘ ÌÈ¯Ó˘ ˙Â·¯˙ È¯˜·Ó È„È ÏÚ ‰·Á¯Â‰ ËÓ¯Â‡‰ Ï˘ ÈÒ¯‰‰ ÁÂÎ· ˙Â˜ÓÚ˙‰‰
¯Ë‡ÈÎÈÒÙ ‰È‰˘ ÈÂÈˆ‰ ˙ÂÚ„‰ ‰‚Â‰ ¨Â‡„¯Â Ò˜Ó Ì‰·Â ®fin-de-siècle© ‰‡Ó‰ ¯·ÚÓ
‰ÚÈ˜˘ÏÂ ¢È‡¢‰ ˙Â¯¯ÂÙ˙‰Ï ÔÓÈÒ ÌÈÈÏËÓ¯Â‡ ÌÈË¯Ù· ˜ÂÒÈÚ· ‰‡¯˘ ¨ÂÚÂˆ˜Ó·
˙ÂÈÏÂÈˆ¯–È‡ ˙ÂÈÂÂÁÏÂ ‰ÈÒ¯‚¯Ï ¨Ú„ÂÓ–˙˙Ï ˙ÂÈËÂ˘È˜ ÔÈ·˘ ‰˜ÈÊ‰ Æ˙È¯ÂËÒÈ‰Â ˙È˙Â·¯˙
ÆÌÈÈ·ÈËÈÓÈ¯Ù ÌÈÙÁ„ ÌÚ Ì‚ ‰ÈÂ‰ÈÊÏ ‰Ó¯‚
˙ÂÈ˙¯ÈˆÈ ˙ÂÈÂÂÁÏ ¯Â˜ÓÎ Ô‰ ˙ÂÈËÂ˘È˜‰ ‡ÂÙ‡ ‰˘¯ÂÙ ±π–‰ ‰‡Ó‰ ÏÎ Í˘Ó·
‰‰ÓÎ ËÓ¯Â‡‰ Ï˘ ÈÎ¯Ú–Â„‰ Â„ÓÚÓ ÆÈÏÂÁÏÂ ˙Â¯¯ÂÙ˙‰Ï Ì¯Â‚Î Ô‰Â ˙Â„ÂÚÓ
ÍÂ˙· ÂÓÂ˜Ó ˙‡ ¯È„‚‰˘ ‰Ê ‡Â‰ ˙Á‡ ‰ÂÚ·Â ˙Ú· ÈÒ¯‰ÎÂ È˙¯ÈˆÈÎ ¨ÔÎÂÒÓÎÂ
È„Î „Ú ¨ËÓ¯Â‡‰ Ï˘ ˙ÈÏÈÏ˘‰Â ˙ÓÈÈ‡Ó‰ ‰ÚÙ˘‰‰ ‰ÓˆÚÂ‰ ≤∞–‰ ‰‡Ó· Æ˙ÂÈ¯„ÂÓ‰
‰˜ÈË˙Ò‡‰ ˙‡ „È¯Ë‰Ï ‰ÎÈ˘Ó‰ ÂÏ˘ ÌÈ‡Ù¯‰ ÁÂ¯ Ì‡ Ì‚†—†ı¯Á ¢Ú˘Ù¢Î Â˙ÒÈÙ˙
Æ‰È˙ÂÎÂÙ‰˙ ÏÎ ÏÚ ˙ÈËÒÈ¯„ÂÓ‰
†˙Â¯Ú‰
∫±π≥π†˙˘·†¯Â˜Ó·†ÌÒ¯ÂÙ˘†¨¢„¯‡‚ÂÂ‡Â†˘ËÈ˜¢ ∫‚¯·È¯‚ ËÓÏ˜ Ï˘ Â¯Ó‡Ó ß¯
±
Clement Greenberg, “Avant-garde and Kitsch,” in Art and Culture ( Boston: Beacon Press, 1978).
∫ß¯ ¨Â˜¯‡˘ ÏÚ ˙ÂÈÙ¯‚ÂÈ·‰ ˙Â¯Ú‰‰ È·‚ÏÂ ‰Ê ¯˘˜‰·
≤
Deborah Silverman, Art Nouveau in Fin-de-Siècle France (Berkeley: California University
Press, 1989), pp. 75-106.
Georges Didi-Huberman, L’Invention de l’hysterie ∫ÔÓ¯·Â‰ Ï˘ Â¯ÙÒ ß¯
Charcot et l’iconographie photographique de la Salpétrière (Paris: Editions Macula, 1982).
≥
ÆÌ˘ ¨ÔÓ¯·ÏÈÒ †¥
†µ
†∂
Alfred Binet, “Le Fétishisme dans l’amour,” Revue Philosophique 24, 1887, pp. 142-167.
Rae Beth Gordon, Ornament, Fantasy and Desire in Nineteenth Century French Literature
(Princeton: Princeton University Press, 1992), pp.237-238.
Octave Uzanne, L’Eventail (Paris: A. Auntin, 1883)
±π∞±–Ó L’Imagination de l’artiste ÂÈ¯ÙÒ ˙‡ ÔÎÂ La Suggestion dans l’art ±∏π≥–Ó ÂÈ¯ÂÒ Ï˘ Â¯ÙÒ ß¯
Æ±π∞¥–Ó La Beauté Rationelle≠Â
†∑
†∏
∫®±ππ∑© ¨‰È·ÓÂÏÂ˜ ˙ËÈÒ¯·ÈÂ‡ ¨‰Ï˘ Ë¯ÂË˜Â„‰ ˙„Â·Ú· ÂÈ¯ÂÒÏ ËÏ·ÊÂ¯ ‰È Ï˘ ‰˙ÂÒÁÈÈ˙‰ ß¯ †π
Photogenic Neurasthenia: Aesthetics, Modernism and Mass Society in France, 1889-1929
7
ÆÔÂ„¯Â‚ Ï˘ ‰¯ÙÒ· ÂÈ¯ÂÒ Ï˘ Â˙·È˙Î· ÂÏ‡ ÌÈ·ÈËÂÓÏ ˙ÂÒÁÈÈ˙‰‰ Ì‚ ß¯ †±∞
±∑µÆµ x ±∂µ ¨„· ÏÚ ‚È¯‡Â ˜ÈÏÈ¯˜‡ ¨±π∏∞ ¨ Ô „ Ú Ô ‚ ¨Â¯ÈÙ˘ ÌÈ¯Ó
8
ÌÈË˜‰ ÌÈË¯Ù‰ È‰ÂÏ‡
ÔÓÈ¯Ù≠ıÎ ÈÓ˙
9
Æ˙ÎÂÂ˙Ó È˙Ï·Â ˙È˙ÈÈÂÂÁ Ô‰· ‰ÈÈÙˆ‰ ¨ÌÈÏÈÓ Ô‰· ¯È·Î‰Ï Í¯Âˆ ÔÈ‡˘ ˙ÂÎÂ¯Ú˙ ˘È
È˘ÂÁ‰ ÚÙ˘‰Â ˙ÂÙÈÙˆ‰ ¨˙ÂÏÓÚ‰ ¨ÈÂÚ·ˆ‰ ˘„Â‚‰ Æ˙‡ÊÎ ‰ÎÂ¯Ú˙ ‡È‰ Ë Ù ¯ ˜ ¯ · Â ‡
·È‰¯Ó ÈÙÂÈ Ï˘ ÌÈË˜Ù‡· ‰ÙÂˆ‰ ÔÈÚ ˙‡ ÌÈË‚ÓÓ ‰· ˙Â‚ˆÂÓ‰ ˙Â„Â·Ú‰ ˙‡ ÌÈÈÈÙ‡Ó‰
¯·Ú· ˜Á„˘ ‰Ó ˙‡ ‰Ó·‰ ÊÎ¯Ó Ï‡ ˙Â‡È·Ó ‰ÎÂ¯Ú˙· ˙ÂÙ˙˙˘Ó‰ ˙ÂÈÓ‡‰ ÆÈÂ‚ÒÒÂ
Ï˘ ÔÓÏÂÚÏ ˜‰·ÂÓ ÔÙÂ‡· ÍÈÈ˙˘‰Â ‰Èˆ¯Â˜„‰Â ˘ËÈ˜‰ ˙ÂÊÂÁÓ Ï˘ ÌÈ˙ÂÁ‰ ÌÈÈÏÂ˘Ï
¯·Ú· ·˘Á˘ ‰Ó ˙‡ ˙ÂÓÓÂ¯Ó Ô‰ ‰Ò¯˙‰Â ˙Â‚Ú˙‰ ¨‰ÓˆÚ‰ ˙˘ÂÁ˙ ÍÂ˙Ó ÆÌÈ˘
ÆÌÈ˘„Á ÔÎÂ˙Â ˙ÂÚÓ˘Ó ÂÏ ˙Â˜ÈÚÓÂ ¢ÈË˙Ò‡ Ú˘Ù¢Ï
ÂÁ‡¢ ¯‚Â¯˜ ‰¯·¯· ˙È‡˜È¯Ó‡‰ ˙ÈÓ‡‰ Ï˘ ‰˙Ò¯˙‰ ÏÚ ˙ÈÂ¯È‡ ‰Ê¯Ù¯Ù·
˙‡ ¨ËÂ˘È˜‰Â ¯ÂËÈÚ‰ ‰˘ÚÓ ÌˆÚ ˙‡ ‰Ï‡ ˙ÂÈÓ‡ ˙Â˘¯ÂÙ ¨¢ÌÈÈÁ‰ ˙‡ ÌÎÏ ˙ÂË˘˜Ó
‰ÂÂ‡¯Ï ˙Â‚ÈˆÓÂ Ô˙¯ÈˆÈ· ˙È˘‡¯ ‰˜ÈË˜¯ÙÎ ˙ÂÈ·ÈÒÒ·Â‡‰ „È‰ ˙ÂÎ‡ÏÓ ˙‡Â ˙ÂÏÓÚ‰
˙¯Â˜È· Â·ÂÁ· ÔÓÂË ˙Á‡ ‡Ï˘ ¨ÏÓÚ ¯È˙Ú ¨ÈÈÈ˙Ù ÈÙÂÈ ¨˙ÂÏˆ˙‰ Â‡ ‰˘Â· ¯ÒÁ ÈÙÂÈ
Æ˙ÈÎ˘
ÈË¯Â‡È˙‰ ÁÈ˘‰ ÊÎ¯ÓÏ ¢ÈÙÂÈ¢ ‚˘ÂÓ‰ ¯ÊÁ ¨‰ÎÂ¯‡ ˙Â¯„ÚÈ‰ ¯Á‡Ï ¨˙ÂÂ¯Á‡‰ ÌÈ˘·
∫‰Ê ÔÈÈÚ· Á˙ÙÓ ˙ÂÎÂ¯Ú˙ È˙˘ ˙È¯·‰ ˙Âˆ¯‡· Â‚ˆÂ‰ ±πππ–· Æ˙ÈÂÂ˘ÎÚ‰ ˙ÂÓ‡‰ Ï˘
‰ ‡ Ó ‰ Û Â Ò Ï Ú Ë · Ó ∫ È Ù Â È ‰ Ô È È  Ú · ¨ÔÂË‚È˘ÂÂ· Ô¯Â‰˘¯È‰ ÔÂ‡ÈÊÂÓ· ˙Á‡‰
˙¯˙ÂÎ‰ ˙Á˙ ¨‰„È¯ÂÏÙ ÌÂ¯„· ‰ÙÓË ˙ËÈÒ¯·ÈÂ‡ Ï˘ ÔÂ‡ÈÊÂÓ· ¨‰ÈÈ˘‰Â ¨ Ì È ¯ ˘ Ú ‰
˙‡ ±Æ Ï È È Ë ˜ Â ˜ Ì Ú ˘ ‚ Â Ó È ˙ ¯ · Á ‰ · Á ¯ Ó ‰ Ï ˘ Â · Â ˘ ∫ Ï Ú ≠ Ô È Ï ˜ ¯ Ë
˙ÂÓ‡‰ ÌÏÂÚ· ÌÈËÏÂ·‰ ÌÈ˜ÈË¯Â‡È˙‰ „Á‡ ¨È˜È‰ ·ÈÈ„ ¯ˆ‡ ‰ÈÈ˘‰ ‰ÎÂ¯Ú˙‰
≤Æ‰Ó·‰ ÊÎ¯Ó Ï‡ ‰¯ÊÁ ¢ÈÙÂÈ¢‰ Ï˘ ÂÎ¯„ ˙‡ ÏÏÒ ÂÈ¯ÙÒ·Â ÂÈ¯Ó‡Ó·˘ ¨È‡˜È¯Ó‡‰
˘„ÁÓ ‰ÏÚÓÂ ˙‚ÚÓ‰ ˙È˘ÂÁ‰ ‰ÈÈÂÂÁ‰ ˙‡ ‡È‰ Û‡ ‰ÏÈÚÙÓ Ë Ù ¯ ˜ ¯ · Â ‡
˙ÂÓ‡‰ ÁÈ˘ ÍÂ˙ÓÂ ÏÏÎ· ÈËÒÈ¯„ÂÓ‰ ÁÈ˘‰ ÍÂ˙Ó Â¯„Â‰˘ ÈÙÂÈ· ÌÈ¯Â˘˜‰ ÌÈ‚˘ÂÓ
Í˘Ó· ‰È‰ ®¢È·ÈË¯ËÒÂÏÈ‡¢Â ¢˘ËÈ˜¢ „ˆÏ© ¢È·ÈË¯Â˜„¢ ÈÂÈÎ‰ ≥ÆË¯Ù· ÈÏ‡¯˘È–ÈÓÂ˜Ó‰
ÌÊÈ¯„ÂÓ‰ Ï˘ ÌÈ·Â˙Î È˙Ï·‰ ÌÈ˜ÂÁ‰ ¯ÙÒ· ÌÈ¯Â‚˘‰ ÌÈÈÂÈ‚‰ „Á‡ ˙Â·¯ ÌÈ˘
„„Èˆ˘ ÈÓÂ˜Ó‰ È˙‡‰ „Â˜· È‡‚ Ì˘Ï ¢‰ÙÈ¢ ¯‡Â˙‰ Ì˘ Ì‚ ·˘Á ¯·ÎÓ ‡Ï „Ú ÆÈÏ‡¯˘È‰
¯„Ò ÏÚ ˘„ÁÓ ‰ÏÚÓ Ë Ù ¯ ˜ ¯ · Â ‡ Æ˙ÂˆÓ˙Â ˙ÂÏ„ ¨˙ÂÙ‚Ò ¨ÔÂÊ¯ ¨˙ÂÎÒÁ ¨‰Èˆ˜Â„¯·
˙‡ ˙‚‚ÂÁÂ È·ÈÒÒ·Â‡‰Â ÈÏËÓ¯Â‡‰ ¨È·ÈË¯Â˜„‰ ¨‰ÙÈ‰ ˙Â„Â‡ ÏÚ ¯Â·È„‰ ˙‡ ÌÂÈ‰
Æ‰Ï‡ ¯‡Â˙ ˙ÂÓ˘ Ï˘ È‡‚‰ ˙ÂÈÂÂ˙‰Ó ¯Â¯Á˘‰ ˙ÁÓ˘
˙Â˘ Ï˘ ÈËÒÈÈÓÙ‰ Ï‚· ÌÈ‚ÂÚÓ Ë Ù ¯ ˜ ¯ · Â ‡ Ï˘ ÌÈÈ¯ÂËÒÈ‰‰ ˙Â¯Â˜Ó‰
‰ÈÈ˘Ú ˙Â·¯˙ Ï˘ ‰ÓÂ˜È˘· Â˜ÒÚ˘ ÌÈ˘ Ï˘ ˙ÈÏ˜È„¯ ˙ÂÓ‡· ¨˙ÂÓ„˜ÂÓ‰ ÌÈÚ·˘‰
¢˙Â˙Â‰Ó¢ ˙ÂÎÏ Ï·Â˜Ó˘ ‰Ó ˙‡ ÁÒÏÂ ‰·ÈÏ ÈÈÂÓÈ„ ˜˜ÊÏ ‰ÙÈ‡˘ ÍÂ˙Ó ˙È˙¯ÂÒÓ ˙È˘
‡Ë·Ï ÂÏÁ‰ Â¯ÈÙ˘ ÌÈ¯ÓÂ Â‚˜È˘ È„Âß‚ ¨‚È„ÏÂÂÂ ÒÈÈÙ ¨„ÂÓ‡‰ ÈÂÓ¯‰ ÂÓÎ ˙ÂÈÓ‡ Æ˙È˘
Æ¢È„Ó ÌÈÈ˘¢ Ì˙ÂÈ‰· È¯·‚‰ ˙ÂÓ‡‰ ÌÏÂÚ ÈÈÚ· ÌÈ˙ÂÁÏ Ê‡ „Ú Â·˘Á˘ ÌÈ¯Â˘ÈÎ
ÌÈ˘ ≥π–Ï ‰ÂÂÁÓ — ®±π∑π≠±π∑¥© · ¯ Ú ‰ ˙ „ Â Ú Ò Â‚˜È˘ È„Âß‚ Ï˘ ˙Ú„Â‰ ‰˙¯ÈˆÈ
ÔÁÏÂ˘ Æ˙È˘‰ ˙Â˙Â‰Ó‰ ÈÂËÈ·Ï ˙È˙ÙÂÓ ‰Ó‚Â„ ‡È‰ — ‰È¯ÂËÒÈ‰Ï ÂÒÎ˘ ˙Â¯ˆÂÈ
ÍÂ˙ ¨˙ÂÈÈÓÂ ˙ÂÈ¯ÂÙ ¨‰Ê‰· ÌÈ¯Â˘˜‰ ÌÈÈÂÓÈ„ ÂÈÏ‡ ÒÈÎ Â‚˜È˘ ‰¯ˆÈ˘ ÈÊÂÈ„¯‚‰ ÏÎÂ‡‰
˙Â¯ÂˆÂ ÌÈÎ¯ ÌÈÚ·ˆ ÏÚ ˘‚„Â ¨‰Ó˜¯Â ‰¯Á˙ ¨ÔÏ·Â‚ ¨˙Â¯„˜ ÂÓÎ „È ˙ÂÎ‡ÏÓ· ˘ÂÓÈ˘
˙ ¯ ˙ Â Î ‡ Ï Ï ¨¯‚Â¯˜ ‰¯·¯·
±π∏µ ¨®ÌÈÈÁ‰ ˙‡ ÌÎÏ ˙ÂË˘˜Ó ÂÁ‡©
∂± x ∂± ¨ÏÈÈÂ ÏÚ ÈÓÂÏÈˆ ˙˘¯ ÒÂÙ„
±π∏≥ ¨ ˙ Â ‡ Ï Ù ‰ ı ¯ ‡ ¨Â¯ÈÙ˘ ÌÈ¯Ó
≤≤µ x ≥∂∞ ¨„· ÏÚ ‚È¯‡Â ˜ÈÏÈ¯˜‡
˘È Ì‡ ¨˙ÂÈ˘‰ ˙·ÈÏ ‡È‰˘ ‰ÂÎ˙ ˘È Ì‡ ˙ÂÏ‡˘‰ ÏÚ Æ˙ÂÓ¯ÂÊÂ ˙ÂÏÂ‚Ú ¨˙ÂÁÂ˙Ù
ÁÂÎÈÂ ÌÂÈ‰ „Ú ˘ËÈ ÌÈ˜‰·ÂÓ ÌÈÈ˘ ÌÈ¯ÓÂÁ Â‡ ˙Â˜ÈÎË ¨ÌÈÈÙÈˆÙÒ ÌÈÈ˘ ÌÈÈÂÓÈ„
˙Â˘· ÂÏÏ‰ ˙ÂÎ‡ÏÓ·Â ÌÈ¯ÓÂÁ· ˘ÂÓÈ˘‰˘ ‡Â‰ ¯Â¯·˘ ‰Ó ÆÈËÒÈÈÓÙ‰ ¯˜ÁÓ‰ ‰„˘·
¥Æ˙ÂÚÓ˘Ó ÏÚ· ÈËÈÏÂÙ Ë˜‡ ÂÓˆÚÏ˘Î ‰È‰ ÌÈÚ·˘‰
˙ÂÈËÒÈÈÓÙ‰ ˙ÂÈ¯Â‡È˙‰ Ï˘ ÔÏÂÁÏÁ ÌÚ ¨ÌÈÚ˘˙‰Â ÌÈÂÓ˘‰ ˙Â˘· ¨¯˙ÂÈ ¯ÁÂ‡Ó
Ò˜ÂÏ ¨ÈÏ˜ ˜ÈÈÓ Ì‰·Â ÌÈ¯·‚ ÌÈÓ‡ Ì‚ ÂÏÁ‰ ¨˙Â·¯˙‰ Ï˘ ÈÊÎ¯Ó‰ Ì¯Ê‰ ÏÚ Ô˙ÚÙ˘‰Â
‰ßÊ‡ÒÓ Ë‡Â ÔÂËÏÈÓ‰ Ô‡ ÂÓÎ ˙ÂÈÓ‡ ÆÌÂ˜¯ÏÂ ¯ÂÙ˙Ï ¨‚Â¯ÒÏ ‚È¯‰ ¯·ÈÏÂ‡Â Ò‡¯Ó‡Ò
˘ÂÓÈ˘ ÍÂ˙ ¨˙ÂË¯ÙÂ ˙ÂÏÓÚ Ï˘ ÔÂÂÈÎ· ÛÒÂ „Úˆ ÂÎÏ‰Â È˘‰ Ú·Ó‰ ˙‡ ÂÏÏÎÈ˘
¯˘˜‰· ¯˙ÂÈ· ˙ËÏÂ·‰ ˙ÈÓ‡‰ ÌÏÂ‡Â Æ˙Â˜‰·ÂÓ ˙ÂÈ˘ ˙ÂÈ¯ÂËÈ¯ËÏ ÌÈÎÈÂ˘Ó‰ ÌÈ¯ÓÂÁ·
ÌÈÈÙÎ ˙„Â·Ú ‡¯˜˘ ‰ÓÏ ˘„Á Û¯ ‰·Èˆ‰˘ ¨ÂÏ ‰ÊÈÏ ‰¯ÈÚˆ‰ ˙È‡˜È¯Ó‡‰ ‡È‰ ‰Ê
Ï„Â‚· ÈË¯„ËÒ È‡˜È¯Ó‡ Á·ËÓ ‰˙ÒÈÎ Â·˘ ¨®±ππµ≠±ππ±© Á · Ë Ó ‰ ˙‡ ‰¯ˆÈ˘Î ¨˙ÈÏÓÚ
˙ÂÓ‚Ó ÂÁ¯Ê‡˙‰ ÌÈÈÙÏ‡‰ ˙Â˘ ˙ÏÈÁ˙ ÌÚ Æ˙ÂÁÙË‰ „Ú „ÒÓ‰ ÔÓ ¨ÌÈ¯ÈÚÊ ÌÈÊÂ¯Á· ÈÚ·Ë
ÔÂÈÓ ˙Â‡¯Ï ‰È‰ Ô˙È ®≤∞∞≥© ‰ÈˆÂÂ· ‰Â¯Á‡‰ ‰Ï‡ÈÈ··Â ¨È˙ÂÓ‡‰ „ÒÓÓ‰ ·Ï· ‰Ï‡
˙È‡ÏÈÊ¯·‰ ¨ÈÏÈÙÂ‡ ÒÈ¯Î ÈËÈ¯·‰ ÔÓ‡‰ Ï˘ Ì‰È˙Â„Â·Ú· ‰ÈÒÒ·Â‡Â ˙ÂÈ·ÈË¯Â˜„ Ï˘ ‡È˘
ÆÔÂÒ‡ÈÏ‡ ¯ÂÙ‡ÏÂ‡ È„‰Â ¨ÒÊ‡‰ÏÈÓ ÒÈ¯Ë‡È·
˙ÂÈËÒÈÈÓÙ–ËÒÂÙ ˙ÂÓ‚Ó ¨ÍÎÈÙÏ ¨˙ÂÙ˜˘Ó Ë Ù ¯ ˜ ¯ · Â ‡ · ˙ÂÙ˙˙˘Ó‰ ˙ÂÈÓ‡‰
˙ÂÓÓÂ˜Ó ˙ÂÓÎÒÂÓ ÍÈ¯Ù‰Ï ˙ÂÁÈÏˆÓ Ô‰ ∫ÈÂÂ˘ÎÚ‰ ÈÓÂ‡ÏÈ·‰ ˙ÂÓ‡‰ ÌÏÂÚ· ˙ÂÁÂÂ¯
‰‡‰ ¨ÈËÈÏÂÙ ÌÊÈÏ˜È„¯ ˙·Ï˘Ó‰ ‰Ú¯ ÁÂ¯· ˙‡Ê ˙Â˘ÂÚÂ ¨¯„‚ÓÏÂ ‰„Â·ÚÏ ˙ÂÚ‚Â‰
¨ÈÙÈÊÈÒ‰ ¨ÈÏÓÚ‰ ÍÈÏ‰˙‰ ‰¯ÈˆÈ‰ ÊÎ¯Ó· „ÓÂÚ Ô‰Ó ˙Á‡ ÏÎ Ïˆ‡ ÆÈ˘‚¯ ÈÂËÈ·Â ˙È˘ÂÁ
ÏÎÏ Û˙Â˘Ó‰ ‰ÈÈ˘Ú‰ ÍÈÏ‰˙ ÆÂ· ÂÚ˜˘Â‰˘ ˙ÂÚ˘‰ ÈÙÏ‡Ï ˙Â„Ú ‡Â‰ ÈÙÂÒ‰ ¯ˆÂÓ‰Â
¨ÍÂ˙ÈÁ Ï˘ ˙˘˜ÈÚ ‰„Â·Ú·Â ˙Â¯ÊÂÁ ˙ÂÈÂËÂÂÓ ˙ÂÏÂÚÙ· ÔÈÈÙ‡˙Ó ˙ÂÈÓ‡‰Ó ˙Á‡
˙Â„ÏÂ˙Ó ˙¯ÎÂÓ‰ ˙ÂÈ·ÈÒÒ·Â‡· ÌÈÁË˘ ÈÂÏÈÓÂ ÈÂÒÈÎ ¨‰˜·„‰ ¨·Â˜È ¨‰ÏÙÎ‰ ¨ÛÂ¯Èˆ
¯ÓÈÁ ‰·˜È ˜È·Â˜„ÂÈ ÏÚÈ ∫ ®horror vacui© ¢˜È¯‰ ÏÏÁ‰ ˙ÓÈ‡¢ ˙ÚÙÂ˙Î ˙ÂÓ‡‰
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¨˙Â‡ÈˆÓÏ ‰·Â‚˙‰ ∫ ËÂ˘È˜‰ ˙Ó¯· ˙¯‡˘ ‡Ï Ô‡Î ˙Â‚ˆÂÓ‰ ˙Â¯ÈˆÈ‰Ó ˙Á‡ Û‡
ÆÈ˘ Ë·Ó· ˜¯ ˙ÂÏ‚˙ÓÂ ÈÙÂÈ‰ ‰ËÚÓÏ ˙Á˙Ó ˙ÂÚ·Ú·Ó ˙Âˆ˜ÂÚ‰Â ˙Â¯˙Á‰ ¨˙Á–È‡‰
¨ÛÂ‚ ¨¯„‚Ó È„Â˜Ù˙ ¨‰È‚ÂÏÂÎÈÒÙ ¨‰È‚ÂÏÂ˜‡ ¨‰˜ÈËÈÏÂÙ ¨˙ÂÈÈÓ ¨ÏÎÂ‡ ¨Ú·Ë–‰˘È‡ ÈÒÁÈ
ÆÌÈ¯È˘Ú‰ ÌÈ‚¯‡Ó‰ ÍÂ˙· ·ËÈ‰ ÌÈÂÂÒÂÓ ÂÏ˘ ÈËÈÏÂÙ‰ ÍÂÒÎÒ‰ ÂÏÈÙ‡Â ‰ÈÙ¯‚Â¯ÂÙ
¨‚ÂÚ Ï˘ ÍÒÓ· ‰ÙÂˆ‰ ˙Ú„Â˙ ˙‡ ÌÈÙÚˆÓ Ô‰Ï˘ ‰˜ÈËÓ¯Â‡‰Â ˙Â„Â·Ú‰ Ï˘ ÔÈÈÙÂÈ
Æ˙ÂÎ˘Â Ô‰ — ÈÂÙˆ È˙Ï·‰ Ú‚¯· ˜ÂÈ„· — Ê‡Â ˙Â„‚˙‰ ÌÈÏ¯ËÓ
±ππ∂ ¨ ˙ Â Á ¯ Ù ˙ ¨ÈÏÈÙÂ‡ ÒÈ¯Î
‰ÙÓ ˙ÂÎÈÒ ¨ÌÈËÈÈ‡Ù ¨¯ÈÈ ˙˜·„‰ ¨Û¯˘ ¨ÔÓ˘ ¨˜ÈÏÈ¯˜‡
≤¥≥Æ∏ x ±∏≤Æ∏ ¨„· ÏÚ ÌÈÏÈÙ ÈÏÏ‚Â
ÔÂ¯ Ô· ‰È‡
≤∞∞≤ ¨ ˙ Â  Â Ú ‰ Ú · ¯ ‡ ‰¯„Ò‰ ÍÂ˙Ó
Aya Ben Ron
From the series F o u r S e a s o n s , 2002
≤∞∞± ¨ Ì Ò ˜ ‰ ¨ÒÊ‡‰ÏÈÓ ÒÈ¯Ë‡È·
±∏∏ x ≤π∏¨„· ÏÚ ˜ÈÏÈ¯˜‡
12
13
˙Â¯Ú‰
ÂÏ¯ËÂ ‰Ùˆ¯‰Â ‰¯˜˙‰ ÆÍÂ˘Á ÏÏÁ· ÌÈ¯ÂÁ˘ ˙Â¯È˜ ÏÚ ˙Â„Â·Ú‰ ˙‡ È˜È‰ ‚Èˆ‰ ÂÊ ‰ÎÂ¯Ú˙· †±
Ë Ù ¯ ˜ ¯ · Â ‡ ‰ÎÂ¯Ú˙· ˙Â„Â·Ú‰ ˙·ˆ‰ Æ˙Â¯˜È ¯Â‡· ˙Â¯È˜‰Ó Â¯‰Ê ˙Â„Â·Ú‰ ˜¯Â ÏÈÏÎ
Hickey, D. Ultralounge: The Return of Social Space ß¯ ÆÈ˜È‰ Ï˘ ÂÊ Â˙ÎÂ¯Ú˙ ˙‡¯˘‰· ‰˙˘Ú
with Cocktails (Tampa: The University of South Florida, 1999).
Viso, O.M., Benezra, N., (eds.), Regarding Beauty: A View of the Late Twentieth Century, Ì‚†ß¯
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution (Washington DC:
Hatje Cantz Publishers, 1999).
∫˙¯˙ÂÎ‰ ˙Á˙ ‰ÒÂÎ ‰Ê ÔÈÈÚ· ¯˙ÂÈ· ‰·Â˘Á‰ ÂÈ¯Ó‡Ó ˙ÙÂÒ‡ †≤
Hickey, D., The Invisible Dragon: Four Essays on Beauty (Los Angeles: Art Issues Press, 1993)
Ò Â ˙ ‡ Ù È Ë  ‡ ÂÓÎ È˙¯ˆ‡˘ ˙ÂÓ„Â˜ ˙ÂÎÂ¯Ú˙Ï ¯È˘È Í˘Ó‰ ‡È‰ Ë Ù ¯ ˜ ¯ · Â ‡ ÂÊ ‰ÈÁ·Ó †≥
ÌÈÈÏÂ˘· Â˜ÒÚ˘ ¨®±ππ¥© „Â¯Á ÔÈÚ· ˙ÂÓ‡Ï ÔÎ˘Ó· Ò ˜ Ò ‡ Ë Ó Â ®±ππ≥© Ï‡¯˘È ÔÂ‡ÈÊÂÓ·
Æ˙ÈÏ‡¯˘È‰ ˙ÂÓ‡‰ Ï˘ ÌÈÈÂ˜–‡Ï‰
Ì‡ ‰Ï‡˘Ï ®≤∞∞≥© Ì Â ¯ Â Ù Ë ¯ ‡ ˙Ú‰ ·˙Î Ï˘ ¯·ÂË˜Â‡ ÔÂÈÏÈ‚ ˘„˜ÂÓ ˘ÓÓ ‰Ï‡ ÌÈÓÈ· †¥
˙ÂÓ‡¢ ‚˘ÂÓÏ ˙ÂÚÓ˘Ó ¨ÌÈÚ·˘‰ ˙Â˘ Ï˘ ÌÊÈÏ˜È„¯‰ È¯Á‡ ‰˘ ÌÈ˘ÂÏ˘ ¨ÌÂÈÎ ¨˘È ÔÈÈ„Ú
∫Ì‚ ß¯ „È ˙ÂÎ‡ÏÓ· ˘ÂÓÈ˘‰Â ˙Â˙Â‰Ó‰ ˙ÈÈ‚ÂÒ· ˜ÈÓÚÓ ÔÂÈ„Ï Æ¢˙ÈËÒÈÈÓÙ
Rozsika Parker and Griselda Pollock, “Crafty Women and the Hierarchy of the Arts,”
in Old Mistress: Women, Art and Ideology (London: Routledge & Kegan Paul, 1981)
ÈÂËÈ· È„ÈÏ ‡· ‡Â‰˘ ÈÙÎ ¢ÍÂÓ¢Ï ¢‰Â·‚¢ ÔÈ· ‚ÂÏ‡È„‰ ˙‡ ‰ÓÎÈÒÂ ‰ÓÈÒ˘ Ï‚„‰ ˙ÎÂ¯Ú˙ †µ
Â„¯‡Â ˜¯È˜ ∫ÌÈ¯ˆÂ‡©†±ππ∞–· ˜¯ÂÈ ÂÈ· ˙È¯„ÂÓ ˙ÂÓ‡Ï ÔÂ‡ÈÊÂÓ· ‰‚ˆÂ‰ ˙È¯„ÂÓ‰ ˙ÂÓ‡·
‰˜ÒÚ˘ ¢ÈÓÓÚ‰ Ï˘ ‰·Â‚‰¢†‰ÎÂ¯Ú˙‰ ≤∞∞±–· ·È·‡ Ï˙ ÔÂ‡ÈÊÂÓ· ‰‚ˆÂ‰ ı¯‡· Æ®˜ÈÙÂ‚ Ì„‡Â
Varnedoe, K., & Gopnik, A., High & Low: Modern Art ∫ß¯ Æ®ÔÂ˙È‚ ÔÏ‡ ∫˙¯ˆÂ‡© ÌÈÓÂ„ ÌÈÎ˙·
¯˙ÂÈ· ‰·Â¯˜‰ ‰ÎÂ¯Ú˙‰ ÌÏÂ‡Â and Popular Culture (New York: Museum of Modern Art, 1990)
ÂÈ· ˙ÈÂÂ˘ÎÚ ˙ÂÓ‡Ï ˘„Á‰ ÔÂ‡ÈÊÂÓ· ‰‚ˆÂ‰˘ A Labor of Love ‰˙È‰ Ë Ù ¯ ˜ ¯ · Â ‡ Ï ‰ÁÂ¯·
„È‰ ˙ÂÎ‡ÏÓ Ï˘ ÔˆÂÓÈ‡· ‰„˜Ó˙‰ ÂÊ ‰ÎÂ¯Ú˙ Æ®¯˜‡Ë ‰˘¯‡Ó ∫˙¯ˆÂ‡©†±ππ∂–· ˜¯ÂÈ
Marcia Tucker, A Labor of Love ∫ß¯ Æ˙ÈÂÂ˘ÎÚ‰ ˙ÂÓ‡‰ ˜ÈÁ Ï‡ ˙ÂÈÓÓÚ‰Â ˙ÂÈÏÓÚ‰
(New York: The New Museum of Contemporary Art, 1996).
¨„ÈÂ¯Ù „ÂÓ‚ÈÊ ß¯ Æ±π∞∑–· ·˙Î ˙ÂÈ·ÈÒÒ·Â‡ ˙ÂÚ¯Ù‰Ï „ÈÂ¯Ù ÒÁÈÈ˙‰ Â·˘ ÔÂ˘‡¯‰ ¯Ó‡Ó‰ †∂
Ï · ‡ ¯ÙÒ· ÒÙ„Â‰Â ˙È¯·ÚÏ ‰Â¯Á‡Ï Ì‚¯Â˙˘ ÈÙÎ ¨¢ÌÈÈ˙„ ÌÈÒ˜ËÂ ˙ÂÈ˙ÈÈÙÎ ˙ÂÏÂÚÙ¢
Ô Â Ï È Ó ÏÚ ˙ÒÒÂ·Ó Ô‡Î ‰ÚÈÙÂÓ‰ ‰¯„‚‰‰ Æ¥±≠≤π ßÓÚ ®≤∞∞≤ ‚ÈÏÒ¯ ∫·È·‡ Ï˙© ‰ È Ï Â Î  Ï Ó Â
ÌÂÁ˙Ó ˙ÈÈÏ˜ ‰¯„‚‰Ï Æ¥ ßÓÚ ¨®±ππ≤ ¨„·ÂÚ ÌÚ ∫·È·‡ Ï˙© ˙ È  ¯ „ Â Ó ‰ · ˘ Á Ó Ï ‰  Ë  Â Ù
Harold I. Kaplan & Benjamin J. Sadock, Synopsis of Psychiatry: Behavioral ∫Ì‚ ß¯ ‰ÈÙ¯˙ÂÎÈÒÙ‰
Sciences, Clinical Psychiatry (Baltimore: Williams & Wilkins, 1998), Chapter 18.5: Anxiety
Disorders, pp. 326-327.
Æ∂ ßÓÚ ¨±ππ∏ ¯‡ÂÈ ¨∏π Â È „ Â Ë Ò ¨¢‰ÈÙÂËÒÈ„–‰ÈÙÂËÂ‡ ÔÂÏÓ¢ ¨ÈÒ‚‡ ¯È‡Ó †∑
Naomi Schor, Reading in Detail: Aesthetics and the Feminine (New York & London: †∏
Routledge, 1989), pp. 4, 15
Æ≥∑ ßÓÚ ¨Ì˘ ,A Labor of Love ‰ÎÂ¯Ú˙‰ ‚ÂÏË˜· ¯˜‡Ë ‰˘¯‡Ó Ï˘ ‰¯Ó‡Ó ß¯ †π
‰ ¯ È ˘ Ï ˙ È ‚ Â Ï Â ˙  ‡ ‰ ¯ „ Ò ¨ Ô Â ˜ È Ï ‰ ¨‰ÈÒÒ·Â‡ ÏÚ ˙Î¯ÚÓ ¯Ó‡Ó ¨¯Â‡ ¯ÈÓ‡ †±∞
∫¯˙‡· ˙ÈÂ¯Ë˜Ï‡ ‰Ò¯‚ ß¯ ¨ÌÈœÚÂŸ Ú
œ †¨≤≤ ˙ È Ò ‡ Ï ˜ Â ˙ È Â Â ˘ Î Ú
http://www.snunit.k12.il/sachlav/db/helicon/upload/ num22/content.html
14
‰Èˆ¯Â˜„≠‰ÈÊËÙ≠ÌÈÚÂ‚ÈÙ≠‰˜ÈËÈÏÂÙ≠‰ÈÙ¯‚Â¯ÂÙ≠Ò˜Ò≠‰˜ÈËÓÂ¯≠‰ÏÓÁ≠˙ÂÓÈÏ‡≠‰È‚ÂÏÂ˜‡≠ÌÈÙÂ≠ÌÈÒÂÏ‡Ù≠˙ÂÈÈÓ≠‰Ê‰≠ÏÎÂ‡≠˙Â„ÏÈ≠¯˘·≠‰ÈÈ·¯≠ÔÂÈ¯Ù≠ËÂ˘È˜≠˙ÂÏÁÓ≠˙Â˘¯Ù‰≠ÈÂÊÈ·≠ÛÂ‚
ÂÓÎ ˜ÂÁ¯Ó ÌÈ‡¯ È¯‡ Ô· ‰ÏÈ‰ Ï˘ ® ˙  Î » Ó Ó ‰ Î È Ù ˘© ÌÂ„‡‰ ¯È˜‰ ÏÚ˘ ÌÈ¯ÂËÈÚ‰
∫ıÈÁ Ì‚Â ‰‚Ó Ì‚ ‡È‰˘ ¨‰Î·Ò Â‡ ¯„‚ Ï˘ Ì‚„ ‰Ï‚˙Ó ¨·Â¯˜Ó Æ‰ÎÂÒÏ ÌÈÈÈÁ ÌÈËÂ˘È˜
˙ÂÙÂÙˆ ˙Â¯Â˘· ˙Â¯„ÂÒÓ ¨ËÙËÓ ˙Â¯ÂÊ‚‰ ˙Â‰Ê ˙ÂÏÂË ÌÈ˘ Ï˘ ˙ÂÏÙÎÂ˘Ó ˙ÂÈÂÓ„ ˙Â‡Ó
¯‚È‰ Ì„·Â Ô‰È˙ÂÓËÙÓ Ê˙È‰ ·ÏÁ· ¨˙ÂÈÈ„ÂÏ·‰ Ô‰È˙ÂÓˆ· ÂÊÏ ÂÊ ˙Â¯·ÂÁÓ Ô‰˘Î ˙Â„ÈÁ‡Â
ÆÌÈ„‚· ¯ÂËÈÚÏ ˘Ó˘Ó‰ È„ÓÓ–˙Ï˙ ÈËÒÏÙ Ú·ˆ ÌÈÈÂ˘Ú ˙Â˘¯Ù‰‰Â ÔÈÓ‰ È¯·È‡ ÆÔ˙ÂÂ¯ÚÓ
Æ˜ÏÁ‰ ÁË˘Ó‰ ÔÓ ÌÈËÏÂ·‰ ÌÈÈ¯˜Â„ ÌÈÓÂ„‡ ÌÈÒ¯˜· ÌÈ„ÎÏ ˙ÂÂ¯Ú‰ ÔÓ ÌÈÁ˙Ó˘ ÌÈËÂÁ‰
ÈÏÊÂ ˙‡ ˙ÂÊÈ˙ÓÂ ¯È˜‰ Ï‡ ˙Â„Â˜Ú Ø ˙Â·ÂÏˆ Ø ˙Â„˜Â¯ ˙ÂÈÂÓÏ‡ ˙Â¯Ú Ï˘ ˙Â¯Â˘ ˙Â¯Â˘
Ì‚„‰Â ¨ÌÈÏ·¯Ú˙Ó ÍÏÎÂÏÓ‰Â È˜‰ ¨ÌÈÙ‰Â ıÂÁ‰ ªÌÈˆ¯Ù ÛÂ‚‰ ˙ÂÏÂ·‚ Æ¯·Ú ÏÎÏ ÔÙÂ‚
¨‰ÈÈ·¯ ¨‰Ê‰ ÔÈ·˘ ‰˜ÈÊ‰ È¯˘˜ Í·Ò ÏÚ ˙¯˜Â„ ‰¯ÂÙ‡ËÓÏ ÍÙÂ‰ ‰¯Â‡ÎÏ ÌÈÓ˙‰ È¯ÂËÈÚ‰
Æ˙ÂÈÈÓÂ ˙Â‰Ê ¨˙Â¯˜Ú ¨ÔÂÈ¯Ù
‰˘È‡‰ ÈÂÓÈ„ ÏÙÎÂ˘Ó ÒÈÈßˆ È¯ÈÓ ‰˙·˘ ÈËÓÂ¯‰ ˙Â·Â·‰ ˙È· ÈÂÓ„ ÏÏÁ· Ì‚
ÈÂÓÈ„‰ ¯Â˜Ó Æ‰˙Â‡ ÌÈ··ÂÒ‰ ÌÈ¯ÂËÈÚ‰ ˘„Â‚· ˙ÚÏ·‰ ÌÈÙ ˙¯ÒÁ ‰˘È‡†— ˙ÈÓÈÂ‡‰
Ê‚¯‡Â ‰ËÈÓ‰ ¨ÌÈËÙË‰ È·‚ ÏÚ ·Â˘Â ·Â˘ ÚÈÙÂÓ‰ Ì‚„Ï ·˘ÁÓ· „·ÂÚ˘ ˙ÈÓ‚Â„ Ô˜ÂÈ„·
ÈÙÂÒÈ‡‰ ÌËÂ·È˘Â ‰Ê· ‰Ê Ì˙ÏÙÎ‰ ¨ÌÈÈÂÓÈ„‰ ˙ÁË˘‰ — ÈÏËÈ‚È„‰ „Â·ÈÚ‰ ÆÌ‡Â˙‰ ÌÈÚˆÓ‰
‰˜ÈËÓ¯Â‡Ï ¨ËÈ‰¯Ï ¨ËÙËÏ ¨¯È˜ Á¯ÙÏ ‰˘È‡‰ ˙‡ ÌÈÎÙÂ‰ — ÌÈ·ÎÂÎÂ ÌÈÁ¯Ù ÈÈÂÓ„ ÌÈ‚¯‡ÓÏ
ÆÌÈÓÒ˜ Ï‚ÚÓ· ‰„ÂÎÏ‰ ¨ÔÈÚ ˙‚ÚÓÂ ‰˜Â˙Ó ¨˙ÂÈÈÓ ˙ÏÂË ‰ÏÈ·Ò ˙ÂÈ˘ Ï˘ ‚ÂˆÈÈ Â‰Ê Æ‰ÏÂÏÁ
„Â‡Ó ¯‰Ó Í‡ ¨¯‡ÂÙÓÂ ‰˙ÙÓ ¨¯‰ÂÊ ÈÙÂÈ ¨ÒÈÈßˆ Ï˘ ‰¯ÈˆÈ· È˘‡¯‰ ·ÎÂÎ‰ ‡Â‰ ¢ÈÙÂÈ¢‰ ÌÓ‡
ÍÒÓ ¯ÊÙÏ ˘ËÈ˜‰ Ï˘ ÈÈÈ˙Ù‰ ÂÁÂÎ ˙‡ Ô‡Î ‰ÓÈˆÚÓ ÒÈÈßˆ ÆÈ˙¯„ÒÂ ËÂÁ ¨ÏÂÏÁÎ ‰Ï‚˙Ó ‡Â‰
Â¯ÂËÈÚ·Â ÂÏÂÙÎ˘· ¨È˘‰ ÈÙÂÈ‰ ˙ÁË˘‰· ‰˜ÂÒÈÚ Æ˙Â‡ÈˆÓ‰Ó ÔÂ·˙Ó‰ ˙‡ ˜ÈÁ¯‰ÏÂ Ô˘Ú
¨¯È˜Ï ËÂ˘È˜Î ÌÈ˘ ˙Â‡Ó Í˘Ó· ÌÈ¯·‚ È„È ÏÚ ÌÈ˘ Â‚ˆÂ‰ Â·˘ ÔÙÂ‡‰ ÏÚ ˙ÂÏ‡˘ ‰ÏÚÓ
Æ˙ÈË˙Ò‡ ˙ÁÏ ‰ÏÈÚÎÂ ˙ÂÏÚ·‰ ‚ÂÚÏ ¯Â˜ÓÎ ¨˙ÙÒÎ ˙ÏÂÎ˙Î
‡Ï‡ ¨ÔÂ¯ Ô· ‰È‡ Ï˘ ˙ Â  Â Ú ‰ Ú · ¯ ‡ ˙¯„Ò ˙‡ Ì‚ ˙ÈÈÙ‡Ó ‰˜˙˜˙ÓÂ ‰ÓÈÓ˙ ÔÈÚ ˙È‡¯Ó
ÌÈÎ¯ÚÓ‰Â ÌÈÈÏËÓ¯Â‡‰ ˙ÂÏÂÎ˘‡‰ ‰ËÚÓÏ „Ú·Ó Æ¯˙ÂÈ „ÂÚ ËÈÂÒÓÂ ¯¯ÓˆÓ ¯˘˜‰‰ Ô‡Î˘
ÂÈË·È‰Ï ÌÈ¯Â˘˜‰ ÌÈ„È¯ËÓ ÌÈÈÂÓÈ„ ÌÈÏ‚˙Ó ‰·È‰¯Ó ˙ÂÈÂÚ·ˆ· ÌÈ¯‰ÂÊ‰ ÌÈÈ¯ËÓÈÒ‰
‰‡Ó‰ ÔÓ ˙È‡ÂÙ¯ ˙Â¯ÙÒÏ ÌÈ¯ÂÈ‡ ˙¯„Ò ÏÚ ÌÈÒÒÂ·Ó ÌÈÈÂÓÈ„‰ ÆÈ˘Â‡‰ ÛÂ‚‰ Ï˘ ÌÈÈÂÊ·‰
¨‰„ÈÏÂ ÔÂÈ¯‰ — ÛÂ‚· ÈÈÏ˜ ÏÂÙÈË ‰ÓÈ‚„‰˘ ¨®±∂∏∞© ˙ Â ˘ Â  ‡ ‰ Ï ˘ ˙ Â  Â Ú ‰ Ú · ¯ ‡ ¨±∑–‰
„Â·ÈÚÂ „È ˙Î‡ÏÓ ˙·Ï˘Ó‰ ‰˜ÈÎË· Æ˙ÂÈ˘ÏÂÙ ˙ÂÈ‚¯Â¯ÈÎ ˙ÂÈÂ·¯Ú˙‰Â ˙ÂÈˆËÂÓ ¨˙ÂÏÁÓ
¨ÌÈÈ˙¯„Ò ÌÈËÂ·È˘ ÔÈÚÓÂ ÌÈ¯·È‡ ÈÂÁÈ‡ ¨ÛÂ‚ ÈÈÂÓÈ„ Ï˘ ÏÂÙÎ˘ ÔÂ¯ Ô· ˙Úˆ·Ó ÈÏËÈ‚È„
ÌÈÈÙÂ˜ÒÂ„ÈÈÏ˜ ÌÈ‚¯‡Ó ÔÈÚÓÏ ÌÈÎÙÂ‰Â ÈÂ˘‡¯‰ Ì¯˘˜‰ ˙‡ ÌÈÈÂÓÈ„‰ ÌÈ„·‡Ó ÌÎÏ‰Ó·˘
¯„‚Ó‰ ÈÏ„·‰ ˙‡ ÌÈ˘Ë˘ËÓ ÂÊ ‰¯„Ò· ‰„ÈÏ‰Â ÔÂÈ¯‰‰ ¨˙ÂÈÈÓ‰ ÈÈÂÓÈ„ ÆÌÈÚ·ˆÂ ˙Â¯Âˆ È¯È˙Ú
ÆÈ˘‰ Ì„‰Â ¯˘·‰ ÔÓ ÔÂÈ¯Ù‰ ÍÈÏ‰˙ ˙‡ ˙Â˜Ó‰ ‰ÈÈ·¯ ˙ÂÈ‚ÂÏÂÎËÏ ˙ÂÚ‚Â‰ ˙ÂÏ‡˘ ÌÈÏÚÓÂ
˜ÂÒÈÚÏ ‰ÏÈÚÈ ‰‡ÂÂÒ‰ Ï˘ ‰˜ÈË˜ËÎ ¨ÍÎÈÙÏ ¨Ô‡Î ˙ÂÏ‚˙Ó ˙ÂÈ·ÈË¯Â˜„‰ ˙ÂÈˆÈÊÂÙÓÂ˜‰
ÆÌÂ‚‰ ÈÂÙÈÓ È¯Á‡˘ Ô„ÈÚ· È˘Â‡‰ ÛÂ‚‰ Ï˘ È‡ÂÙ¯–ÈÈÏ˜‰ Ë·È‰· È¯˜ÁÂ È·ÈÒÒ·Â‡
15
¨ÈÚ·Ë Ï„Â‚· ®¯Â˘© ‰ÈÁ ¯˘·Î ÛÂ‚‰ ‚ˆÂÈÓ ‰Ïˆ‡˘ ‡Ï‡ ¨¯ÈÓ˘ ÏÎÈÓ Ïˆ‡ Ì‚ ÌÈÈ˜ ÛÂ‚· ˜ÂÒÈÚ
ÏÏ˘· ÈÓÂ‚ ˙ÂÈ¯ÎÂÒ ÆË„¯·Ó¯ Ï˘ ÌÒ¯ÂÙÓ‰ ¯ Â ˘ ‰ ¯ÂÈˆÏ ‰ÓÂ„· ¨ÌÈÊÈÏË‡ ÏÂ˜‡ ÏÚ ÈÂÏ˙
≤∞∞≤ ¨ ¯ · È ‡ – · ¯ ¨˜È·Â˜„ÂÈ ÏÚÈ
Yael Yudkovik, P o l y n o m o s, 2002
‰Èˆ¯Â˜„≠‰ÈÊËÙ≠ÌÈÚÂ‚ÈÙ≠‰˜ÈËÈÏÂÙ≠‰ÈÙ¯‚Â¯ÂÙ≠Ò˜Ò≠‰˜ÈËÓÂ¯≠‰ÏÓÁ≠˙ÂÓÈÏ‡≠‰È‚ÂÏÂ˜‡≠ÌÈÙÂ≠ÌÈÒÂÏ‡Ù≠˙ÂÈÈÓ≠‰Ê‰≠ÏÎÂ‡≠˙Â„ÏÈ≠¯˘·≠‰ÈÈ·¯≠ÔÂÈ¯Ù≠ËÂ˘È˜≠˙ÂÏÁÓ≠˙Â˘¯Ù‰≠ÈÂÊÈ·≠ÛÂ‚
¯ÂÚ‰ ÈÂÙÈˆÎ Ô‰ — ÔÈÚ ÈˆÈ·Â ÌÈÈÈ˘ ¨ÌÈÚÏÂ˙ ¨ÌÈ˘È·ÎÚ ¨˙ÂÂÊÏÁ ¨ÌÈ˘Á — ˙Â¯ÂˆÂ ÌÈÚ·ˆ
˙‡ ¯ÈÓ˘ ‰ÂÂÒÓ ¨ÔÁ È·‡ ıÂ·È˘Î ˙È‡¯‰ ¨‰È„Ú ˙·˘ÁÓ ˙Î‡ÏÓ· Æ¯˘·‰ ÏÚ ‰ÒÎÓ‰
˙ÂÚˆÓ‡· ÈÂ˙ÈÙÂ ËÂ˘È˜ ¨ÛÂ‚ ¨¯˘· ÔÈ· ‰˜ÈÊ‰ ÆÌÓ„Ó‰ ‰ÈÁ‰ ¯˘· Ï˘ È˙ˆÏÙÓ‰ ÈÂÓÈ„‰
‰ÏÒÈÙ ¨˙ÊÂ¯ÁÓ ˙ÂÈ¯ÎÂÒ· ˙Â¯È˜ ÏÚ ‰·˙Î ‡È‰ ∫˙Â¯Á‡ ˙Â„Â·Ú· Ì‚ ‰˙Â‡ ‰˜ÈÒÚ‰ ÌÈ˜˙ÓÓ
Â‡¯˘ ˙ÂÎÂÚÓ ˙ÂÈ¯ÎÂÒ Ï˘ ˙ÂÏÂÎ˘‡ ‰ˆ‰È‚ ¨˜Â˙Ó ÔÙ‚–¯Óˆ ˙ÂÚˆÓ‡· ÛÂ‚ ÈÈÂÓ„ ÌÈË˜ÈÈ·Â‡
ÔÂ„ ÌÈÈÁ ÈÏÚ··Â ¯˘·· ˜ÂÒÈÚ‰ ÆÈÓ˙Â ÈÓÚ ÁÒÂ ÌÈ˜˙ÓÓ ÔÂÏÈÂ ‰¯ˆÈÂ ÌÈÁÂ˙Ù ÌÈÚˆÙ ÂÓÎ
‰‡ÂÂ˘Ó‰ „‚Î ÌÈ˘ Ï˘ ‰‡ÁÓ‰ ÈÈÂËÈ·Ó „Á‡ÎÂ ÛÂ‚· ˜ÂÒÈÚ‰Ó ˜ÏÁÎ ˙ÈËÒÈÈÓÙ‰ ˙Â¯ÙÒ·
¢ÒËÈ‡Â¢ ˙Ò¯‚ ÔÈÚÎ ‡Â‰ Ô‡Î ‚ˆÂÓ‰ ˜Â˙Ó‰ ¯˘·‰ ÏÒÙ Æ˙Â·¯˙Ω¯·‚ Ø Ú·ËΩ‰˘‡ ˙ÓÓÂ˜Ó‰
ÈÈÁ ˙ÂÏÙ˙ ‰‚ˆÂ‰ Ì‰·˘ ¨±∑–‰ ‰‡Ó‰Ó ¢ÌÓÂ„ Ú·Ë¢‰ È¯ÂÈˆÏ „Â‚È·˘ ‡Ï‡ ¨≤±–‰ ‰‡Ó‰ Ï˘
ÌÈÏÁÂÊ ‡Ï‡ ÌÈÊÓ¯ ÌÈ‡ ÏÚ¯‰Â ÔÂ·˜È¯‰ Ô‡Î ¨Ï˘·‰ È¯Ù‰ ˙ÂÚˆÓ‡· Ì˙ÂÏÎ˙‰Â ¯˘·‰
Æ˙ÂÈ„‚Ó‰ ¯˘· ÏÂÎ˘‡ ÍÂ˙· È˘ÙÂÁ
∫ÌÈÈ¯„ÂÓ‰ ÌÈÈÁ‰ Ï˘ ˙ÂÈÒÒ·Â‡ È˙˘ ÈÂËÈ· È„ÈÏ ˙Â‡· ¨Ì È Ú Ë ‡ Ï ¨ÁÈÏˆÓ ÏË Ï˘ ‰˙„Â·Ú·
ÌÚÂ ÌÈÈÈÓ ÌÈÈÂÓÈ„ ÌÚ ÌÈÏ·¯Ú˙Ó ®˙ÁÏˆ· ÌÈ˜ÈÈËÒ ÌÚÙ‰© ÏÎÂ‡ ÈÈÂÓÈ„ ÆÏÎÂ‡Â Ò˜Ò
˙‡ ÊÈ˙Ó‰ ÈÏËÓÂÂÓ ÔÈÓ ¯·È‡ ‡Â‰ ÈÊÎ¯Ó‰ ÈÂÓÈ„‰ Æ‰¯ËÓ ÔÈÚÎ ÌÈ¯ÊÂÁ‰ ÌÈÒÈ¯˙Ó ÌÈËÙ˘Ó
¨˙Â·Âˆ˜Â ˙ÂÙÂÙˆ ÏÂÁÎÓ ˙ÂÁ‰· ÔÈÈÙÂ‡Ó‰ ¨„ÁÂÈÓ‰ ‰„È ·˙Î· Æ¯ÂÚÙ ‰Ù ÍÂ˙ Ï‡ ÂÈÏÊÂ ÈÂÏÈÒ
Ï˘ ¯·ËˆÓ È·ÈË‡ÈˆÂÒ‡ Ûˆ¯ ˙Ù˘ÂÁÂ „·‰ Ï‡ ‰Ï˘ ÌÈ„È¯ËÓ‰ ÌÈÈÂÓÈ„‰ ˙‡ ˙ÈÓ‡‰ ˙ÒÁÂ„
Ì‰ Û‡ ÌÈ·Â˙Î‰ ¨®˙ÏÎÂ‡ ÏËØÌÈÚË ‡ÏØÔÈÊ ˙ÒÂ¯Ù© ÌÈËÒ˜Ë‰ Æ‰ÈÒËÙÂ ·ÂÚÈ˙ ¨ÒÚÎ ¨‰„¯Á
¨¯ÂÈˆ‰ Ì˜¯Ó Æ˙Â¯Âˆ‰Ó ˜ÏÁ ¯È„‚ÓÂ ÌÈÈÂÓÈ„‰ ÔÈ· ‚¯˙˘Ó˘ ÈËÓÂËÂ‡ Í·Ò ÌÈ¯ˆÂÈ ¨˜„ ÏÂÁÎÓ·
ÂÓÎ˘ ¨˙ÈÏ‡ËÂË ˙ÈÏÓÚ ‰ÈÈ˘Ú ˙ÚÓ˘Ó· ‰· ¨ÌÈ„·Â¯Ó‰ ÂÈÁË˘ÓÂ ÌÈÒÙÒÂÙÓ‰ ÂÈˆÈ¯Á ÏÚ
ÌÈÈÏËÓ¯Â‡ ÈÂËÈ· ÈˆÂ¯ÚÏ ¯ÂÈˆ‰ ˙ÏÂÚÙ È„Î ÍÂ˙ ˙ÂÓ¯ÂÊ‰ ˙Â·˘ÁÓ‰Â ˙ÂÈ‚¯‡‰ ˙‡ ˙·˙Ó
Æ˘Ù‰ È˜ÓÚÓ· ‰·Â¯ˆ ÂÓÎ Ì˙ÂÈ˜ÂÁ˘
Ï˘ ÛÂÙˆ ı·˜Ó Æ˜È·Â˜„ÂÈ ÏÚÈ Ï˘ ¯ · È ‡ – · ¯ ‰Ùˆ¯‰ ·ˆÈÓ· Ì‚ ÌÈ·ÎÎÓ ÌÈÈ¯ÎÊ ÔÈÓ È¯·È‡
‰ÏÂ‚Ú ‰‡¯Ó È„È ÏÚ ÏÙÎÂÓ ¨ÌÈÂ˘ ÌÈ‰·‚·Â ÌÈÓ˜¯Ó· ¨ÌÈÏ„‚ÓÎ ÌÈ¯Â˜Ê ÌÈÈÏ‡Ù ÌÈ·Ó
Â‡ È‡ ¨˙˘·È ÔÈÚÓ ¨ÈËÒËÙ ÈÂÁ¯˜ ÛÂ ÔÈÚÓ Ï˘ ‡Â‰ ÈÏÏÎ‰ Ì˘Â¯‰ ÆÒÈÒ·Î Ì‰Ï ˙˘Ó˘Ó‰
„ÈÒ· ÏÂ·Ë ÛÂ¯˘ ¯ÓÂÁ ÌÈÈÂ˘Ú ÌÈË˜ÈÈ·Â‡‰ ÆÌÈÈÂÈ„· ÌÈÙÂ‚ ÂÓÓ ÌÈ¯˜„ÊÓ˘ ˙ÈÏÂÏ˘
‰È˙ÂÚ·ˆ‡· ˜È·Â˜„ÂÈ ‰·˜È ˙ÈÏ·ÒÂ ˙ÈÏÓÚ „È ˙„Â·Ú· ÆÈÏÂÁ ˜¯˜¯È ÔÂÂ‚· ÌÈÚÂ·ˆÂ
È¯ÂÊÁÓ ÈÂËÂÂÓ ·ˆ˜· Â˘Ú ·Â˜È‰Â ¯Â¯ÈÁ‰ ¨¯Â˜È‰ ÆÌÈÈ¯˘·‰ ¯ÓÂÁ‰ È˘Â‚ ˙‡ ÌÈ„ÂÙÈ˘·Î
ÒÂÏ‡Ù‰ ˙‡ ¯ˆÈÈÏ — ‰¯Á· ‡È‰ ‰·˘ ‰È‚Ë¯ËÒ‡‰ ÆÌÈÈ·ÈÒËÈ‡Â ÌÈÒÂÁ„ ÁË˘ ÈÙ ˙¯ÈˆÈÏ „Ú
— ®È·˜Ï ÂÎÙÂ‰Ï Û‡ ÈÏÂ‡Â© Â˙ÂÓÏ˘ ˙‡Â Â˙ÂÈÊÎ¯Ó ˙‡ ÏË·Ï ÍÎ·Â ¨‰¯·ÎÎ ¯¯ÂÁÓÂ ·˜ÂÓ
ÁÂÏÈÙÏ ıÂÁÓ ˙‡ˆÓ‰ ¨˙ÈÈ‚Â¯„‡ ¨˙¯Á‡ ˙ÂÈÈÓ ˙ÁÒÓÂ Ô‡˜‡ÏÂ „ÈÂ¯Ù ˙‡ ˘„ÁÓ ˙˘¯ÙÓ
˘È ¨È·ÈËÓÈËÏÂ‡‰ ÔÓÒÓÏ ¨¯˙ÂÈ· ÈÁÂÎ‰ ÈÂÓÈ„Ï ÂÏÈÙ‡ ÈÎ ‰‡¯ ÆÈÈÓ‰ Ï„·‰‰ Ï˘ È·ÈËÓ¯Â‰
ÆÂ· Ì‚ Ô˜Ó ¯ÒÁ‰ Æ®ÌÈ¯ÂÁ ‰·¯‰© ¯ÂÁ
Ï˘ ‰Ó¯ÂÙ‰ ˙‡ ¯‡˙Ó‰ ÈËÒÈÏ‡È¯ ¯ÂÈˆ ∫ È˙ÈÓ‡ ÏË Ô‡Î ‰‚ÈˆÓ È·ÈË¯Â˜„ ÛÂ Ï˘ ¯Á‡ ‚ÂÒ
¯ÂÈˆÂ ¨‰ÎÂ¯Ú˙‰ Í¯ÂˆÏ ÌË‡ ÔÂÏÁ‰˘ ‡Ï‡ Æ‰È¯Ï‚‰ ÔÂÏÁÓ ˙Ù˜˘ ‡È‰˘ ÈÙÎ ‰ÙÈÁ ı¯ÙÓ
˙Â„Â·ÚÏ ‰ÓÂ„· ÆÂ· ˜Á˘Ï ¯˘Ù‡ È‡˘ ®°∂¨µ∏∏© ÌÈ˜ÏÁ ¯È˙Ú ÏÊ‡Ù ¨ÛÈ¯ˆ˙ ÌˆÚ· ‡Â‰ ÛÂ‰
18
‰Èˆ¯Â˜„≠‰ÈÊËÙ≠ÌÈÚÂ‚ÈÙ≠‰˜ÈËÈÏÂÙ≠‰ÈÙ¯‚Â¯ÂÙ≠Ò˜Ò≠‰˜ÈËÓÂ¯≠‰ÏÓÁ≠˙ÂÓÈÏ‡≠‰È‚ÂÏÂ˜‡≠ÌÈÙÂ≠ÌÈÒÂÏ‡Ù≠˙ÂÈÈÓ≠‰Ê‰≠ÏÎÂ‡≠˙Â„ÏÈ≠¯˘·≠‰ÈÈ·¯≠ÔÂÈ¯Ù≠ËÂ˘È˜≠˙ÂÏÁÓ≠˙Â˘¯Ù‰≠ÈÂÊÈ·≠ÛÂ‚
®ÏÊ‡Ù‰ ˜Á˘Ó© È˘ÓÓ ‰Ó ¯·„ Ï˘ ˙Ú˙Ú˙Ó ÔÈÚ–˙È‡¯Ó È˙ÈÓ‡ ‰¯ˆÈ Ô‡Î Ì‚ ¨‰Ï˘ ˙ÂÓ„Â˜
‰ÂÓ˙ØÔÂÏÁ‰ ÈÈÂÓÈ„Ï ‰ÓÂ„· Æ˙ÈÏÎ˙ ÏÎ ¯ÒÁ Í‡ ¨„Ù˜ÂÓÂ Ú˜˘ÂÓ ¨ÌÏ˘ÂÓ ÈÂ˜ÈÁÎ ‰Ï‚˙Ó‰
ÔÈ·Ï ‚ÂˆÈÈ‰ ÔÈ·˘ È˜˙‰ ÒÁÈ‰ ˜¯Ù˙Ó Ô‡Î Ì‚ ¨ËÈ¯‚‡Ó ÈËÒÈÏ‡È¯ÂÒ‰ ¯ÈÈˆ‰ Ï˘ ÌÈÈ‚ÂÏÂËÂ‡Ë‰
‰Ó ˙‡ Û˜˘Ó‰ ÔÂÏÁÏ ÍÙÂ‰ ¯ÂÈˆ‰ ÆÚ·ËÏ ˙Â·¯˙ ÔÈ· ¨˙Â‡ÈˆÓÏ ÈÂÓÈ„‰ ÔÈ· ¨‚ˆÂÈÓ‰ Ë˜ÈÈ·Â‡‰
‰Î˘Ó˘ ¨˙È·ÈËËÈ„Ó ¨˙ÈÏÓÚ ‰ÈÈ˘Ú· ÆÌÈ„ÏÈ ˜Á˘ÓÏ ‰ÊÁ˙Ó ˙Ú· ‰·Â ÂÈ¯ÂÁ‡Ó ¯˙ÒÂÓ˘
Ï˘ ‰˜ÈÎË· ÌÈ¯ÈÚÊ ÌÈ˜ÏÁÏ ÌÂˆÚ‰ ÛÂ‰ ˙‡ ‰Ï˘ ÂÈ„ÂËÒ· ˙ÈÓ‡‰ ‰˜¯ÈÙ ¨ÌÈ·¯ ÌÈ˘„ÂÁ
ÏÚ ˙Â·˘ÁÓ ¯¯ÂÚÓ ¯ÂÈˆ‰ Ï˘ È„ÓÓ–˙Ï˙‰ Ë˜Ù‡‰ Æ®‰˜·„‰ ÈË¯Ò ˙ÂÚˆÓ‡·© ÈÂÏÈ‚Â ‰¯˙Ò‰
Ï˘ ˘„ÁÓ ‰·Î¯‰‰Â ˜Â¯ÈÙ‰ ˙„Â·Ú ¨ÔÎ ÏÚ ¯˙È Æ‰ÈÏ˘‡ÎÂ ÍÒÓÎ ¯ÂÈˆ‰ ÏÚÂ ‰ÈÈ‡¯‰ ÈÙÂ‡
ı¯‡· ¯˙ÂÈ· ÌÈÚÂ‚‰ „Á‡Î ÚÂ„È‰ ¯ÂÊ‡‰ ÏÚ ˙Â‚Â ˙Â·˘ÁÓ ˙¯¯ÂÚÓ ‰¯Â‡ÎÏ ÈÏ¯ÂËÒÙ‰ ÛÂ‰
Æ˙È‚ÂÏÂ˜‡ ‰ÈÁ·Ó
ÌÈ„ÏÈ ÈÚˆÓÂ ˙ÂÓß‚ÈÙ Ï˘ ¯ÂËÈÚ ÈÓ‚„ ÏÚ ˙ÂÒÒÂ·Ó‰ ˙Â„Â·Ú†˘ÂÏ˘ ‰‚ÈˆÓ Â·Â˜ ‰ÏÂ˘
ÌÈÈÂÓÈ„Â ÌÈÁ¯ÙÂ ÌÈÏÂ˙Á ¨ÌÈÏÂ‚ÈÚ È„Â˜È ÆÌÈ˘ÈÓÁ‰ ˙Â˘· ıÂ·È˜· ‰˙Â„ÏÈÓ ‰Ï ÌÈ¯ÂÎÊ‰
˙Â¯ÂˆÂ ÌÈÚ·ˆ ÏÏ˘· „· ÏÚ ÌÈ¯ÈÚÊ ÌÈÊÂ¯Á ˙˜·„‰ Ï˘ ‰˜ÈÎË· ÌÈ„·ÂÚÓ ÌÈ„ÏÈ ˙Â„‚‡Ó
Ì‚© ˜È¯ ÁË˘ Ï˘ ˙Á‡ ‰ÒÈÙ ‡Ï Û‡ ‰¯È˙ÂÓ ‰È‡Â ‡È˘ ˙ÂÓˆÂÚÏ Ô‡Î ‰ÚÈ‚Ó˘ ˙ÂÒÈÁ„·Â
˙„ˆ¯ÓÂ ˙¯‰ÂÊ ÔÈÚ ˙È‡¯ÓÏ Ô‡Î Â‚¯„Â˘ ıÂ·È˜‰ Ï˘ ˙ÂÓß‚ÈÙ‰ Æ®ÌÈÙÂ˜˘ ÌÈÊÂ¯Á· ‰ÙÂˆÓ Ú˜¯‰
˙ÂÙ‚Ò‰ ÏÚ ‰Ó ÈÂˆÈÙÎ ÌÈÊÂ¯Á‰ Ï˘ ˙ÂÈ·ÈË¯Â˜„· ‰¯Á· ˙ÈÓ‡‰ ÆÌÈÓÂÏ‰ÈÂ ÔÁ È·‡ Ï˘
¨‰˜·„‰‰ Æ®‰È¯·„Î ¨¢Èˆ¯‡‰ ıÂ·È˜· „ÁÂÈÓ·¢© ıÂ·È˜‰ Ï˘ ˙ÈËÈ¯ÂÙ‰ ‰˜ÈË˙Ò‡‰Â ˙È¯ÈÊ‰
˙Â·ÎÚ· ¨˙Â„ÏÈ‰ ÈÚˆÙ· ˜ÂÒÚÏ ‰Ï ˙¯˘Ù‡Ó‰ ‰ÈÙ¯˙ Ì‚ ‰·¯ ‰„ÈÓ· Ì‰ ıÂ·È˘‰Â ÈÂÒÈÎ‰
ÈÙÂÈ ˙ÓÂÁ ˙¯ˆÂÈ ÌÈÊÂ¯Á‰ ˙·Î˘ ÆÈ„Ó ¯˙ÂÈ ÛÂ˘ÁÏ ÈÏ·Ó ˙ÂÈ˘·Â ˙Â‡¯· ¨ÈÙÂÈ· ˙Â¯Â˘˜‰
Â‡˘ ‰ÓÓ ˙ÂÂ˘ ‰Î Ô˙ÂÈ‰Â Ô˙Â¯ÊÂÓÏ ¯·ÚÓ ÆÚ‚ÓÏ ‰˘˜Â ˙¯˜Â„ Í‡ ¨ÔÈÚ ˙‚ÚÓ ¨˙Ú˙Ú˙Ó
Æ·Ï È¯ÈÓÎÓ ÚÂ‚Ú‚Â ˙Â„È„· ‰Ï‡ ˙Â„Â·Ú· ˘È ¨˙ÈÏ‡¯˘È‰ ˙ÂÓ‡· ˙Â‡¯Ï ÌÈÏÈ‚¯
ÈÂÚ·ˆ Ù¯˜ ¯ÈÈ È¯Ê‚Ó ‰ÈÂ˘Ú ˜Ú ˙·Â· ‡È‰ Â·¯ÈÓ–ıÎ ÏËÈÓ Ï˘ ‰ ¯ È Ú ˘ ‰ ‰ ˘ È ‡ ‰
‰˜ÏÁÂ ‰¯˜˙‰Ó ıÙÁÎ ÈÂÏ˙ ÔÂÈÏÚ‰ ‰ÙÂ‚ ‚ÏÙ˘ ¨‰·Â·‰ Æ‰È˜˙ÓÓ ˙ÚÙ˘· ˙ÒÒÂ·˙Ó‰
ıÂÙ ÌÈ„ÏÈ ˜Á˘Ó–Ò˜Ë ¨‰Ë‡ÈÈÙ‰ Ï˘ ˙¯ÂÒÓ‰ ÈÙÏ ‰ÈÂ˘Ú ¨‰Ùˆ¯‰ ÏÚ ÚÂ¯˘ ÔÂ˙Á˙‰
˙ÂÚˆÓ‡· ¨Â¯Â˙· „Á‡ ÏÎ ¨ÌÈ„ÏÈ‰ ÌÈË·ÂÁ ‰Ê Ò˜Ë· Æ˙„ÏÂ‰ ÈÓÈ· ¯˜ÈÚ· ˙ÈÈË‡Ï‰ ‰˜È¯Ó‡·
Í˙È ˙ÂÈ¯ÎÂÒ Ì˘‚Â ÌÈÁ˙Ù ‰È·¯˜˘ „Ú ¨Ì˘‡¯Ï ÏÚÓ ‰ÈÂÏ˙‰ ‰Ë‡ÈÈÙ‰ ˙·Â·· ¨¯ËÂÚÓ Ï˜Ó
Ï˘ È˜ÒËÂ¯‚ ·ÂÏÈ˘¢© ÌÈÈÓÂ˜Ó ¯ÂÏ˜ÏÂÙÂ ˙Â¯ÂÒÓ Â·¯ÈÓ–ıÎ ‰‚ÙÒ ‰Ï‡ÂˆÂ ˙„ÈÏÈÎ Æ‰ÓÓ
˙ÈÈÂÂÁ Æ‰˙¯ÈˆÈÏ ÈÏ·¯˜–ÈÓÓÚ „ÓÓ ÌÈÙÈÒÂÓ‰ ¨®‰È¯·„Î ¨¢¯·ÈÏÂ· ÔÂÓÈÒÂ ˘ÈÙ–ÚËÏÈÙÚ‚
¨®ÌÈ¯Â‰Â© ÌÈ„ÏÈ Ï˘ ˙Â„¯˘È‰ ˙ÓÁÏÓÎ ¨È¯ÊÎ‡Â ÌÈÏ‡ ÚÂ¯È‡Î ‰Â¯ÎÈÊ· ‰·¯ˆ ‰Ë‡ÈÈÙ‰
®„ÓÁ ¯Ù¯Ù Â‡ Á¯Ù ¨·ÎÂÎ ‡ÏÂ© ¢‰¯ÈÚ˘ ‰˘È‡¢ Ï˘ ˙ÂÓ„· ‰¯ÈÁ·‰ Æ¯Ó‚ ‡Ï˘ ËÂÈÒÎ
˙¯¯ÂÚÓ ‰È·¯˜ ÂÎÙ˘ÈÈ˘ È„Î ‰˘È‡ ÂÎÈ ÌÈ„ÏÈ˘ ‰·˘ÁÓ‰© ÈÙ˜Â˙‰ „ÓÓ‰ ˙‡ ‰ÓÈˆÚÓ
Ô·¯Â˜ Ï˘ ‚ÂÒ ‰˘È‡‰ ˙ÂÈ‰Ï ˙È˜ÒËÂ¯‚ ‰¯ÂÙ‡ËÓÎ ‰˙ÂÓ„ ˙‡ ‰„ÈÓÚÓÂ ®˙¯ÂÓ¯Óˆ
ÆÈ·ÈËÓÈËÏÂ‡
19
Ô‡Î˘ ‡Ï‡ ¨®‰·‚ÂÓ ÁË˘Ó ÏÚ Â‡© ‰Ùˆ¯‰ ÏÚ ˙ÂÓ„ ˘È ·‰˘ ‰È„ Ï˘ ‰ Ú È ˜ ˘ ·ˆÈÓ· Ì‚
‰ÈÂ˘ÚÂ ˙ÈËÓÂ¯ ‰ÚÈ˜˘ Ï˘ Ì‚„· ˙¯ËÂÚÓ ÔË‡Ò ˙ÎÈÓ˘ ÔÈÚÓ· ‰ÒÂÎÓÂ ˙Ï·¯ÂÎÓ ˙ÂÓ„‰
®Ë¯Ù© ≤∞∞≥ ¨ ˙  Î » Ó Ó ‰ Î È Ù ˘ ¨È¯‡–Ô· ‰ÏÈ‰
Hilla Ben-Ari, M e c h a n i z e d F l o w, 2003 (detail)
®Ë¯Ù© ≤∞∞≥ ¨ ‰ „ È Á Ù Ó ‰ ¯ È Ú ˘ ‰ ˘ È ‡ ¨Â·¯ÈÓ–ıÎ ÏËÈÓ
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Meital Katz-Minerbo, T h e H a i r y S c a r y W o m a n, 2003 (detail)
‰Èˆ¯Â˜„≠‰ÈÊËÙ≠ÌÈÚÂ‚ÈÙ≠‰˜ÈËÈÏÂÙ≠‰ÈÙ¯‚Â¯ÂÙ≠Ò˜Ò≠‰˜ÈËÓÂ¯≠‰ÏÓÁ≠˙ÂÓÈÏ‡≠‰È‚ÂÏÂ˜‡≠ÌÈÙÂ≠ÌÈÒÂÏ‡Ù≠˙ÂÈÈÓ≠‰Ê‰≠ÏÎÂ‡≠˙Â„ÏÈ≠¯˘·≠‰ÈÈ·¯≠ÔÂÈ¯Ù≠ËÂ˘È˜≠˙ÂÏÁÓ≠˙Â˘¯Ù‰≠ÈÂÊÈ·≠ÛÂ‚
‰ÙÂˆÓ‰ ·È‰¯Ó‰ „·‰ ÔÈ· ¨ÈËÓÂ¯‰ ÈÂÓÈ„‰ ÔÈ· „Â‚È‰ ÆÌÈÚ·ˆ ÏÏ˘· ÌÈËÈÈ‡ÙÂ ¢ÌÈˆˆ¢Ó
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Æ˙ÂÂÂ‚Ó Ô‰ ÛÂ‚ ‰ÒÎÓ‰ „· ‰ÏÚÓ˘ ˙ÂÈˆ‡ÈˆÂÒ‡‰ Æ˙ÂÂÓÏ ÌÈÈÁ ÔÈ· ÌÈÈÂÊ‰ ÌÈ·ˆÓÂ ÌÈÓÂ„Ó„
ÚÂ‚ÈÙ È¯Á‡ ‰ÙÂ‚ ÈÂÒÈÎÏ „· Ì‚Â ÈÓÂÈÓÂÈ ˘ÂÓÈ˘Ï ‰ÎÈÓ˘ Â‡ ¨˙·‚Ó ¨˙ÈÏË ˙ÂÈ‰Ï ÏÂÎÈ ‰Ê
¨ÌÈ·¯ ÌÈ˘„ÂÁ ‰Î˘Ó˘ ¨‰˜·„‰‰Â ÈÂÙÈˆ‰ ˙Î‡ÏÓ· ‰ÓÂˆÚ‰ ‰„Â·Ú‰ ˙Ú˜˘‰ Æ·ÂÁ¯·
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˙‡Ê‰ ˙ÈËÈÂÙ¯˙‰Â ˙ÈÙÈÊÈÒ‰ ‰Î‡ÏÓ· ÆÌÈË˜‰ ÌÈË¯Ù· ˙‡ˆÓ ‰ÏÂ‡‚‰ ÂÏÈ‡Î ¨ÈÂÙÈ¯Â ‰Ïˆ‰
‰ˆÈÙÓ ‡È‰ ÂÏÈ‡Î ¨˙ÈÓÂ˜Ó‰ ‰˜ÈËÈÏÂÙ‰ ÈÓÈ‡Ó ˙Á–È‡‰Â ˘Â‡ÈÈ‰ ˙‡ ˙ÈÓ‡‰ ‰Ú˜È˘
Í‡ ¨˙ÂÂÓÂ ‰ÎÈÚ„ ÔÈÈˆÓ ¢‰ÚÈ˜˘¢ ‰„Â·Ú‰ Ï˘ ‰Ó˘ ÆÂÏÂÎ ÔÂÎÈ˙‰ Á¯ÊÓÏ ÈÏÓÒ ¢‚ÈÏÈ‰¢
Æ˘„ÁÓ ‰„ÈÏÂ ‰ÁÈ¯Ê ÏÚ ÚÈ·ˆ‰Ï Ô‡ÎÓÂ ˙ÂÚÈˆÙÓ ˘Ó˘ È¯˜Î Ì‚ ˙Â‡¯È‰Ï ÈÂ˘Ú ÂÓˆÚ ÈÂÓÈ„‰
Ï˘ È·ÈË¯Â˜„ ‚¯‡Ó ÆÔÓ¯Â˜ ‰¯Â Ï˘ ‰ ¯ Â ‰ È Â  ¯ Ù ‰„Â·Ú· Ì‚ ÚÈÙÂÓ ‰¯Â‡ÎÏ ÈËÓÂ¯ ÈÂÓÈ„
ÌÈÈÂÓÈ„ Ï˘ Í·ÂÒÓ Ì˜¯ÓÎ ·Â¯˜Ó Ë·Ó· ‰Ï‚˙Ó ÌÈ˜‰Â· ÁÙ ˙ÂÁÂÏ ÚˆÓ È·‚ ÏÚ ÌÈÁ¯Ù
˙ÂÂÈÚ Ô‡Î Â¯·Ú ÂÓÎ ÛÈ˜Â‡ ‰Èß‚¯Âß‚ Ï˘ ÌÈÁ¯Ù‰ È¯ÂÈˆ ÆÌÈÈÈÓ ÌÈ‚ÂÈÚ ÏÏ˘Â ÌÈÈÙ¯‚Â¯ÂÙ
˙‡ ÌÈ„„ÁÓÂ ‰ÈÂ¯È‡· Ú·Ë–‰˘È‡ ˙ÈÙÈËÂ‡¯ËÒ‰ ‰˜ÈÊ‰ ˙‡ ÌÈ‚ÈˆÓ ÌÈÈÂÓÈ„‰ ∫‰ˆ˜‰Â
˙„·ÂÚÓ ßÊËÂÓÂËÂÙ ˙„Â·Ú È‰ÂÊ ÆÈÏÈ‚ÂÂ‰ ÌÏÂÚÏ È·ÈËË‚ÂÂ‰ ÌÏÂÚ‰ ÔÈ· È¯Âˆ‰ ÔÂÈÓ„‰
˙Â¯·ÂÁÓ ÌÈÁÂ˜Ï‰ ÌÈÁ¯Ù ÈÈÂÓÈ„ ∫ÌÈÏÂ‡˘ ÌÈÈÂÓÈ„ È‚ÂÒ È˘ ÏÚ ˙ÒÒÂ·Ó‰ ¨ÙÂ˘ÂËÂÙ ˙ÎÂ˙·
‰·Î¯‰‰ ˙Î‡ÏÓ ÆÂ¯ÂÙ ˙Â¯·ÂÁÓ ÌÈÁÂ˜Ï‰ ÌÈÈÙ¯‚Â¯ÂÙ ÌÈÈÂÓÈ„Â ÌÈËÈ‰¯ ¯ÂËÈÚÏ ‰Î¯„‰
ÌÈÓ‚„Â ˙ÂÈ¯Âˆ ˙Â‡ÏÎ‰ Ï˘ ‰ÈÈ·Â ‰¯ÊÁ ÏÚ ˙ÒÒÂ·Ó ÌÈÈÂÓÈ„‰ È‚ÂÒ È˘ ÔÈ· ˙ÈÏÓÚ‰
— ˙Â¯˙ÂÒ‰ ˙ÂÈË˙Ò‡‰ ˙Â˜ÈË˜Ë‰ È˙˘ Æ‰¯Á˙ ÈÂÓ„ ÚˆÓ È·‚ ÏÚ ¢ÌÈÁÂÓ¢‰ ÌÈÏÙÎÂÓ
Æ˙ÂÊÁ˙‰Â ‰¯˙Ò‰ Ï˘ Ì˜¯Ó· ÂÊ· ÂÊ ˙Â¯ÂÊ˘ — ˙Èˆ˜ÂÚ‰Â ‰ËÂ·‰ ˙ÓÂÚÏ ‰È„Ú‰Â ‰ÓÈÓ˙‰
ÍÈÏÂÓ ¨®˘Ù ˙ÏÁÓ Ï˘ ÌÈÂÒÓ ‚ÂÒ© ÈËÈÏ‡ÂÎÈÒÙ‰ ÁÈ˘· Â¯Â˜Ó˘ ¨¢‰¯Â ‰ÈÂ¯Ù¢ Ì˘‰
‰Ê Ì˘ Æ˙Â˜Â˘˙‰ ÈÂÎÈ„ ¯Ë˘Ó ÏÚ ®¯ÂÓÂ‰ Ï˘ ·ÂË¯Â˜· ÌÓ‡© ÚÈ·ˆÓÂ ˙ÂÓÂ„ ˙ÂÈÂÚÓ˘ÓÏ
‰ÈÙ¯‚ÂÈ·ÂËÂ‡ Ï˘ ˙ÂÚÓ˘Ó· ‰„Â·Ú‰ ˙‡ ÔÈÚË‰Ï ÍÎ·Â ˙Ó‡‰ ÔÓ „ÁÙÎ Ì‚ ˘¯Ù˙‰Ï ÈÂ˘Ú
‰¯ÂÙ‡ËÓÎ Ì‚ Â˙Â‡¯Ï Ô˙È˘ ¨‚Ú˙ÓÂ ÈÓÈ„ ¨˘„Á ÈÈÓ ÈÂÓÈ„ Ô‡Î ˙¯ˆÈÈÓ ÔÓ¯Â˜ Æ˙ÈÂ¯È‡
ÆÂÓˆÚ ˙ÂÓ‡‰ ‰˘ÚÓÏ
Ï˘ ÌÈÓ„‰ ÈÚÂ¯È‡Ó „Á‡ ˙‡ „Ú˙Ó‰ ˙ÂÂ˙ÈÚ ÌÂÏÈˆ ÏÚ ˙ÒÒÂ·Ó È‡„ÂÒ ·¯Ó Ï˘ ‰˙„Â·Ú
¨‰ˆÒ‰ Æ®≤∞∞≤ ÈÂÈ© ÌÈÏ˘Â¯È· ß‡≥≤ Â˜· ˙Â„·‡˙‰‰ ÚÂ‚ÈÙ ˙¯ÈÊ — ‡ˆ˜‡–Ï‡ ˙„ÙÈ˙È‡
Æ˙˘˜‰ ÈÚ·ˆ ÏÏ˘· ÌÈËÈÈ‡Ù Ï˘ ‰¯ÈÙ˙Â ‰Ó˜¯ ˙˜ÈÎË· ‰ÈÂ˘Ú ¨˜Ú È„ÓÓÏ ‰Ï„‚Â‰˘
˙ÂÚÈ¯È· ˙ÂÒÂÎÓ‰ ˙ÂÙÂ‚‰ ˙¯Â˘Â Ô˘Ú‰ ÒÂ·ÂËÂ‡‰ „Ï˘ ¨˙Â˘„Á‰Ó ‡¯Ê „Ú ¯ÎÂÓ‰ ÈÂÓÈ„‰
¨‰¯Âˆ‰ ÔÈ·Ï ÔÎÂ˙‰ ÔÈ·˘ ¯¯ÓˆÓ‰ „Â‚È‰ ÆÈÈÈ˙ÙÂ ¯‰ÂÊ ÌÈˆÂˆ ÍÒÓÏ ÍÙ‰ ¨˙Â¯ÂÁ˘‰ ÔÂÏÈÈ‰
ÆÏ·Ò È˙Ï· ËÚÓÎ Ô‡Î ‰˘Ú ¨ÏÙÂËÓ ‡Â‰ ‰·˘ ˙ÈËÂ˘È˜‰ ‰˜ÈË˙Ò‡‰ ÔÈ·Ï ÔÂÚË‰ ‡˘Â‰ ÔÈ·
Ô‡Î ‰ËÒÂ‰ ¨È˘Ù Ë˜˘Â ÁÂ¯ Í¯Â‡ ·ÈÈÁÓ È·ÈÒÒ·Â‡‰Â ÈÙÈÊÈÒ‰ ‰ÚÂˆÈ·˘ ¨‰¯ÈÙ˙‰ ˙Î‡ÏÓ
ÔÈÚÓÏ Ô‡Î ‰ÒÈÈ‚˙‰ ÂÓÎ È‡„ÂÒ Æ‰ÓÈ‡‰ ÌÚ „„ÂÓ˙‰Ï ˙ÈÓ‡Ï ¯˘Ù‡Ó‰ ÌÈ„˘ ˘Â¯È‚ ÔÈÚÓÏ
¯˘·‰ ˙ÂÈ¯‡˘ ˙‡ ˙ÂÈ·ÈÒÒ·Â‡· ÌÈÙÒÂ‡Â ¢‰¯ÈÊ¢‰ ˙‡ ÌÈ˜Ó‰ ‰Ï‡ ÂÓÎ Æ˙ÂÓ‡‰ Ï˘ ‡¢˜Ê
‰ÚÂÂÊ‰ ˙‡ ˙·˘ÁÓ ˙Î‡ÏÓ· ˙Ó‚¯˙ÓÂ Ë¯ÙÏ Ë¯Ù ˙Ù¯ˆÓ ‡È‰ ÍÎ ¨‰Ó„‡Ï Ô·È˘‰Ï È„Î
ÏÚ ˙¯Â˜È· È‡„ÂÒ Ô‡Î ˙Á˙ÂÓ ‰Ê ÍÂÙÈ‰ ˙ÂÚˆÓ‡· Æ‰Èˆ¯Â˜„Ï ˙ÓÓ„Ó‰ ‰¯‚È˘‰ ˙‡ ¨˘ËÈ˜Ï
Æ˙ÈÏË˜‰ ‰¯‚˘Ï ˙ÂÏ‚¯˙‰·˘ „¯ÂÒ·‡‰Â ˙ÂÓÈË‡‰ ¨ÌÈ˘ÂÁ‰ ˙Â‰˜
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‰¯„Ò‰Ó ˙ÂÁÂÏ È˘ Ô‡Î ‰‚ÈˆÓ‰ ¨ÔÓ‚ÈÏ˜ ÒÈÏ‡ Ï˘ ‰È˙Â„Â·ÚÓ Ì‚ ‰ÏÂÚ ÈËÈÏÂÙ‰ Ë·È‰‰
ÌÈÏ·¯ÂÚÓÂ ÌÈ··Â‚Ó ˙Â·Â· È˜ÏÁÂ ÌÈ„ÏÈ ÈÚÂˆÚˆ ˙Â‡Ó Æ ® Í ¯ ‡ È ¯ Ë ‡ Ó © ˙ Â ‰ Ó È ‡ Ú · ¯ ‡
ÂÒÂÎ „Á‡ ÁÂÏ ÏÚ ÆÔÈÚ‰ ˙‡ ‰˙ÙÓÂ ÂÈ˙Â„‚ ÏÚ ‰ÏÂÚ‰ ·È‰¯Ó ÈÂÚ·ˆ ˘„Â‚ ˙¯ÈˆÈÏ ‰Ê· ‰Ê
È·¯· ˙Â·Â· È˘‰ ÁÂÏ‰ ÏÚÂ ®‰Ó‚Â„Ï ‰¯È„ ¨‰„ÈÏ ¨‰Â˙Á© ‰ÁÙ˘ÓÏÂ ˙È·Ï ÌÈ¯Â˘˜‰ ÌÈÚÂˆÚˆ
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ËÚÓ ‡Ï· ¨Ì‚ Í‡ Æ˙ÂÈÎ¢˙‰ ˙Â‰ÓÈ‡‰ Ú·¯‡ÏÂ ¨ÔÂ·ÏÓ Ï‡¯˘È ˙‡ˆÂ‰Ï ‰ÏÚÙ˘ ˙ÈËÈÏÂÙ‰
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ÍÂ˙ ¨Ô˙Â‡ ÂÓ‚¯˙Â ˙ÂÈ˙¯ÂÒÓ‰ „È‰ ˙ÂÎ‡ÏÓ Ï‡ ÂÙ˘ ˙ÂÂ˘‡¯‰Ó ‰˙È‰ ·ÂË ÔÓÈÒ ¨Ï‡¯˘È·
¯ÂÈˆÏ ‰·ÈË¯ËÏ‡ ‰„ÈÓÚ‰ ‡È‰ ÌÈÚ˘˙‰ ˙Â˘ ˙ÏÈÁ˙· Æ¯ÂÈˆ‰ ˙Î‡ÏÓÏ ¨˙Â‚Ú˙‰Â ‰ÓˆÚ‰
‰˜ÁÓ‰ ÈÏÓÚÂ È„Ù˜ ¯ÂÈˆ ‰ÚÈˆ‰Â È¯ÈÏ Â‡ È·ÈÒ¯ÙÒ˜‡ ÈÂÂÈÁ ÏÚ ÒÒÂ·Ó‰ È¯·‚‰ È‡Â¯‰‰
‰Ï˘ ¢ÌÈÁÈË˘¢‰ ÆÈÙÂÈ·Â ËÂ˘È˜· ÌÈ¯Â˘˜‰ ÌÈ‚˘ÂÓ ˘„ÁÓ ˜„Â·Â ‚È¯‡ Ï˘ ÌÈÂ˘ ÌÈÓ˜¯Ó
‰ÓÂ„· ˙ÂÈÂËÂÂÓ· ÔÓˆÚ ÏÚ ˙Â¯ÊÂÁ‰ ˙Â¯ˆ¯ˆ˜ ÏÂÁÎÓ ˙ÂÚÂ˙·Â ÌÈ˜È˜„ ÌÈÏÂÁÎÓ· ÌÈ¯ÈÂˆÓ
ÔÙÂ‡· ÌÓˆÚ ÏÚ ÌÈ¯ÊÂÁ ÁÈË˘‰ ÈÓ‚„ Ô‡Î ‚ˆÂÓ‰ ¯ÂÈˆ· Æ‰Ó˜¯ Â‡ ‰‚È¯Ò ¨‰‚È¯‡ ˙ÏÂÚÙÏ
¨‰ÈÊËÙÏ ˙ÈÓ‡‰ ˙ÒÁÈÈ˙Ó ¢Ô„Ú Ô‚¢· ÆÔÂ˙Á˙‰ ˜ÏÁ· È‡¯Î Û˜˙˘Ó ÔÂÈÏÚ‰ ˜ÏÁ‰˘Î ¨È¯ËÓÈÒ
¨ÈË¯˜Â˜ ÌÂ˜ÓÏ ˙ÒÁÈÈ˙Ó ‡È‰ ¢ÌÈÂ¯ÊÓÂ ˙ÂËÈÓ¢· ª‰¯ÂÙ‡ËÓ Ï‡Î ÈÓÈÓ˘ ÈÙÂÈÏÂ ‰ÈÂÓ¯‰Ï
˙ÈÁÙ ˙ÏÈ˙˘ ¨ÁÈË˘‰ Ï˘ ÔÂ˙Á˙‰ ˜ÏÁ‰Ó Ú·ˆ‰ ˙˜ÈÁÓ Æ‰Ó„‡‰ ÏÚ ¨‰ËÓÏ Ô‡Î ¨¯˙ÂÈ Èˆ¯‡
ÂÙÓÂ· ÍÈÒ‰ ÏÚ© ËÒ˜Ë‰ ˙Â¯Â˘ ˙ÙÒÂ‰Â ®˙È¯Î ÂÓÎ© ˙ÈÓÈ‰ ‰ÈÙ· ®Â·ÓÂÈ© ÌÈ¯ÂÁ˘‰ ÌÈ˙ÈÊ‰
Æ˙Â‡ÈˆÓÏ ‰ÈÊËÙ ÔÈ·˘ ¯ÚÙ‰ ˙‡ ÌÈ„„ÁÓ ® Ï Ë È Ï Â „ ¯ ¢ „ ÍÂ˙Ó Ô·Ï ˙ÂÈ‰Ï ‰ˆ¯˘
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Ì‚ ¨·ÂË ÔÓÈÒ Ïˆ‡ ÂÓÎ Æ ‰ È  Â „  ‰¯„Ò‰Ó ÌÈÚ˙Ú˙Ó ÌÈ¯ÂÈˆ ‰Ú·¯‡ Ô‡Î ‰‚ÈˆÓ ˜ÙÂßˆ˘ ‰È„
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Ô‡Î ÂÓ‚¯Â˙ ÈÁÓˆ ËÓ¯Â‡Â ˙È· Ï˘ ÌÈÓ‚„· ‰¯Á˙ ˙ÂÈÂÓ„ ˙Â‚Â¯Ò ˙ÂÈ¯Î Æ˙È„˜˘Â ˙ÈÏ·Ò
‚˘ÂÓ‰ Æ‰˙ÁÏ ‰ÏÎ Ï˘ ‰ÈÂ„Î ‰·‰‡· ˘‚ÂÓ‰ ÌÈË¯Ù ¯È˙Ú ˜ÈÂ„ÓÂ „Ù˜ÂÓ ¯ÂÈˆÏ
‰È¯Â˘ÈÎÏ ‰ÁÎÂ‰‰Â ‰ÏÎ‰ ˙ÁÙ˘Ó ˙ÓÏ˘Ó˘ ¯ÈÁÓ‰ — ¢‰ÈÂ„¢ ÌÓÂ˜Ó‰Â ÈËÒÈÂ¯Î‡‰
‡Â‰ ˜ÙÂßˆ˘ Ïˆ‡ Æ˘ÂÎ¯ÎÂ ˙ÂÈ˙Î ÌÈ˘‰ Ï˘ È‡Î„‰ ·ˆÓ‰ ˙‡ ÏÓÒÓ — ‰·ÂË ‰ÈÚ¯Ï ÍÂÙ‰Ï
ÈÓÎ Æ˙ÓÈÂ‡Ó ‡ÏÂ ˙ÁËÂ· ˙È˘ ‰„ÓÚ ÍÂ˙Ó ¨˙ÎÈÂÁÓ ‰¯Âˆ· ÏÙÂËÓÂ ˙ÂÏˆ˙‰ ‡ÏÏ ˘‚ÂÓ
ÈËÒÈÏÓÈÈÓ‰ ¯È·Á˙· ˙˘Ó˙˘Ó ‡È‰ ¨ßıÈ·ÏÓ ÁÒÂ ÈÎÙ‰Ó‰ ÌÊÈ¯„ÂÓ‰ ÈÎ¯· ÏÚ ‰ÎÁ˙‰˘
¯Â˜ÓÏ „È‰ ˙ÂÎ‡ÏÓ Ï˘ ˙Â˙ÈÁ‰ ˙‡ ˙ÎÙÂ‰Â ÌÈÈ˘ ÌÈÎ˙· Â˙Â‡ ‰ÈÚËÓ Í‡ ¨‡ˆÂÓ ˙„Â˜Î
Æ˙Â·È„Â ÁÂÎ ¨‰ÓˆÚ‰ Ï˘
≤∞∞≥ ¨ Ì È Ú Ë ‡ Ï ¨ÁÈÏˆÓ ÏË
Tal Matzliah, N o t T a s t y, 2003
24
25
®ÌÈË¯Ù© ≤∞∞≥ ¨ ‰ ¯ Â ‰ È Â  ¯ Ù ¨ÔÓ¯Â˜ ‰¯Â
27
Vera Korman, P a r a n o i a V e r a, 2003 (details)
≤∞∞≤ ¨® Í ¯ ‡ È ¯ Ë ‡ Ó© ˙ Â ‰ Ó È ‡ Ú · ¯ ‡ ‰¯„Ò‰ ÍÂ˙Ó ÁÂÏ ¨ÔÓ‚ÈÏ˜ ÒÈÏ‡
Alice Klingman, panel from the series F o u r M o t h e r s ( M a t r i a r c h), 2000
28
≤∞∞≥ ¨ ˙ ¯ ˙ Â Î ‡ Ï Ï ¨¯ÈÓ˘ ÏÎÈÓ
®‰Î‰· ‰„Â·Ú©
29
Michal Shamir, U n t i t l e d, 2003
(work in progress)
30
31
®‰Î‰· ‰„Â·Ú© ≤∞∞≥ ¨ ß ‡ ≥ ≤ Â ˜ ¨È‡„ÂÒ ·¯Ó
®Ë¯Ù© ≤∞∞≥ ¨ ‰ Ú È ˜ ˘ ¨·‰˘ ‰È„
Merav Sudaey, L i n e 3 2 A, 2003 (work in progress)
Dina Shenhav, S u n s e t, 2003 (detail)
®¯È˜ ·ˆÈÓ ÍÂ˙Ó Ë¯Ù© ≤∞∞≥ ¨ ˙ ¯ ˙ Â Î ‡ Ï Ï ¨ÒÈÈßˆ È¯ÈÓ
Miri Chais, U n t i t l e d, 2003 (detail from a wall installation)
32
˙ ¯ ˙ Â Î ‡ Ï Ï ¨Â·Â˜ ‰ÏÂ˘
®Ë¯Ù© ≤∞∞≥≠≤∞∞≤
33
Shula Kobo, U n t i t l e d
2002-2003 (detail)
±ππ∂ ¨ ‰ È  Â „  ‰¯„Ò‰ ÍÂ˙Ó ¨˜ÙÂßˆ˘ ‰È„
Dina Schupak, from the series T h e T r o u s s e a u, 1996
34
±ππ∏≠±ππ∑ ¨® Ì È  Â ¯ Ê Ó Â ˙ Â Ë È Ó Â ‡ Ô „ Ú Ô ‚ ‰¯„Ò‰ ÍÂ˙Ó© È ‡ ¯ ‰ Â ‰ Ù Ó ‰ ¨·ÂË ÔÓÈÒ ÈÓÚ
35
Naomi Siman Tov, T h e M a p a n d t h e M i r r o r (from the series P a r a d i s e o r B e d s a n d M a t t r e s s e s), 1997-1998
®Ë¯Ù© ≤∞∞≥ ¨ÌÈ˜ÏÁ ∂¨µ∏∏ ¨ Û Â  Ï Ê ‡ Ù ¨È˙ÈÓ‡ ÏË
Tal Amitai, L a n d s c a p e J i g s a w P u z z l e, 6,588 Pieces, 2003 (detail)
36
LIST OF WORKS
Tal Amitai, L a n d s c a p e J i g s a w P u z z l e ,
6 , 5 8 8 P i e c e s , 2003
Oil on plywood, 120 x 240
Courtesy the artist and Noga Gallery of Contemporary Art,
Tel Aviv
Base photograph: Hai Ashkenazi
Hilla Ben-Ari, M e c h a n i z e d F l o w , 2003 (detail)
PVC, wall paper, metal hooks, threads
dimensional fabric paint, 260 x 317 x 1.5
Courtesy the artist
Aya Ben Ron, from the series F o u r S e a s o n s , 2002
˙Â„Â·Ú ˙ÓÈ˘¯
˙ Â ‰ Ó ‡ Ú · ¯ ‡ ‰¯„Ò‰ ÍÂ˙Ó ¨ÔÓ‚ÈÏ˜ ÒÈÏ‡
≤∞∞≤ ¨ ® Í ¯ ‡ È ¯ Ë ‡ Ó ©
®ÔÏÈÙÂ¯ÙÈÏÂÙÂ ÔÏÈ˙‡ÈÏÂÙ© ÌÈËÒÏÙÂÓ¯˙ ÌÈ¯ÓÂÁ
˙ÈÓ‡‰ ˙Â·È„‡· ¨˙Á‡ ÏÎ ±± x ∑µ x ∂≤ ¨˙Â„ÈÁÈ È˙˘
≤∞∞≥ ¨ Ì È ˜ Ï Á ∂ ¨ µ ∏ ∏ ¨ Û Â  Ï Ê ‡ Ù ¨È˙ÈÓ‡ ÏË
±≤∞ x ≤¥∞ ¨„Â·Ï ıÚ ÏÚ ÔÓ˘
·È·‡ Ï˙ ¨˙ÈÂÂ˘ÎÚ ˙ÂÓ‡Ï ‡‚ ‰È¯Ï‚Â ˙ÈÓ‡‰ ˙Â·È„‡·
≤∞∞≥ ¨ ˙ ¯ ˙ Â Î ‡ Ï Ï ¨¯ÈÓ˘ ÏÎÈÓ
±π∞ x ±≥∞ x π≤2 ¨ÈÓÂ‚ ˙ÂÈ¯ÎÂÒ ¨Ò·‚ ˙Â˘Â·Á˙ ¨ÏÊ¯·
¨˙ÈÂÂ˘ÎÚ ˙ÂÓ‡Ï ˘ÂÏ˘ ‰È¯Ï‚Â ˙ÈÓ‡‰ ˙Â·È„‡·
·È·‡ Ï˙
≤∞∞≥ ¨ ˙  Î » Ó Ó ‰ Î È Ù ˘ ¨È¯‡–Ô· ‰ÏÈ‰
‰¯ÈÙ˙ ÈËÂÁ ¨˙Î˙Ó ÈÒ¯˜ ¨ËÙË ¨ÈÒ–ÈÂ–ÈÙ
≤∂∞ x ≥±∑ x ±Æµ ¨ÌÈÈ„ÓÓ–˙Ï˙ ÏÈËÒ˜Ë ÈÚ·ˆÂ
˙ÈÓ‡‰ ˙Â·È„‡·
≤∞∞≥ ¨ ‰ Ú È ˜ ˘ ¨·‰˘ ‰È„
Ò·‚ ˙Â˘Â·Á˙Â ˙Â˜·„Ó ¨˜·„ ¨ÌÈËÈÈ‡Ù ¨ÌÈˆˆ ¨„·
≤∞∞ x ≤∞∞ x ≥µ
·È·‡ Ï˙ ¨ÆÓ ÈÏÂß‚ ‰È¯Ï‚Â ˙ÈÓ‡‰ ˙Â·È„‡·
≤∞∞≤ ¨ ˙ Â  Â Ú ‰ Ú · ¯ ‡ ¨ÔÂ¯ Ô· ‰È‡
˙Â·Î˘· ˜·„ÂÓÂ ÍÂ˙Á ÌÂÏÈˆ ¯ÈÈ ÏÚ ‰ÒÙ„‰
˙Á‡ ÏÎ ∏∂ x ∑≥ ¨˙Â„ÈÁÈ Ú·¯‡
·È·‡ Ï˙ ¨¯Â‡Ï ‰‡ˆÂ‰Â ˙ÂÓ‡ È˘ÂÏÂ ˙ÈÓ‡‰ ˙Â·È„‡·
±ππ∂ ¨ ‰ È  Â „  ‰¯„Ò‰ ÍÂ˙Ó ¨˜ÙÂßˆ˘ ‰È„
˙Á‡ ÏÎ ¥∞ x ¥∞ ¨˙Â„ÈÁÈ Ú·¯‡ ¨„· ÏÚ ÔÓ˘
·È·‡ Ï˙ ¨ÈË¯Ù ÛÒÂ‡
≤∞∞≤ ¨ ¯ · È ‡ – · ¯ ¨˜È·Â˜„ÂÈ ÏÚÈ
±∏∞ x ≤≤∞ ¨‰‡¯Ó ¨ËÓ‚ÈÙ ¨„ÈÒ ¨¯ÓÈÁ
ÂÈ˜ÂË ¨ÔÓ„· ÛÒÂ‡ ˙Â·È„‡·
Print on flex paper cut and glued in layers
4 parts, 86 x 73 each
Courtesy the artist and Loushy Art & Edditions, Tel Aviv
Yael Yudkovik, P o l y n o m o s , 2002
±ππ∂ ¨ ˙ È ¯ Î ¨˜ÙÂßˆ˘ ‰È„
·È·‡ Ï˙ ¨ÈË¯Ù ÛÒÂ‡ ¨¥∞ x ∂∞ ¨„· ÏÚ ÔÓ˘
Clay, lime, pigment, mirror, 180 x 220
Courtesy Bandmann Collection ,Tokyo
Meital Katz-Minerbo, T h e H a i r y S c a r y W o m a n , 2003
Cardboard and crepe paper, 220 x 100 x 30 (full figure)
Dimensions variable (installation)
Vera Korman, P a r a n o i a V e r a , 2003
Courtesy the artist
Computer-generated transparency-print mounted on metal
sheet, 173 x 232, 12 parts, 55 x 55 each
Tal Matzliah, N o t T a s t y , 2003
Courtesy the artist
Oil on plywood, 2 parts, 120 x 244
Courtesy the artist and Alon Segev Gallery, Tel Aviv
Alice Klingman, from the series F o u r M o t h e r s
( M a t r i a r c h ) , 2000
Merav Sudaey, L i n e 3 2 A , 2003
Thermoplastic materials, 2 parts, 11 x 75 x 62 each
Sequins on canvas, 190 x 290
Courtesy the artist
Courtesy the artist and Julie M. Gallery, Tel Aviv
Michal Shamir, U n t i t l e d , 2003
Naomi Siman Tov, T h e M a p a n d t h e M i r r o r from the
Iron, plaster, jelly candies, 190 x 130 x 92
series P a r a d i s e o r B e d s a n d M a t t r e s s e s ,
Courtesy the artist and Chelouche Gallery for Contemporary
1997-1998
Art, Tel Aviv
Oil on canvas, 115 x 246
Private Collection, Tel Aviv
Fabric, glitter, sequins, stickers, glue, plaster
Miri Chais, U n t i t l e d , 2003
200 x 200 x 35
Digital print on wall paper, wood, 532 x 230 / 260 x 230
Courtesy the artist and Julie M. Gallery, Tel Aviv
(walls); 94 x 74 x 45 (box); 125 x 160 x 76 (bed)
Courtesy the artist
Shula Kobo, U n t i t l e d , 2002-2003
37
Dina Shenhav, S u n s e t , 2003
Dina Schupak, from the series T h e T r o u s s e a u , 1996
Oil on canvas, 4 parts, 40 x 40 each
Private Collection, Tel Aviv
Beads on canvas, 185 x 123 (three works)
Dina Schupak, P i l l o w , 1996
Courtesy the artist
Oil on canvas, 40 x 60
Private Collection, Tel Aviv
ÈÊÎ˘‡ ÈÁ ∫˙È˙˘˙ ÌÂÏÈˆ
≤∞∞≥ ¨ ‰ „ È Á Ù Ó ‰ ¯ È Ú ˘ ‰ ˘ È ‡ ¨Â·¯ÈÓ–ıÎ ÏËÈÓ
®‰˙ÂÓÏ˘· ‰·Â·© ≤≤∞ x ±∞∞ x ≥∞ ¨Ù¯˜ ¯ÈÈÂ ÔÂË¯˜
®·ˆÈÓ© ˙Â˙˘Ó ˙Â„ÈÓ
˙ÈÓ‡‰ ˙Â·È„‡·
≤∞∞≥ ¨ Ì È Ú Ë ‡ Ï ¨ÁÈÏˆÓ ÏË
±≤∞ x ≤¥¥ ¨ÌÈ˜ÏÁ È˘ ¨Ë˜È„ ÏÚ ÔÓ˘
·È·‡ Ï˙ ¨·‚˘ ÔÂÏ‡ ‰È¯Ï‚Â ˙ÈÓ‡‰ ˙Â·È„‡·
≤∞∞≥ ¨ ß ‡ ≥ ≤ Â ˜ ¨È‡„ÂÒ ·¯Ó
±π∞ x ≤π∞ ¨„· ÏÚ ÌÈËÈÈ‡Ù
·È·‡ Ï˙ ¨ÆÓ ÈÏÂß‚ ‰È¯Ï‚Â ˙ÈÓ‡‰ ˙Â·È„‡·
È ‡ ¯ ‰ Â ‰ Ù Ó ‰ ¨·ÂË ÔÓÈÒ ÈÓÚ
≠±ππ∑ ¨® Ì È  Â ¯ Ê Ó Â ˙ Â Ë È Ó Â ‡ Ô „ Ú Ô ‚ ‰¯„Ò‰ ÍÂ˙Ó©
±±µ x ≤¥∂ ¨„· ÏÚ ÔÓ˘ ¨±ππ∏
·È·‡ Ï˙ ¨ÈË¯Ù ÛÒÂ‡
≤∞∞≥ ¨ ˙ ¯ ˙ Â Î ‡ Ï Ï ¨ÒÈÈßˆ È¯ÈÓ
≤∂∞ x ≤≥∞ Ø ≤≥µ x ≤≥∞ ¨ıÚ ¨ËÙË ÏÚ ˙ÈÏËÈ‚È„ ‰ÒÙ„‰
®‰ËÈÓ© ±≤µ x ±∂∞ x ∑∂ ª®Ê‚¯‡© π¥ x ∑¥ x ¥µ ª®˙Â¯È˜©
˙ÈÓ‡‰ ˙Â·È„‡·
≤∞∞≥≠≤∞∞≤ ¨ ˙ ¯ ˙ Â Î ‡ Ï Ï ¨Â·Â˜ ‰ÏÂ˘
®˙Â„Â·Ú ˘ÂÏ˘© ±∏µ x ±≤≥ ¨„· ÏÚ ÌÈÊÂ¯Á
˙ÈÓ‡‰ ˙Â·È„‡·
≤∞∞≥ ¨ ‰ ¯ Â ‰ È Â  ¯ Ù ¨ÔÓ¯Â˜ ‰¯Â
˙Î˙Ó ÏÚ ˜·„ÂÓ Û˜˘ ÏÚ ˙·˘ÁÂÓÓ ‰ÒÙ„‰
˙Á‡ ÏÎ µµ x µµ ¨˙Â„ÈÁÈ ±≤ ¨±∑≥ x ≤≥≤
˙ÈÓ‡‰ ˙Â·È„‡·
BODY-ABJECT-SECRETIONS-ORNAMENT-FERTILITY-FLESH-MEAT-CHILDHOOD-FOOD-NUTRITION-SEXUALITY-PHALLUSES-LANDSCAPES-ECOLOGY-VIOLENCE-COMPASSION-ROMANCE-SEX-PORNOGRAPHY-POLITICS-TERROR-FANTASY-DECORATION
women’s political movement whose protest helped cause the withdrawal of Israeli troops
from Lebanon. Yet, with more than a touch of irony, it also relates to mothers as
producers of soldiers of war. The meticulous treatment of the toys – heating them to
high temperatures and melting down the synthetic material into a shapeless mass – blurs
their original features and changes their innocent function. The damage, the violence,
and the destruction are well camouflaged, but beyond the screen of beautiful color
combinations and forms the toys are revealed as a collection of junk and the dolls as a
pile of bodies.
Naomi Siman Tov bases her work The Map and the Mirror from the series Paradise or
Beds and Mattresses on oriental carpets, as a homage to the craft and skills of folkloric art
created throughout history by women who, in her words, “were expelled from the
Paradise of modernism.” Siman Tov was among the first in Israel to turn to traditional
crafts and to translate them, through empowerment and pleasure, into painting. At the
beginning of the 1990s she offered an alternative to heroic male painting based on the
expressive or lyrical gesture. She presented meticulous and labor intensive painting that
imitates different woven textures, re-examining concepts connected to decoration and
beauty. Her “carpets” are painted with fine brushes and with short, monotonous, and
repetitive brushstrokes similar to the act of weaving, knitting, or embroidery. In the
painting exhibited here the carpet patterns are symmetrically repeated, with the upper
section reflecting the lower like a mirror. In “Paradise” Siman Tov relates
metaphorically to fantasy, harmony, and heavenly beauty; in “Beds and Mattresses” she
relates to a concrete place, down here, on earth. The erasure of color from the bottom
section of the carpet, the planting of the black olive tin (Yombo) in the right corner (like
a cushion) and the addition of text (about Prince Bompo who wanted to become white
in Dr. Dolittle) emphasize the gap between fantasy and reality.
Dina Schupak exhibits here four illusory paintings from the series The Trousseau. Her
oil paintings, like those of Siman Tov, are made with fine brushes that skillfully mimic
women’s crafts that demand patience and diligence. Lace-like knitted pillows in various
ornamental patterns are translated into meticulous, detail-filled paintings, lovingly
presented as a bride’s dowry to her groom. The anachronistic and disturbing concept of
“dowry” – the price paid by the bride’s family as proof of her ability to become a good
wife – symbolizes the repressive state of women as objects and property. Schupak
presents the dowry with no apologies and from a non-threatened position of female
self-assurance. As one raised in the lap of revolutionary Malevich style modernism, she
uses minimalist syntax as her point of origin, but charges it with female content
and transforms the inferiority of handicrafts into a source of empowerment, strength,
and generosity.
38
BODY-ABJECT-SECRETIONS-ORNAMENT-FERTILITY-FLESH-MEAT-CHILDHOOD-FOOD-NUTRITION-SEXUALITY-PHALLUSES-LANDSCAPES-ECOLOGY-VIOLENCE-COMPASSION-ROMANCE-SEX-PORNOGRAPHY-POLITICS-TERROR-FANTASY-DECORATION
decorative web of flowers on a bed of shining metal sheets is revealed to be a complex
weave of pornographic images in a whole range of sexual delights. It is as if Georgia
O’Keefe’s flower paintings had been distorted and taken to the extreme: the images
represent an ironic stereotypical affinity of woman-nature that emphasizes the formal
similarity between the vegetative and vaginal world. This digitally imaged
photomontage work is based on two borrowed images: flower images taken from
instruction manuals for furniture decoration and pornographic images taken from
porno magazines. The intensive process of assembling the two types of images is based
on the repeated hybridizations and cloned patterns that “rest” on the faux-lace bed. The
two contradictory aesthetic tactics – the innocent and gentle as opposed to the vulgar
and sarcastic – are interwoven into a texture of camouflage and charade. Even the name,
“Paranoia Vera”, originating in the psychoanalytical discourse (a specific type of mental
illness), leads to similar meanings and points at (albeit humorously) a regime that
suppresses passions. The title could also be interpreted as fear of the truth and thus
charges the work with ironic autobiographical meanings. Korman creates a new sexual
image that is dynamic and pleasurable, and that can also be seen as a metaphor for
artistic creation.
Merav Sudaey’s work is based on a press photograph documenting one of the bloody
events of the Al-Aqsa Intifada – the site of the suicide bombing of bus 32A in Jerusalem
(June 2002). The scene, which has been enlarged to gigantic proportions, has been
embroidered and sequined in many colors. The over-familiar news image, the smoking
skeleton of the bus and rows of bodies covered in black plastic sheeting, is turned into
a glittering, shimmering, and seductive screen. The chilling contrast between the
content and the form, between the charged subject matter and the decorative aesthetics
of the work, is almost unbearable. The sewing, whose Sisyphic and obsessive execution
demands a peaceful temperament, is deflected here into a kind of exorcism that enables
the artist to deal with the terror. Sudaey seems to have joined “art’s emergency service.”
Like those who clean the “scene” and obsessively collect the remains of flesh in order to
return them to the earth, so she joins detail to detail and translates the horror into
kitsch, the bleeding routine into decoration. Through this contrast Sudaey criticizes the
deadening of the senses and the absurdity of becoming used to the terrifying routine.
39
The political aspect is also raised in Alice Klingman’s work, who exhibits here two
panels from the series Four Mothers (Matriarch). Hundreds of children’s toys and doll
parts are tangled together to create a colorful abundance that overflows and seduces the
eye. On one panel there are toys connected to the house and family (wedding, birth,
show home) and on the second panel, different types of Barbie dolls of both sexes. The
work’s title relates to the Biblical matriarchs and is homage to The Four Mothers, a
BODY-ABJECT-SECRETIONS-ORNAMENT-FERTILITY-FLESH-MEAT-CHILDHOOD-FOOD-NUTRITION-SEXUALITY-PHALLUSES-LANDSCAPES-ECOLOGY-VIOLENCE-COMPASSION-ROMANCE-SEX-PORNOGRAPHY-POLITICS-TERROR-FANTASY-DECORATION
linked to beauty, with appearance and femininity without revealing too much. The layer
of beads creates a wall of illusory beauty, pretty to look at, but sharp and hard to the
touch. In addition to being bizarre and so different from what we are used to seeing in
Israeli art, these works also radiate loneliness and deep longing.
Meital Katz-Minerbo’s The Hairy Scary Woman is a giant doll made of colorful crepe
paper strips wallowing in the abundance of her sweets. The doll, whose upper body
hangs object-like from the ceiling, and whose lower half lies on the floor, is made
according to the piñata tradition, a ritual-children’s game common in Latin America,
especially on birthdays. In the ritual, children take turns to try to hit the piñata doll
hanging from above their heads with a long stick. This continues until the belly opens
and candy rains on their heads. Born in Venezuela, Katz-Minerbo assimilated the local
traditions and folklore (“a grotesque combination of gefilte fish and Simon Bolivar,” she
says) that add a popular-carnival dimension to her works. The piñata experience is
branded in her memories as a violent and cruel event, as a game of survival for the
children (and parents), and as a never-ending nightmare for herself. Her choice of the
“hairy woman” (and not a star, flower, or cute butterfly) intensifies the aggressive
dimension (the thought that children would beat a woman until her insides spill
out is chilling) and places the figure as a grotesque metaphor for woman as the
ultimate victim.
In Dina Shenhav’s Sunset installation there is also a figure on the floor (or on an
elevated platform), but here the figure is curled up and covered by a sort of satin
covering decorated with a romantic image of a sunset made from colorful glitter and
sequins. The contrast between the romantic image, between the spectacular fabric
covered with glittering cheap materials and its function as a cover for the curled body,
raises thoughts of the twilight zone, the hallucinatory state between life and death. The
associations of a cloth covering a body are varied. It could be a prayer shawl, a towel, or
a blanket in daily use as well as a cloth used to cover a body after a terrorist attack in the
street. The many months of intense work invested in gluing and covering the cloth
confer upon it ritual and magical qualities, charging it with meanings of compassion,
saving, and healing, as if redemption exists in the small details. The artist has sunk her
desperation and discomfort with the local political situation into this Sisyphean and
therapeutic act, as if she is spreading symbolic “healing” throughout the Middle East.
The work’s title, Sunset, implies fading and death, yet the image itself could also be seen
as emerging sun rays and thus indicate sunrise and rebirth.
A seemingly romantic image also appears in Vera Korman’s work Paranoia Vera. A
40
BODY-ABJECT-SECRETIONS-ORNAMENT-FERTILITY-FLESH-MEAT-CHILDHOOD-FOOD-NUTRITION-SEXUALITY-PHALLUSES-LANDSCAPES-ECOLOGY-VIOLENCE-COMPASSION-ROMANCE-SEX-PORNOGRAPHY-POLITICS-TERROR-FANTASY-DECORATION
heights, are duplicated by a round mirror that serves as their base. The general
impression is of a fantastic glacial landscape, a kind of continent, island, or puddle with
imaginary bodies thrusting out of it. The objects are made of baked clay dipped in
whitewash, and painted a sickly shade og green. With laborious and patient handwork
Yudkovik pierces the flesh-like clay with her fingers. The gouging, the hole making, and
the piercing is done in a monotonous cyclical rhythm until a dense and intensive surface
is created. The strategy she has chosen – to produce a phallus pierced, sieve-like, and
thus to negate its centrality and completeness (and even make it female), gives new
interpretations to Freud and Lacan, formulating a different, androgynous sexuality,
beyond the normative division of gender differences. It seems as if even the most
aggressive image – the ultimate signifier – has a hole (many holes).
Another kind of decorative landscape is presented here by Tal Amitai: a realistic
painting of the panoramic Haifa Bay as reflected in the gallery window. But the window
has been blocked off for the exhibition and the landscape painting is actually a large
jigsaw puzzle of 6,588 pieces that can never be played with. As with her previous works,
Amitai has created the illusion of a real thing (a puzzle) exposed as a perfect mimesis,
meticulous but functionless. As with the Surrealist painter Magritte’s tautological
window/picture, there is a deconstruction of the correct relationship between
representation and the object represented, between image and reality, between culture
and nature. The painting becomes a window overlooking what is hidden behind it while
simultaneously posing as a children’s game. Utilizing a technique of concealing and
revealing (using masking tape) the artist worked in her studio for many months using a
labor intensive, meditative creative process to deconstruct the enormous view into tiny
pieces. The painting’s three-dimensional effect gives rise to thoughts about the ways of
seeing and of painting as a screen and illusion. Moreover, the work of deconstructing
and reconstructing the apparently pastoral landscape raises thoughts regarding the area
that is known for being one of the most polluted in the country.
41
Shula Kobo exhibits three works based on patterns from children’s pajamas and sheets,
reminiscent of her childhood on the kibbutz in the 1950s. Polka dots, cats, flowers, and
figures from fairy tales are processed through gluing colored and variously shaped beads
onto a canvas. This meticulous procedure covers the entire surface (the background is
covered in clear beads as well). The kibbutz pajamas have been upgraded to shimmer
and shine with what look like precious stones and diamonds. The artist chose the
decorative aspect of the beads as compensation for the puritanical aesthetics and
asceticism of the kibbutz. The adhesion, the covering, and the inlay are in many ways a
therapy that allows her to deal with the wounds of her childhood, with inhibitions
BODY-ABJECT-SECRETIONS-ORNAMENT-FERTILITY-FLESH-MEAT-CHILDHOOD-FOOD-NUTRITION-SEXUALITY-PHALLUSES-LANDSCAPES-ECOLOGY-VIOLENCE-COMPASSION-ROMANCE-SEX-PORNOGRAPHY-POLITICS-TERROR-FANTASY-DECORATION
weave abundant with forms and colors. The images of sexuality, pregnancy, and birth
in this series blur the gender differences and raise questions of technological
reproduction that sanitize the fertility process of female flesh and blood. Thus, the
decorative compositions seen here are an efficient camouflage tactic for the obsessive and
inquisitive treatment of the clinical-medical aspect of the human body in the post
genome age.
The preoccupation with the body also exists in the work of Michal Shamir, for whom
the body is represented as a hunk of life-size animal meat (ox) hung from a butcher’s
hook, similar to the famous ox painting by Rembrandt. Jelly candies – snakes, snails,
spiders, worms, teeth, and fried eggs – make up the skin covering the meat. Through
meticulous work, which resembles the inlaying of precious stones, Shamir disguises the
monstrous image of the living bleeding flesh. She has used candy to deal with the
affinity between meat, body, decoration, and temptation in other works as well: she
wrote on the wall with necklace candy, sculpted body-like objects from cotton-candy,
ironed clusters of crushed sweets that looked like open wounds and created a candy
curtain in the style of Hansel and Gretel. The preoccupation with meat and animals is
discussed in feminist literature as a way of relating to the body and as a protest against
the disturbing equation women=nature / man=culture. The sweet meat sculpture
exhibited here is a twenty-first century version of vanitas, but in contrast to the still-life
paintings of the seventeenth century, where the futility of carnal life was symbolized by
ripe fruit, here decay is not hinted at but crawls freely over the hanging meat delicacy.
Tal Matzliah’s work, Not Tasty, presents two obsessions of modern life: sex and food.
Images of food (this time, steak on a plate) are combined with sexual images and defiant
mantra-like sentences. The central image is of a monumental phallus spraying jets of
fluid into an open mouth. In her unique handwriting, characterized by tight, rhythmic,
brushstrokes, the artist compresses her disturbing images onto the canvas and reveals an
accumulative associative continuum of anxiety, anger, repugnance, and fantasy. The
Hebrew texts (slice of cock/not tasty/Tal eats) are written with a fine brush and create
an autonomous tangle that becomes intertwined amongst the images and defines some
of the shapes. The painting’s texture, its striated grooves and layered surfaces, is
laboriously constructed, as if the artist disciplines all her energy and thoughts that flow
during the act of painting into ornamental channels of expression whose logic is etched
on the depths of the soul.
Male sexual organs also star in Yael Yudkovik’s floor installation, Polynomos. A crowded
collection of phallic structures thrusting upward like towers, of different textures and
42
BODY-ABJECT-SECRETIONS-ORNAMENT-FERTILITY-FLESH-MEAT-CHILDHOOD-FOOD-NUTRITION-SEXUALITY-PHALLUSES-LANDSCAPES-ECOLOGY-VIOLENCE-COMPASSION-ROMANCE-SEX-PORNOGRAPHY-POLITICS-TERROR-FANTASY-DECORATION
From a distance, Hilla Ben-Ari’s decorations on the red wall (Mechanized Flow) seem
to be pretty Sukkah decorations. From close up, they are revealed to be a fence or
lattice pattern, something that is both a defense and a barrier: hundreds of duplicated
identity-less female figures cut out from wallpaper are organized in crowded uniform
lines. The figures are connected to each other by their blond braids, by the milk
spraying from their nipples, and by the blood flowing from their vaginas. The sexual
organs and secretions are made from three dimensional plastic paint used in clothing.
Sharp red hooks protruding from the smooth surface trap the threads stretched from
their vaginas. Row upon row of anonymous girls dance as if crucified or bound to the
wall and splatter their body fluids in all directions. The body’s borders are breached, as
internal and external, pure and impure are merged, and the seemingly innocent
decorative pattern turns into a sharp metaphor for the tangled relations linking
nutrition, reproduction, fertility, barrenness, identity, and sexuality.
In Miri Chais’s romantic dollhouse-like space the image of an anonymous woman is
also duplicated – a faceless woman who is swallowed up by the overabundance of
ornamentation that surrounds her. The source of the image is a digitally manipulated
portrait of a model that is repeated again and again on the wallpaper, the bed, and the
matching linen chest. The digital manipulation – the flattening of the images, their
duplication and infinite cloning into flower-like and star-like patterns – turn the
woman into a wallflower, wallpaper, furniture, empty ornamentation. It is a
representation of passive femininity lacking sexuality, sweet and eye pleasing, trapped
in a magic circle. “Beauty” is indeed the lead star in Chais’s work, glamorous,
seductive, and magnificent, but it is revealed to be hollow, embalmed, and serial. Chais
intensifies kitsch’s seductive power to spread a smoke screen and to distance the viewer
from reality. Her preoccupation with flattening feminine beauty, duplicating and
decorating it, raises questions about the way in which women have been presented by
men for hundreds of years as wall decorations, as trophies, as delightful collector’s
items for aesthetic pleasure.
43
An innocent and sweet illusion also characterizes Aya Ben Ron’s series The Four
Seasons, but here the context is even more chilling and nightmarish. Beyond the
covering of ornamental clusters and the radiant symmetrical formations in splendid
color one discovers disturbing images connected to abject aspects of the human body.
The images are based on a series of seventeenth century medical book illustrations (The
Four Seasons of Humanity, 1680) that demonstrated clinical treatments of the body –
pregnancy and birth, diseases, mutations, and invasive surgical procedures. In a
technique that combines handicraft with digital manipulation, Ben Ron duplicates
images of the body, cloning and grafting limbs and organs in a process during which
the images lose their initial contexts and are transformed into a kind of kaleidoscopic
roles, body, pornography, and even our political conflict are camouflaged by the rich
surfaces. The works’ beauty and their ornamentation veil the spectator’s awareness
with a screen of pleasure, neutralizing resistance and then – at the most unexpected
moment – they bite.
Notes
1 In this exhibition Hickey exhibited the works on black walls in a darkened space. The ceiling and floor
were completely neutralized, and only the works glowed from the walls. The installation of works in
OverCraft has been inspired by Hickey’s exhibition. See: Hickey, D. Ultralounge: The Return of Social
Space with Cocktails (Tampa: The University of South Florida, 1999). See also: Viso, O.M., Benezra,
N., (eds.), Regarding Beauty: A View of the Late Twentieth Century, Hirshhorn Museum and Sculpture
Garden, Smithsonian Institution (Washington DC : Hatje Cantz Publishers, 1999);
2 The most important collection of his articles on this subject has been collected under the title:
Hickey, D., The Invisible Dragon: Four Essays on Beauty (Los Angeles: Art Issues Press, 1993).
3 In this context OverCraft is a direct continuation of previous exhibitions I have curated such as
Antipathos at the Israel Museum, Jerusalem (1993) and Metasex at the Ein Harod Museum (1994),
which dealt with the non-canonical margins of Israeli art.
4 The October 2003 issue of Artforum is dedicated to the question of whether today, thirty years after
the radicalism of the 1970s, there is still meaning to the term “feminist art.” For an in-depth
discussion on the issue of essentialism and the use of crafts see also: Rozsika Parker and Griselda
Pollock, “Crafty Women and the Hierarchy of the Arts,” in Old Mistress: Women, Art and Ideology
(London: Routledge & Kegan Paul, 1981).
5 The flagship exhibition that marked and summerized the dialogue between “high” and “low” as
expressed in modern art was exhibited at the Museum of Modern Art, New York in 1990 (curators:
Kirk Varnadoe and Adam Gopnik). See: Varnedoe, K., & Gopnik, A., High & Low: Modern Art and
Popular Culture (New York: Museum of Modern Art, 1990). In Israel, the Tel Aviv Museum of Art
put on the exhibition The Height of the Popular in 2001 (curator: Ellen Ginton). However, the
exhibition closest in spirit to OverCraft was A Labor of Love at the New Museum of Contemporary
Art in New York in 1996 (curator: Marcia Tucker). This exhibition focused on contemporary art’s
adoption of labor intensive techniques and folkloric crafts. See: Marcia Tucker, A Labor of Love (New
York: The New Museum of Contemporary Art, 1996).
6 The first article in which Freud relates to obsessive disorders was written in 1907. See: “Obsessive
Actions and Religious Practices” in The Standard Edition of the Complete Psychological Works of
Sigmund Freud, trans. & ed. James Strachey (London: The Hogarth Press, 1955) vol. 9, pp, 117-127.
The definition given here is based on the Fontana Dictionary of Modern Thought (Tel Aviv: Am Oved),
p. 4 [Hebrew]. For a clinical definition from the field of psychiatry see also: Harold I. Kaplan &
Benjamin J. Sadock, Synopsis of Psychiatry: Behavioral Sciences, Clinical Psychiatry (Baltimore: Williams
& Wilkins, 1998), Chapter 18.5: Anxiety Disorders, pp. 326-327.
7 Meir Agassi, “Hotel Utopia-Dystopia,” Studio Art Magazine 89, January 1989, p. 6 [Hebrew].
8 Naomi Schor, Reading in Detail: Aesthetics and the Feminine (New York & London: Routledge, 1989),
pp. 4, 15.
9 See Marcia Tucker’s artical in A Labor of Love Ibid, p. 37.
10 Amir Orr, editorial article on obsession, Helikon, Anthological Series of Contemporary and Classical
Poetry 22, Arousings [Hebrew]. See the electronic version at the web site:
http://www.snunit.k12.il/sachlav/db/helicon/upload/.num22/content.html
Beatriz Milhazes, T h e M a g i c , 2001
Acrylic on canvas, 188 x 298
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The clinical definition of “obsession” connects obsessive expressions to the work
of “outsider” artists – psychotic artists in a mental state that activates their creative
imagination in an unusual manner. In the “Hotel Utopia-Dystopia” – a special
edition of Studio Art Magazine (1998:89) edited by Meir Agassi – the “outsiders’”
world is defined as “a world experienced and seen as if through autistic glass, a
complex universe, dense, intricate, and so intensive, that it immediately creates a
feeling of discomfort and temporary loss of balance in the viewer who comes in
contact with it. Narrative and formal labyrinths direct the eye toward a complex trap
of images that flood the paper in a conflicted merging of dream and reality.” 7
Density, abundance, urgency, compulsion, and discomfort also characterize the
works in OverCraft, although, of course, none of the artists here are really
“outsiders.” The similarity is only on the visual level and it exists only in the affection
for small details. In Reading in Detail, the feminist theoretician Naomi Schor writes
about society’s negative relationship to small details seen as a form of surplus, as a
decadent and annoying expression, in other words as “women’s matters.” 8 Indeed,
an essential part of women’s protest turned against the therapeutic language that
labeled them as illogical, hysterical, obsessive, and preoccupied with the
insignificant. This (male) view was expressed in art as well, where the tendency
toward small details was considered the opposite from the ideal, the sublime or
classical, threatening to undermine the internal hierarchy of artistic creation and to
blur the relations between center and periphery, between the meaningless and the
significant, between foreground and background.9 In OverCraft, therefore, this
phenomenon receives a defiant meaning. The artists question which details should
be dealt with, and aspire to invert the hierarchy of what is really important. The same
details that society bothered to organize, categorize, clean up, and hide as being
meaningless, impure, and unworthy acquire here full attention and are treated with
critique, love, and humor.
“The uniqueness of obsession is that its compulsive quality could obscure its
contents and could become through infinite return the content of itself.”10 At first
glance, the compulsive repetition that characterizes most of the works in this
exhibition obscures the contents of the works. Moreover, there is something
apparently autistic, disconnected from the world, in this kind of intensive labor. Yet
it is precisely here that the strength of the works lies: the rich colorfulness, the
harmonious combinations of small details and the actual preoccupation with
fragments and shards of imagery and materials are the hook on which the bait is
hung – they dizzy the spectator with feelings of pleasure and astonishment and only
then surprise with their content. None of the works exhibited here remain on the
level of ornamentation: the reaction to reality, discomfort, subversion, and sarcasm
bubbles under the surface of beauty and is revealed only with a second gaze.
Relations of woman-nature, food, sexuality, politics, ecology, psychology, gender
Liza Lou, K i t c h e n , 1991-1995
Beads, plaster, wood, 18 square meters
Chris Ofili, H o m a g e , 1995
Acrylic, oil, resin, map pins and elephant
dung on linen, 182.8 x 121.9
various materials (plastic toys and jelly candies); and Miri Chais and Vera Korman
perform thousands of virtual acts of “cut & paste” on the computer.
OverCraft reflects the natural way in which craft work has been assimilated
within the canonic artistic language after being transformed from folkloric material
and functional art, from techniques belonging to “outsider art” or to bourgeois
leisure activities, into viable means of expression valued as contemporary artistic
practice. The exhibition demonstrates the long way that feminist art has come since
the political activism of its early days, which motivated women artists to choose
obsessive-decorative techniques as a way to liberate themselves from the hegemony
of male, intellectual, and spiritual art, and up to the renewed engagement with the
same practices thirty years later. This time around, however, they are performed with
relaxation and humor, with no barricades or banners of war.
In Israel the use of crafts carries additional meanings connected to the Zionist
education of the 1950s and 1960s, and to the gender-related division of labor that
relegated women to home keeping and excluded them from public life. Elementary
school “girl’s crafts” lessons were meant to prepare us for life, armed with the female
knowledge necessary in order to be good wives skilled at holding needle and thread
and darning socks. Acquiring craft skills was also developed as a kind of hobby that
would allow women to keep themselves busy during leisure time as they quietly
continued decorating the men’s world. Beyond feminist concerns, however, it must
be said that questions of aesthetics and beauty were never at the center of Israeli
society. Remains of socialist values are still noticeable in the cultural-ethical code that
prefers simplicity, modesty, and visual poverty to any hint of bourgeois luxury. Two
artists who lived on kibbutz, Hilla Ben-Ari and Shula Kobo, mentioned the aesthetic
deprivation that was part of the ascetic kibbutz society, and confessed their strong
desire to compensate themselves through an obsessive preoccupation with beauty
and ornamentation. Yet despite the post-modernist blurring of differences between
high and low culture, and despite the “high” needing the “low” for over two decades,
it is still clear who rules the roost. Contrary to high art dealing with cardinal issues,
handicraft still belongs to the “authentic,” “popular,” and “exotic” voice – the world
of the domestic, the practical, and the day to day.5
Decorative craft is closely linked to the concept of “obsession.” Because of their
demanding focus on details and on compulsive repetition, it is commonly said that
works of the type shown in this exhibition are “obsessive.” “Obsession” is defined in
the dictionary as to “haunt” or “beset” and in clinical psychological terms as a form
of neuroses whose main characteristic is the attachment to a troublesome thought,
impulse, or image that forces itself on the patient’s mind. It is a closed circle:
compulsive obsessive actions are meant to reduce the anxiety caused by the obsession
and they express a desperate effort to seemingly control an uncontrollable world.6
Annette Messager, D e p e n d a n c e /
I n d e p e n d a n c e , 1995-1996
Photographs, plastic bags, stuffed animals, netting,
fabric forms, cloth words, threads of yarn and
colored pencils
Detail from the installation at MoCA, North Miami
Ann Hamilton, P r i v a t i o n a n d E x c e s s e s , 1989
750,000 pennies and honey
Detail from the installation at Capp Street Project,
San Francisco
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47
Faith Wilding, Judy Chicago, and Miriam Schapiro started to express skills that until
then had been thought of as lowly, as being “too feminine” in the eyes of the male
art world. Judy Chicago’s well known piece The Dinner Party (1974-1979) –
homage to 39 creative women from history – is a key example of the expression of
female essentialism. The grandiose dining table that Chicago created brought
together images of nutrition, fertility, and sexuality through the use of handicrafts
such as ceramics, tapestry, lace, and embroidery, with an emphasis on soft colors and
open, round, and flowing forms. The question of whether there are essentially
feminine images, techniques, or materials is still debated in the field of Feminist
Studies. What is clear is that the use of these materials and crafts in the 1970s was a
meaningful political act in itself.4
With the penetration of feminist theories and their influence on mainstream
cultural trends in the 1980s and 1990s, male artists such as Mike Kelley, Lucas
Samaras, Oliver Hering, and others also began to knit, sew, and embroider. Women
artists such as Ann Hamilton and Annette Messager refined feminine expression and
took another step toward labor intensive and detail-filled work, through the use of
materials linked exclusively to female territories. The most important artist in the
context of OverCraft, however, is the young American Liza Lou, who set a new
standard for such work when she created the Kitchen (1991-95), where she covered
a standard, life-size American kitchen from top to toe with tiny beads. With the start
of the twenty-first century these trends have been assimilated into the center of the
artistic establishment, and at the last Venice Biennial (2003) it was possible to see a
record level of decoration and obsession in the works of the British artist Chris Ofili,
the Brazilian Beatriz Milhazes, and the Danish Olafur Eliasson.
The women artists participating in OverCraft therefore reflect post-feminist
trends dominant in the contemporary international art world: they succeed in
refuting disturbing conventions regarding work and gender. They do this in a
refreshing manner combining political radicalism, sensual pleasure, and emotional
expression. For each and every one of them the laborious, Sisyphean process stands
at the center of the artwork, and the final product testifies to the thousands of hours
invested in it. The creative process common to all the artists is characterized by
monotonous, repetitive, and obstinate acts of cutting, joining, folding, piercing,
gluing, covering, and filling in areas in an obsessive manner known in Art History as
horror vacui: Yael Yudkovik pierces clay with her fingers; Tal Matzliah fills areas with
cross-hatches of color and with mantra-like sentences; Dina Shenhav, Merav Sudaey,
and Shula Kobo sew and glue sequins and beads; Aya Ben Ron, Meital
Katz-Minerbo, and Hilla Ben-Ari cut and glue paper and wallpaper; Tal Amitai,
Naomi Siman Tov, and Dina Schupak create the illusion of handwork in painting
(embroidery and puzzles); Alice Klingman and Michal Shamir cover surfaces with
Judy Chicago, T h e D i n n e r P a r t y , 1974-1979
Wood, ceramic, fabric, needlework, metal, paint
1463 x 1280 x 91.5
The God of Small Details
Tami Katz-Freiman
There are exhibitions that have no need for wordy explanations, viewing them is
experiential and un-mediated. OverCraft is such an exhibition. The colorful excess,
the toil, the density, and sensual abundance that characterize the works in it
magnetize the spectator’s eye with effects of spectacular and multihued beauty. The
women artists taking part in the exhibition bring to center stage that which has been
pushed to the lowly margins of kitsch and decoration and has belonged exclusively
to the world of women. Through empowerment, pleasure, and defiance they elevate
what was in the past thought of as an “aesthetic crime” and give it new meaning and
content.
In an ironic paraphrase of the American artist Barbara Kruger’s slogan, “We
Decorate Your Life,” these artists engage with decoration and ornamentation,
obsessive work and handicraft as their principle practice and proudly present
seductive, labor intensive beauty without shame or apology, often imbuing it with
latent, biting criticism.
In recent years, after a long absence, the concept of “beauty” has returned to the
center of the theoretical discourse of contemporary art. In 1999 two central
exhibitions on this topic were exhibited in the United States: one at the Hirshhorn
Museum in Washington D.C., Regarding Beauty: A View of the Late Twentieth
Century, and the second, at the Tampa University Museum in South Florida, under
the title Ultralounge: The Return of Social Space with Cocktails.1 The second
exhibition was curated by Dave Hickey, one of the prominent theoreticians in the
world of American art, whose articles and books paved the way for “beauty” to return
to center stage.2
OverCraft similarly activates pleasurable sensual experience and renews concepts
connected to beauty that had been excluded from the modernist discourse in general
and the local Israeli art discourse in particular.3 The term “decorative” (along with
“kitsch” and “illustrative”) was for many years one of the common condemnations
in the unwritten rule book of Israeli modernism. Until recently the adjective
“beautiful” was a derogatory term in the local ethical code that supported reduction,
efficiency, leanness, asceticism, thrift, and austerity. OverCraft renews the discourse
on the beautiful, the decorative, and the ornamental, celebrating the joy of liberation
from these adjectives’ derogatory labels.
OverCraft’s historical sources are anchored in the feminist wave of the early
1970s, in the radical art of women that dealt with the rehabilitation of traditional
women’s craft, motivated by a desire to crystallize its core images and to formulate
what would be termed female “essentialism.” Artists such as Harmony Hammond,
Barbara Kruger, U n t i t l e d
(We Decorate Your Life), 1985
Photographic silkscreen on vinyl, 61 x 61
Miriam Schapiro, W o n d e r l a n d , 1983
Acrylic and fabric on canvas, 225 x 360
48
Notes
1
2
3
4
5
6
7
8
9
10
49
See notably Clement Greenberg ‘s 1939 essay “Avant-garde and Kitsch,” in Art and Culture (Boston:
Beacon Press, 1978).
See Deborah Silverman’s Art Nouveau in Fin-de-Siècle France (Berkeley, CA: University of California
Press 1989), pp.75-106.
See Georges Didi-Huberman, L’Invention de l’hysterie: Charcot et l’iconogrpahie photographique de la
Salpétrière (Paris: Editions Macula, 1982).
See Silverman, ibid.
See Alfred Binet, “Le Fetishisme dans l’amour,” Revue Philosophique 24, 1887, pp.142-167.
See Rae Beth Gordon, Ornament, Fantasy, and Desire in Nineteenth Century French Literature.
(Princeton: Princeton University Press, 1992), pp. 237-238.
Octave Uzanne, L’Eventail (Paris: A. Auntin, 1883).
Most notably developed in his 1893 La Suggestion dans L’art, Souriau’s interest in ornament was
further elaborated in his 1901 L’Imagination de l’artiste, and his 1904 La Beauté Rationelle.
See Nina Rosenblatt’s discussion of Souriau in Photogenic Neurasthenia: Aesthetics, Modernism and
Mass Society in France, 1889-1929, PhD dissertation (Columbia University, 1997).
See also the discussion of these themes in Souriau’s work in Gordon, Ibid.
L. Libonis, drawing of friezes with arabesque
ornament, 17th and 18th centuries, from
his book L’Ornament, 1895
degree of erotic intensity. In Clérambault’s study, fabric also appeared as a trigger
for syneasthetic experiences; that is, the sensation of touch could evoke visual and
auditory sense-impressions, such as a color or a sound.6
The erotic investment in ornament found a more popular expression in the
work of the writer Octave Uzanne.7 In 1882, Uzanne published a comprehensive
study devoted to the fan, which covered its appearance in art, literature, and history
from ancient Egypt to nineteenth century France. The first of a number of treatises
devoted to individual female accessories, The Fan invested seemingly frivolous
objects with fetishistic fantasies that substituted decorative objects and ornamental
detail for the female object of desire.
One of the central figures in formulating a new aesthetic understanding of
ornament that cut across the fields of decorative art and psychiatry was Paul Souriau,
a professor of aesthetics at the university of Nancy. Borrowing from Bernheim’s
theories of hypnotism and suggestion, he focused on the power of ornamental detail
to evoke childhood memories and recollections, to induce states of reverie,
hallucination, and even trance, in which perception and feeling are altered. The
beautiful, according to Souriau, acts upon subjectivity like a drug, which irritates the
nervous system before calming it down.8 Yet both women and ornament were
associated in Souriau’s work with experiences of deception. He ultimately viewed
them as producing a surface effect, a screen for fantasy and projection that contained
no hidden truth.9 Souriau also recognized that ornament could create anxiety and
obsession, and that excessive indulgence in fantasy could lead to madness.10
The destructive impact of ornament was further elaborated upon by
conservative fin-de-siècle critics like the Zionist thinker Max Nordau (a psychiatrist
by profession), for whom indulgence in ornamental detail was associated not only
with individual but also with cultural and historical decline. Since it was associated
with the unconscious, with regression, and with the realm of the irrational,
ornament was also linked to primitive urges and drives.
The decorative was thus considered, during the late nineteenth century, to be
simultaneously the source of rarefied creative experiences and of decomposition and
disease. It is this ambivalent status of ornament as pleasurable and dangerous,
productive and destructive, which defines its place within modernity. In the
twentieth century, however, the emphasis would shift to the threatening and
negative impact of ornament and to its absolute incrimination, even as its specter
continued to haunt modernist aesthetics.
Fan, Chantilly lace, France, 19th century
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51
Since this brief discussion cannot possibly do justice to the historical and
theoretical complexity of these concerns, it briefly outlines some of the ways in
which the meaning of ornament was probed in the work of several individual
thinkers during the last decades of the nineteenth century. Despite their differences,
these writers all define ornament as a powerful agent in the transformation of
perceptual and emotional states and in the emergence of unconscious impulses and
desires. None of them considered ornament to be a superfluous and meaningless
accessory.
The preoccupation with ornament in the context of clinical research on
suggestion and hypnosis emerged in the 1890s. It is most notable in the work of
Jean-Martin Charcot and Hippolyte Bernheim, two pioneers of pre-Freudian
French psychiatry who were immersed in aesthetics. Charcot, especially, made the
connection between ornamental décor and a new clinical psychopathology. The son
of a carriage maker trained from childhood to draw ornamental motifs, Charcot
hesitated between the study of art and medicine before becoming a leading authority
on nervous diseases and on hysteria at the Salpétrière hospital in Paris.2 Visual
design structured his language of clinical observation, most notably in his
photographic iconography of hysteria.3
The “new psychology” (psychologie nouvelle) that Charcot participated in
forming concentrated on the study of the so-called chambre mentale – the
over-sensitive nervous interior of the modern human organism. This nervous
interior was understood to be highly irritable and reactive, and as such easily given
over to different forms of sensory stimulus. Charcot paid special attention to how
visual imagery was linked to hypnotic suggestibility and to the inducement of dream
states. He was also one of the first clinicians who paid attention to the mobile, visual
quality of the mental imagery produced in such states. Charcot discerned a
correlation between the fluidity of “mental” space and the dynamic ornamental
interior of the home. He considered the interior to be a protected environment that
could sooth the sensory overstimulation caused by life in the modern city and
transform the mental and emotional state of its inhabitants through the use of
ornamental decor. The modern interior and modern interiority thus came to be
understood as inextricably linked to one another.4
Ornament also figured prominently in the study of fetishism, a concept that was
first applied during this period in pre-psychoanalytic thought to describe the
displacement of emotion and erotic desire onto inanimate objects.5 One figure who
analyzed the relationship of fetishism to ornamental form was Gaïtan de
Clérambault, a psychiatrist who studied for two years at the Ecole des Arts Décoratifs
and later taught a course at the Ecole des Beaux Arts on drapery in women’s clothing.
In his study of hysterical and kleptomaniac patients, he noted the way in which
fabric could be gazed at and caressed with what he viewed as a sexually perverse
J. M. Charcot, hallucinatory drawing, 1853
On Ornament, Femininity, and Modernity
Talya Halkin
As Tami Katz-Freiman notes in her essay for this catalogue, the immediate
antecedents for the artworks included in OverCraft can be found in artistic and
feminist trends that emerged in the early 1970s. The artists participating in this
exhibition, she points out, provocatively engage with ornamental motifs and craft
techniques that had been previously repressed within the history of modernism.
Subsumed under the category of “kitsch,” they had come to define the “corrupted”
dialectical opposite of “pure” modernist form.1
When we consider the use of ornament exclusively in relation to this modernist
discourse, however, we arrive at an impoverished, a-historical reading of its status
within the set of social, economic, and cultural changes that have come to define the
term “modernity” beginning in the nineteenth century. In order to gain a fuller
understanding of the contemporary interest in the mesmerizing visual effects of
ornamental detail, in sensory and material excess, and above all in their association
with femininity and desire, we need to examine the discourses within which these
concerns first emerged during the late nineteenth century.
In France, a new interest in ornament as a rich source of aesthetic and subjective
experience began already in the first half of the nineteenth century. The debates
about its meaning and importance developed significantly in the 1860s, and reached
their apogee in the 1880s and 1890s. During this period a new fascination with
tapestry, lace, furniture, and costume pervaded the decorative arts, literature, and
painting.
What this article focuses on, however, is how the status of ornament was
theoretically considered at the intersection of psychiatry, perceptual psychology, and
aesthetics. It is at this intersection that we can most explicitly discern how ornament,
femininity, and female sexuality were associated with illusion and artifice and exalted
as a source of pleasure and imaginative fantasy. Often, this discourse focused on
ornamental forms borrowed from Rococo, medieval, and oriental décor, thus
conflating feminine Otherness with cultural or historical Otherness. Yet the same
qualities that were associated with ornament and femininity in a positive, creative
context led to the pathologization of these linked concepts as dangerous, irrational
forces that needed to be brought under rational male control in the realm of
aesthetics and of psychiatry. It is against this troubled historical connection between
women and ornament in the nineteenth century that we can more fully appreciate
its re-evaluation in the work of the contemporary artists participating in this
exhibition.
Lechevallier – Chevignard, wallpaper, 1885
portfolio from La Revue des Arts Décoratifs
52
or kimono fabric. In most of the cultures – ranging from North Africa to Japan –
where ornament became a central element of visual culture, it was based on three
essential aspects: geometric patterns derived from simple shapes; spatial structures
based on stylized elements from nature, especially plants and animal forms; holy or
magic writings drawn in the letters of ancient, ritual scripts. The fusion of the
geometric elements, forms drawn from nature, and calligraphy was a powerful tool
for imparting symbolic meanings and ancient knowledge to future generations.
The attentive observation of richly colored ornament brings about strong visual
excitement, which sometimes reaches the level of self-hypnosis. The latent beauty
discovered in dense and intricate color patterns causes the observer unmediated
sensual pleasure. The preoccupation with the decorative, the beautiful, the colorful,
and the glittering, as it is reflected in the exhibition, is intended to seduce the viewer
into a close examination of details. The impulse to create may appear, in this context,
as a kind of yearning for beauty and a craving for the innocence of traditional
women’s crafts; yet these are complex and critical works, created out of a bitter
awareness of the reality in which we live. Nevertheless, these works are full of humor
and saturated with self-irony: they deal with the body and its annihilation, with
pornography and sexuality, with memories of childhood terror and fear of random
death. The connections they make between beauty and horror, between decoration
and violence, and between kitsch and death strikingly express the shrill absurdity of
reality at the start of the third millennium.
Avishay Ayal
Curator and director of the collections
The Art Gallery
53
L. Libonis, drawing of friezes with arabesque
ornament, 17th and 18th centuries, from
his book L’Ornament, 1895
Foreword
The exhibition OverCraft: Obsession, Decoration, and Biting Beauty continues and
complements the exhibition Grid Images in Israeli Art, which was exhibited at the
University of Haifa Art Gallery in November 2002. The exhibition Grid Images
presented a phenomenon that has connected men and women artists of different
generations for more than thirty years. OverCraft presents contemporary works by
women artists who are emphatically concerned with the concept of beauty, with
decoration, and with obsessive, labor-intensive techniques that underscore a lengthy
and meticulous work process.
The three components of this exhibition – the preoccupation with beauty, the
decorative aspect, and the emphasis on the feminist point of view – express the
radical change in values that has occurred in Israeli art since the start of the 1980s.
Everyone who studied art in Israel during the 1950s and 1960s certainly remembers
the instruction style of that era: the piercing gaze at the work, the slight inclination
of the head and the biting criticism: “it’s too decorative (or ornamental, sweet,
ostentatious…),” “make sure it doesn’t look too graphic’” “what’s all that
literariness?” “painting is not decoration,” and the ultimate condemnation: “it’s not
art – it’s kitsch!” This teaching style produced several generations of Israeli artists
whose work is devoid of any interest in material, refutes color, and is lacking in
creative pleasure.
The labor intensive techniques of sewing, ceramics, shearing, and gluing; the
infinitely repetitive actions of “cut, copy, paste” on a computer graphics program;
the slow construction of the sculptures and installation, made of small pieces of
non-“noble” materials; the meticulous painterly actions that create images from
innumerable tiny details – these variable time-consuming techniques are in complete
opposition to the modernist-male concept of art as an act of bravura: that is, activity
based on large scale actions, the product of a series of vigorous gestures, intense
emotion, iron will, and analytical thought. Unlike the first generation of
women-artists (who were active from the 1950s to the end of the 1970s), who tried
to confront the male art world with it’s own masculine tools, the women artists of
today do not feel the need to apologize for dealing with beauty, with decoration, the
laborious, or the detailed.
Ornamentation is one of the oldest artistic practices, perhaps the first one used
to decorate pots, fabrics, and walls. The human attempt to construct complex
patterns that methodically repeat themselves was an intellectual challenge for many
generations of artists and scientists. It was a Sisyphean effort to try to understand the
secrets of the universe and to reduce them into the space of a few tiles, a single carpet,
54
University of Haifa | Faculty of Humanities | The Art Gallery
OverCraft
Obsession Decoration and Biting Beauty
November 22, 2003 – January 22, 2004
Guest Curator: Tami Katz-Freiman
Research Assistant: Loni Rosenboim
The Faculty of Humanities
Dean: Prof. Yossi Ben Artzi
Head of Administration: Aharon Refter
Gallery
Curator and Director of the Collections: Prof. Avishay Ayal
Co-coordinator: Michal Zahavi
Production Assistant: Adi Mishaan
Construction: Michael Halak, Avi Kohavy
Catalogue
Texts: Tami Katz-Freiman, Talya Halkin
Graphic Design & Production: Atara Eitan
Photographs: Avi Hai and the artists
Translations: Timna Seligman
Hebrew Editing: Ofra Peri
Color Separation & Printing: Ayalon Offset Ltd., Haifa
OverCraft is held in collaboration with The Painters and Sculptors Association,
Tel Aviv, and will be on display at the Artists’ House, Tel Aviv, March-April 2004.
The exhibition and the ctalogue are also supported by the President’s
Office and the Faculty of Humanities, University of Haifa.
The Art Gallery is supported by the Visual Art Department, Culture Administration, Ministry of Education and
Culture.
Thanks:
Michal Shamir’s work was made possible by a generous
donation from Elias Waksmann Ltd., Import and
Marketing of Candies.
55
The curator wishes to extend her gratitude to Talya
Halkin, Tamar Elor and Anat Israeli for their advice on
revising the text. Special thanks to Dana Elor for
suggesting the name of the exhibition.
On the cover: Hilla Ben-Ari, M e c h a n i z e d F l o w , 2003 (detail)
Measurements are given in centimeters: height x width x depth
ISBN 965-7230-03-9
® All rights reserved, November 2003
The Art Gallery, University of Haifa
OverCraft
Obsession Decoration and Biting Beauty
University of Haifa | Faculty of Humanities | The Art Gallery
Tal Amitai
Hilla
Aya
Ben-Ari
Ben
Ron
Miri Chais
Meital Katz-Minerbo
Alice
Klingman
Shula
Kobo
Vera Korman
Tal Matzliah
Dina
Schupak
Michal Shamir
Dina
Shenhav
Naomi
Siman
Merav
Sudaey
Yael Yudkovik
Tov
56