Ἀναρωτήθηκα ἄν θά ἔπρεπε νά ἀνεβάσω αὐτή τήν ἀνάρτηση, τή στιγμή πού ὅλοι μας παρακολουθοῦμε τίς ἐξελίξεις στήν τηλεόραση. Τελικά εἴπα νά τό κάνω, γιατί νομίζω πώς ἡ τέχνη πάντα ἔχει πολλά νά πεῖ, εἰδικά τώρα πού οἱ εἰκόνες τῆς ἐπικαιρότητας τοῦ πολέμου εἶναι σκληρότερες ἀπό ποτέ. Καί μᾶλλον μᾶς περιμένουν πολύ χειρότερες, ὅταν οἱ ἀπανταχοῦ λογοκριτές θά πάρουν τίς ἄδειές τους -ὅταν ὁ σκοπός ἀμφοτέρων θά ἔχει ἐπιτευχθεῖ, μετά τήν κατάπαυση τοῦ πυρός πού φαίνεται νά συμβαίνει μέσα στίς ἀμέσως προσεχεῖς ἡμέρες κατά πᾶσα πιθανότητα-.
Ὁ πατέρας τῆς Νούριτ Γκούρ-Λαβί ὀνομαζόταν Ἰοσέφ Κάρνι, ὁ ὁποίος μετά τόν πόλεμο τοῦ 1967 εἴχε ἀνοίξει στή μεθόριο Γάζας-Ἰσραήλ μία βιοτεχνία κατασκευῆς ὑλικῶν βιομηχανικῆς συσκευασίας. Ὅλοι οἱ ἐργάτες στή βιοτεχνία ἦταν παλαιστίνιοι ἀπό τό κοντινό στρατόπεδο προσφύγων Τζαμπάλια τῆς Λωρίδας τῆς Γάζας, πού ὑπό τίς τότε συνθῆκες δέν ἀπείχε περισσότερο ἀπό 10-15 λεπτά μέ τό αὐτοκίνητο. Οἱ ἐπισκέψεις τοῦ πατέρα τῆς Νούριτ στήν πόλη τῆς Γάζας καί στό κοντινό στρατόπεδο πρσφύγων Τζαμπάλια ἦταν μιά καθημερινή πραγματικότητα πρίν τήν ἔναρξη τῆς πρώτης Ἰντιφάντα. Τό δρομολόγιο ἀνάμεσα στή βιοτεχνία καί στή Τζαμπάλια συνέχιζε καί μετά τό τέλος τῆς Ἰντιφάντα, ἀλλά βέβαια μέ δυσκολίες. Τό πήγαιν'ἔλα ἀπό καί πρός τή Γάζα διακόπηκε ὀριστικά στίς ἀρχές τῆς δεκαετίας τοῦ '90 μέ τήν ὑπογραφή τῆς συνθήκης τοῦ Ὄσλο καί τήν ὀριοθέτηση τῶν συνόρων Ἰσραήλ-Παλαιστινιακῆς Ἀρχῆς. Μέ τήν ὑπογραφή τῆς συνθήκης, τό κτίριο ὅπου στεγαζόταν ἡ βιοτεχνία ἔπρεπε νά κατεδαφισθεῖ καί στή θέση του νά κτισθεῖ τό φυλάκιο καί μετέπειτα ὁ μεθοριακός σταθμός πού πῆρε τό ὄνομά του ἀπό τό πατρικό ἐπίθετο τῆς Νούριτ, δηλαδή "Κάρνι".
Ἀπό τό "Πέρασμα Κάρνι" (Karni Crossing) ὅπως ἐπικράτησε νά λέγεται, περνοῦσαν σέ καιρούς ἠρεμίας μεγάλα φορτηγά μέ ἐμπορεύματα καί καύσιμα ἀπό τό Ίσραήλ πρός τή Γάζα.
Πέρασμα ΚάρνιΣυνέλεξε πλῆθος ἀεροφωτογραφιῶν τῆς Τζαμπάλια, στίς ὁποῖες στή συνέχεια παρενέβη είκαστικά, μέ μελάνι, λάδι, πλέξιγκλας καί ἄλλα ὑλικά.
Ἀεροφωτογραφίες καί ζωγραφιές τοῦ χθές.
Τίποτα δέν θά μοιάζει ποτέ μέ τίποτα πιά.
Τέσσερεις διαφορετικές ματιές στό κεντρικό σταυροδρόμι τῆς Τζαμπάλια
κολλάζ φωτογραφιῶν καί λάδι
perspex
λάδι
λάδιδιαβάστε τό σημείωμα τῆς ἐπιμελήτριας τῆς ἔκθεσης
στό πρῶτο σχόλιο τῆς ἀνάρτησης
στό πρῶτο σχόλιο τῆς ἀνάρτησης
1 σχόλιο:
σχόλιο τῆς ἐπιμελήτριας (curator) τῆς ἔκθεσης, Τάλι Ταμίρ
(www.gurlavy.com)
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Aerial photographs of Gaza
The paintings are based upon aerial photographs of the Jabalia refugee camp in the Gaza Strip. An attempt to look at a direction we do not look at. Awareness of the distance attempting to cross the barrier of demonization and repression and penetrate the close and isometric being in which a society, culture, families and people exist and we hardly know about the essence of their existence.
Military firing area 2 or : Journey to the regions of blindness
"Military firing area 2" is a sequel of "Military firing area 1" through her perturbed view over the human and moral price charged by life in a fighting, military society. This is not a protest exhibition in the ordinary sense of that word, which recruits a group of artists aiming to protest against the conquest and demands withdrawal from the occupied areas. These slogans were transferred during these days to the urgency space of demonstrations on roads and city squares. The exhibition "Military firing area 2" identifies the Israeli society as the product of continuous militarism and regards it as a society that rises against childhood, innocence and belief in mankind and imposes upon them rigidity, shutting of their hearts and emotional alienation.
The innocent childhood was a corner stone in the Zionistic culture: eternally young, purified through the dew of its renewed youth and dipping in its rituals, childish in its narcissistic self-affection, confident in the sensation of justice of the one who was defeated and had risen out of its ashes. Zionism has chosen the blue and white colors for the colors of its flag- the colors of innocence and purity, the color of the clean sky- a horizon of hope. And behold, out of the pure sky-blue, emerged and rose Nimrod, the fighter and the hunter, his eyes eagerly seeking his prey and his hands holding the weapon. Where exactly does the innocent child meet the fearless warrior?
At the same time in which the images of light and sunshine painted the beginning of the Israeli existence in the east, the blindness regions were marked against them as well. The Israeli society was doomed for blindness the minute it chose not to see that which was closest to it, that which rubs it on shoulder height, that which is found in the most intimate neighborliness - the Palestinians.
The continuous habit of not seeing and not noticing has built an emotional wall which is unseen and which hurt the primary element of mental health- the ability to develop intimate relations with that which is near the most daily and accessible. The years of education executed their role: a whole nation was born blind.
Nurit Gur-Lavie (Karni) opens a field review which was immersed in darkness as regards the Israeli society - she paints the refugee camp of Jebalia. Nurit Gur-Lavie (Karni) returns and accepts into her soft and lyric painting, the chaotic labyrinth of Jabalia. The attempt made by Nurit Gur-Lavie (Karni) to look at the direction that is not looked at, is blocked at its beginning: the visual information she holds, fixes the distance that cannot be diminished between us and the Jabalia refugee camp- the distance of aerial photograph made from a helicopter. Gur-Lavi is not carried away into imaginary intimacy or wishes to form close relationships- on the contrary, she is aware of the distance, conscious of the failure to be there- inside, to cross the screen of demonization and repression and penetrate " the close and esoteric existence in which exist a society, culture, families and people…". Just as the angel in the sky of Berlin, she overlooks the dense roofs and identifies a big cross-road in the center which tears a dense succession of alleys, solar boilers, bicycles laid on white roof, tires, wash hanging in the yards, some flowerpots here and there and some vines. From above, the arrangement of the bricks on the roofs seems more like a folkloristic embroidery stitch that testifies to the human hand that styled it. Yet, just as the embroidery, everything remains far and flat "an alienated distance from a place that we hardly acknowledge its mere existence".
Tali Tamir-Curator
Hakibutz gallery
Dov Hoz st.\7
Tel Aviv , Israel
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