Ramat Gan Museum of Israeli Art Returns after “facelift” With large and spectacular spaces and fascinating works by about 50 artists in the premiere exhibition: The Mossad, the Museum and Israeliness
Curator: Svetlana Reingold
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The reopening of the museum – In an age of health, political and social crisis is a significant event, which raises sharp questions: Is it an act of evolution and change, or of glorifying institutional power? Will the museum fortify its status as a tooth tower and inevitably establish itself as part of the local power mechanisms that share the violent reality in which we live? Or will it become a new site that encourages breaking boundaries and marking a turning point in its own rules of the game and the purpose of its existence?
Adv. Roi Barzilai, Deputy Mayor of Ramat Gan and Chairman of the Museums, posted on the Facebook page – “I am very excited for the reopening of the Museum of Israeli Art. For the past year and a half, I have also taken on the role of CEO and worked to lead the museum until it opens at a good time. At the grand opening event, dozens of leading Israeli artists will present, in fine and special exhibition spaces in a building for spectacular architectural preservation. “
The Mossad – The premiere exhibition of the renovated museum, seeks to take a critical look at the museum institution and examine its status and role in the Israeli cultural space. The exhibition, which spans all of the museum’s spaces, features participants About 50 Israeli and international artists Exhibiting works in a variety of mediums: painting, photography, video, installation, sculpture and performance, some of which were created especially for her.
The exhibition raises key issues concerning the identity and destiny of museums in the 21st century, from a philosophical, political, social, economic and cultural perspective. In doing so, it reflects on the relevance of the museum institution, the possibilities inherent in it as an arena for action at the interfaces between art and society, art and technology and between physical and virtual reality, as well as its confrontation with the challenges of viewing experience and digital consumption habits. How will the museum redefine itself in light of trends in contemporary visual culture and accelerated technological development? How to operate in an arena of multi-blockbuster exhibitions and ostentatious art fairs, and how to navigate between the growing need for attractions, an “artistic amusement park” and entertainment for the masses – to aspire to become a valuable and influential player in the field of culture.
The works in the exhibition offer a variety of perspectives and positions ranging from the personal to the socio-political aspect of the museum – as an institution, as an exhibition space and as an influential mechanism in shaping consciousness. Many of the artists deal with the less enlightened aspects of the art world, with critique, irony and humor intertwined. Some of them present a critical look at the role of the museum in the production of national narratives and cultural memory and there are those who deal with the specific history of the Ramat Gan Museum, its architecture and collection. Some point the finger of blame at the connections between capital-government and the art world and some research their identity, belonging and place in the local art field – as a representation of Israeli society. The corona plague crisis and its aftermath are also addressed in the exhibition, from the preoccupation with an existential experience, through a sharp protest against the closure of the cultural world to the evolutionary aspects of humanity in dealing with epidemics.
A visit to the renovated museum, long for viewers also a surprising glimpse into areas that are considered “behind the scenes” of museums.
Contrary to popular belief, as part of the architectural design, the Ramat Gan Museum does not have “behind the scenes” and there is no hierarchy between the various functions in terms of visitors’ views. Most areas to which access is restricted in other museums, such as offices or collection depots, are visible to visitors. This unraveling of the definitions of the museum space deepens the experience and raises interesting questions concerning its relationship with the viewers.
Participants:
Raida Adon, Dov Or Ner, Zohar Elazar, Bilu Blich, Oded Balilty, Arnon Ben David, Marcel Brodthars, Hadar Gad, Meir (Miro) Gal, Efrat Gal-Nur, Dorian Gottlieb, Noa Gur, Hamudi Janam, Assaf Hinden , But Itam, Pavel Wahlberg, Eliezer Sonnenschein, Mark Yoshaev, Yuval Yairi, Oded Yedia, Inbal Marie Cohen, Ofri Canaani and Lior Zalmanson, Eilat Carmi and Meirav Heiman, Louise Lawler, Kerem Natur, Moshe Ninio, Manor, Ilana Selma Orter, Nardin Seroji, Hadas Ofrat, Bruno Pindo, Avner Pinchover, Protective Edge: Revital Ben-Asher Peretz and Michal Shamir, Naama Tzabar, Tamir Tzadok, Limor Tzurur, Zoya Cherkasky, Mahmoud Case (Curatorial accompaniment: Idris / Barak Rubin and Livia Tliakutsu) Olga Kondina, Barak Ravitz, Yana Rotner, Barak Rubin, David Riv, Eldad Refaeli, Ronen Shaharbani (Curatorial accompaniment: Carmit Blumenzon), Belle Shafir, public movement
Curator: Svetlana Reingold
On the opening night: Live performance works: briefingPublic Movement, Agent: Nir Shauloff / Greeting bracelets for the Ramat Gan Museum – Protective Edge: Revital Ben-Asher Peretz and Michal Shamir How long? Inbal Marie Cohen Looking for a place Ronen Shaharbani
Broken A dance piece by Ofir Yudilevich performed by RE-SEARCH dancers
Opening: Thursday, December 23, 8 p.m. Ramat Gan Museum of Israeli Art, Abba Hillel 146, Ramat Gan
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