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Susan Hazan Locating [Israeli] digital art - artists
think global and act local Introduction Introduction This paper focuses on the problem of locating
digital art using the test case of Israeli digital artists.
Acting either globally or locally depends on three factors. The first
would be concerned with affixing the national label, (such as Israeli
artist), which would mean that at least the artist, if not the
art work, could be actually located in a specific country. Through
the Israeli case study it is apparent that many Israeli artists are
not actually located in Israel and even if they are, they often reside
and exhibit abroad. The second factor that determines how
artistic [digital] work is disseminated and consumed globally or locally
is a matter of artistic content. One of the ways that digital art
becomes localised is through language, and through the incorporation
of the Hebrew language into their palette, Israeli artists effectively
limit their global reach. Of course this is not only a problem
for Israeli artists but for all artists who draw on the written word
as a crucial element of their digital creativity. The third issue this paper explores is
concerned with locating digital art. When artists choose to exhibit
their works online discarding both the physical museum and often their
own national affiliation, the provenance of netart as a result
becomes somewhat obscure. Both the physical museum and the national
anchor have traditionally served as institutionalising devises of
contemporary art and without one or the other, netart may appear to
be illusive, ephemeral or dislocated. Through a series of examples drawn from
Israeli works and elsewhere, this paper illustrates how netart may
be anchored either in local cultural activity or more ephemerally
disseminated across global networks. Where artistic creativity is
no longer situated in the physically-located museum or restrained
by a nationally-affixed identity this paper will consider emerging
scenarios by which digital creativity may be located elsewhere and
may be simply denoted as online. The Israel Museum, Jerusalem The Israel Museum, one of the ten largest
encyclopaedic museums in the world, serves local visitors from Jerusalem
and throughout Israel as well as the thousands of visitors who come
to the museum from all over the world. Its terraced 20-acre campus
includes a 6-acre art garden, with the main museum comprising nearly
50,000 sq. m. encompasses the Archaeology, Judaica and Jewish Ethnography
and Fine Art wings. The three curatorial wings of the main museum
include 22 departments with extensive holdings of the archaeology
of the Holy Land, and fine art holdings from Old Masters in European
Art, through international contemporary art. In addition to the art
collections, visitors throng to the Shrine of the Book to see the
internationally renowned Dead Sea Scrolls, the five-acre Sculpture
Garden designed by the Japanese-American sculptor Isamu Noguchi, and
archaeology collections that reflect Israel's position as a bridge
between the great civilizations of Egypt and Mesopotamia. As Curator of New Media at the Israel
Museum, Jerusalem (since 1992), I have been active throughout the
Museum in many ways, with responsibilities that include identifying
and implementing electronic applications for the galleries, and outreach
programs. This year I have been involved in several new projects,
including curating Living Together
[i]
at the Israeli Knesset (Parliament), the SEE project
and a video conferencing series The Dead Sea Scrolls Live
[ii]
. The project Living Together initiated by Member of
Knesset Yuli Tamir, emerged from discussion in the Knesset (Israel’s
parliament) Education and Culture Committee about the difficulties
that young people in Israel face in dealing with the complex reality
of their lives. The discussion in the Knesset revealed a range of
negative stereotypes, fears and suspicions, which surface when young
adults perceive others as ‘different’ from them. Living Together
brought together one hundred and forty youth from all parts of Israel,
offering them an opportunity to describe how they perceive the society
in which they are living, how they feel about themselves, and how
they feel about others who are different from them. Students came
from all sectors of Israeli society: from the affluent neighbourhoods
of Tel Aviv, from agricultural schools in rural communities, Bedouin
living in the Negev desert and religious students. The young adults
came from Jewish, Christian and Muslim communities and they spoke
Hebrew, Arabic, Russian and Amharic.
Students were invited to the museum and
at the end of the day, were given their own disposable camera and
invited to describe their notion of ‘other’ using the analytic tools
they had received during the visit, the exhibition texts, and a critical
understanding of how photography can be used as a social tool. Drawing
on their museum experience, students were directed to look through
the lens into their own homes, schools and neighbourhoods, focusing
on those in their own community they felt were different from them
in some way. The stories and images the young adults created produced
critical insights into the complexity of cultural, national and religious
subjectivity that comes with living together in the mosaic of Israeli
life. The project culminated in a modest but prestigious photographic
exhibition held in the lobby of the Knesset, and a comprehensive website
that presented the images and voices of each participant. The personal
narratives were reproduced with the photographs in an online database
accessible by image title, student’s name or school with the original
texts in Hebrew and Arabic subsequently translated
to English. Working with Dr. Adolfo Roitman, Curator
of the Dead Sea Scrolls, the New Media Department has been developing
an innovative online project, conducted together with the Politecnico
di Milano bringing participants from around the world into the [virtual]
Shrine of the Book. The SEE (Shrine Educational Experience)
is 3D educational space that brings together students aged 12 to 19
from all over the world in an innovative experience. During
the real-time sessions, students interact and cooperate in the virtual
world while learning, playing and discussing cultural issues inspired
by a close investigation of the Dead Sea Scrolls, the 2000-year-old
manuscripts found at Qumran near the Dead Sea. SEE is a unique educational
experience, a bridge between cultures in a shared 3D space that represents
the Shrine of the Book at the Israel Museum in Jerusalem and the desert
community of Qumran. Several other exhibitions over the past
year throughout the Museum incorporated new media elements, including
Sports and Art
[iii]
, in the Ruth Youth Wing, the education wing of the museum.
The exhibition combined objects from the Museum's collections, works
created by Israeli artists especially for the exhibition, photographs,
installations, film excerpts, and activity corners. Curated by Efrat
Nathan, the exhibition also included a number of digital, interactive,
installations - Ariel Almos’ Virtual Playground, 2003, and
Buky Grinberg’s Gate, 2003.
Ariel Almos, Virtual
Playground, 2003 Almos’s Virtual Playground invited
visitors to don coloured hats which are individually ‘read’ and enable
players, each in their turn, to hit a moving ball with their own coloured
bat – much like the classical screen game Pong, only this time
using their body (and hat) rather than their hands. The game is set
against the background of a sandy beach where other visitors can casually
relax against the background of a video seascape.
Buky Grinberg, Gate,
2003 Grinberg’s Gate tracks a gymnast
leaping into thin air while somersaulting twice before he miraculously
lands safely on the ground, only to repeat his looped feat over and
over again. Visitors stand below the archway of monitors watching
his daring act, wondering whether this time he will actually make
it. (He always does). Additionally, the Museum exhibited Liquid
Spaces
[iv]
, curated by Alex Ward, Curator, Department of Design and
Architecture showcased a group of five artists who reside, exhibit
and teach in New York. Trained as a jazz musician, Amit Pitaru writes
his own software for his work and has collaborated with illustrator
and printmaker James Paterson on an interactive project combining
drawing, sound, and video. Under the name of InsertSilence,
their projects (which include Bjork's Pagan Poetry, Delight
for Diesel, and 222 for Sony PlayStation
[v]
) have been exhibited in venues such as the Design Museum, London,
the Pompidou Center, Paris, the Sundance Film Festival, and the Seoul
Metropolitan Museum of Art. The recipient of several awards, including
Ars Electronica and Sundance Online Nomination for 2003, Pitaru leads
creative workshops for IBM, AT&T, MTV, Sony, and Warner Bros.,
as well as teaching at the Pratt Institute and the Interactive Telecommunications
Program at New York University. Pitaru’s work may be played online, and galleries
or museum, including our own, point to his site when exhibiting his
work online. In a specially sound-proofed room in the Israel Museum
Design Gallery, Pitaru exhibited a number of looped projects which
ran from a local server and included a special interactive version,
of Hammond Flower
[vi]
, a 3-minute recording of the artist performing on the Hammond-Flower
instrument. Visitors were able to 'interrupt' the Hammond Flower
by interacting with the instrument using a touch-screen and watching
the ‘flower’ respond to touch and listening to the sounds evoked by
the finger-tip explorations.
Amit Pitaru, Hammond Flower
Pitaru also exhibited Pagan Poetry which resonated
with the eerie tones of Bjork's voice, with the animated images that
followed the mouse acting in perfect harmony to the timbre and rhythm
of the music. Visitors enjoy interacting with the dance laid out
before them on the screen, quickly falling under the spell of both
Pitaru and Bjork.
Pitaru and Paterson (InsertSilence)
+ Bjork + Nick Knight (ShowStudio). Pagan Poetry The spatial metaphors that connect sound
and motion in Pitaru’s work recall the work of Russian physicist Lev
Termen, who in 1919 invented the Theremin
[vii]
, an instrument played by moving around the device without actually
touching it. The dance-like hand gestures that create the sound in
fact move through two electromagnetic fields - one that increases
and decreases volume, and the other for pitch, creating an eerie electronic
sound still popular today with several folk and rock groups. Global Versus Local Romy Achituv (www.gavaligai.com) is an Israeli artist
currently living, working and teaching in Seoul. With a formal background
in sculpture, his work often includes photography, video and performance
art, both in traditional and new media settings. Camille Utterback
& Romy Achituv first exhibited Text Rain in 1999 in New
York and it was included in the inauguration show of MOCA Taipei,
Taiwan in 2001. The work has since been exhibited in several locations
around the world, including the Kiev International Media Art Festival,
Center for Contemporary Art, the Kiev, Ukraine; the Microwave International
Media Art Festival, Hong Kong City Hall, Hong Kong; at the WRO Biennale,
WRO Center for Media Art, Wroclaw, Poland; in Montevideo/Netherlands
Media Art Institute, Amsterdam, The Netherlands; Ars Electronica Center,
Linz, Austria; the Seoul Metropolitan Museum of Art, Seoul, Korea;
at the European Media Art Festival 2000, Osnabruck, Germany; at NTT
InterCommunication Center, Tokyo Japan; Postmasters Gallery, New York,
NY, at the New Langton Arts Gallery, San Francisco, CA, as well more
recently at the Reading Festival in Tel Aviv in 2003.
Text Rain Visitors are mesmerised by the falling
text which settles like raindrops on their reflection on the screen,
and as they reach out to catch a handful, or an armful of falling
letters they try to make out what they are saying. Text Rain
in fact gently reveals a poem by Evan Zimroth, Talk, You and
as more letters are harvested, so words begin to come together and
phrases of the poem appear. Visitors not only interact with the installation
but also with one another as they endeavour to accumulate enough ‘rain’
to be able to read the text. In the version that was shown in Israel,
the poem by Amir Gilboa falls on the visitor in Hebrew letters. The
Hebrew text in the site-specific version of Text Rain is critical
in that it allows local audiences to become absorbed in the piece
without the language barrier of English and once read, the cultural
specification of the poem then reaches directly into the Israeli psyche. Michal Rovner’s Time Left, exhibited
at the Israel Pavilion
[viii]
of the 50th Venice Biennale (15 June - 2 Nov 2003), curated by
Mordechai Omer, included two digitally manipulated works that captured
the imagination of many of the thousands of visitors that came to
the Israel Pavilion.
Hila Luli Lin, Ein
Gabot, 2004 The Israeli Center for Digital Art’s recent
exhibition Shame
[ix]
, curated by Hanna Farah, presented Hila Lulu Lin’s work in
an unusual location – the gallery’s public toilets. The selection
of the location was not in itself original - some months previously,
Sigalit Landau had shown her bronze man-urinal in the toilets at Art
Focus, the fourth international biennial of contemporary art in
Jerusalem held in the Museum of Underground Prisoners during the winter
of 2003-4, but in the Digital Artlab in Holon the location served
well to stage the work. Through the open bathroom cabinet, a woman’s
face looks into the mirror and into the visitor’s eyes as she shaves
off both of her eyebrows. This intimate act is both silent and violent
and as we watch this act of self-mutilation in mute compliance we
cannot but wonder what sort of shame the protagonist is revealing
or hiding through the cupboard doors. A clue is offered in the Hebrew
name – Ein Gabot, a title that is misspelled (in Hebrew)
to sound like the name of an Arab city rather than a reference to
‘no eyebrows’ which is what the title would read had it been spelled
correctly. Is Lin referring to Arab communities wiped off the map
either physically or semantically in this word-play, referencing the
way that Arab towns and villages are replaced on current maps by Hebrew
names? Ein Gabot is not an electronically fabricated intervention.
This woman is clearly removing her eyebrows in our presence. Our
witnessing of the event and our compliance in the act serves as a
reminder of our mute acquiescence to other violent deeds that take
place elsewhere. While Lin’s eyebrow removal
documentation is very real, subverting reality however is a recurrent
feature of contemporary digital creativity. Images are manipulated
to produce new truths. Video footage is edited to narrate false reality.
Watching Boaz Arad’s Hebrew lessons, 2000, from the exhibition
Mirroring Evil: Nazi Imagery/Recent Art
[x]
at the Jewish Museum, New York, 2002, the images
recalls an infamous figure gesturing on the screen while the familiar
voice in the background offers proof enough that we are watching authentic
cinematic footage of Adolph Hitler in a surprising, 13-second monologue.
The screen portrays a tiny Hitler, - animated in his famous gesticulations
- trapped in the loop of an eternal sound byte. Through the manipulation
of authentic audio documents, Arad assembled 10 inter-cuts that dupe
the Nazi leader into a public apology in the language of his victims
– Hebrew. When I first came across this work, I was frozen in total
disbelief. I stood by this mesmerizing installation for many minutes,
delighting in Hitler’s unbroken Hebrew announcing over and over again
for the benefit of anyone who cared to listen, “Shalom Yerushalayim,
ani mitnatzel” - Shalom Jerusalem, I apologize. The impact of
Hitler’s apology, especially in that it was in Hebrew was shocking
- but for non-Hebrew speakers, this would be less immediate. According to Joan Rosenbaum,
Director of the Jewish Museum: Mirroring
Evil: Nazi Imagery/Recent Art focuses on thirteen contemporary,
internationally recognized artists who use imagery from the Nazi era
to explore the nature of evil. Their works are a radical departure
from previous art about the Holocaust, which has centered on tragic
images of victims. Instead, these artists dare to invite the viewer
into the world of the perpetrators. The viewer, therefore, faces an
unsettling moral dilemma: How is one to react to these menacing and
indicting images, drawn from a history that can never be forgotten? (Rosenbaum 2002
[xi]
) This was not an exhibition
for everyone. The banal and irreverent treatment of the subject could
be seen as abhorrent, even unbearable for some. This was an exhibition
that was developed for a media-saturated generation, for visitors
who had probably harvested most of their own fact or fiction about
the Nazi era though the media or from Hollywood movies. Holding up
a mirror to this kind of imagery, the exhibition presented a critical
and sometimes shocking repertoire of experiences. According to James
E. Young, Professor of English and Judaic Studies at the University
of Massachusetts: For a generation
of artists and critics born after the Holocaust, the experience of
Nazi genocide is necessarily vicarious and hypermediated. They haven’t
experienced the Holocaust itself but only the event of its being passed
down to them. As faithful to their experiences as their parents and
grandparents were to theirs in the camps, the artists of this media-saturated
generation make their subjects the blessed distance between themselves
and the camps, as well as the ubiquitous images of Nazis and the crimes
they committed found in commercial mass media. These are their proper
subjects, not the events themselves (Young 2002
[xii]
) Mirroring Evil breaches
the sacred wall of the silence of the Holocaust, opening up new spaces,
in an effort not only to understand the history of the events that
took place during the Nazi era, but in a brave attempt to do the unthinkable,
to look evil in the face. One of the key moments of
the breach of Holocaust remembrance protocol took place in an exhibtion
at the Israel Museum. The 1997 exhibition of Roee Rosen's Live
and Die as Eva Braun first described Hitler through images and
texts as a flesh and blood individual whose mistress’s persona was
so palatable in the exhibition, that visitors could all but identify
with her. This was perhaps the first instance that the taboo of naming
and depicting Hitler was broken within the public spaces of Israeli
museums and galleries, thereby setting a precident for further exhibitions
and works such as Arad’s. However, as powerfully as Arad’s Hebrew
Lessons in the New York museum resonated for some people, for
those who remained behind the language barrier, their responses were
predicated on a translation, and once translated, the work lost its
immediacy and much of its transgressive potency. Barriers of Language - Online In an interview
[xiii]
in April 2000, when asked by Sven Spieker about the state
of net art and net artists in Russia, Olia Lialina, the Moscow-born,
practitioner and theoretician of the Internet replied: As far as the
Russian internet is concerned, the internet itself is obviously about
the abolishment of borders. It is true that in the age of the internet
it has become very easy for people in Russia to communicate with their
relatives in Israel. At the same time there are new borders that have
appeared because of the internet. These are borders of language. (Lialina,
2000) Much has been written on the borderless
Internet and the way in which art and artefacts slip silently across
geographic boundaries and international borders. Producing and disseminating
art in this way may be truly global but the decisive moment in the
appropriation and reception of the artwork lies in the moment of consumption.
These factors may be technical (the user’s access to suitable hardware
and software), or alternatively culturally-based. Perhaps the most
radical of cultural divisions is that which is brought about by language.
Artists like Achituv are well aware of the language factor when they
construct their text-based works to insure that they are meaningful.
Site-specific art adaptations of course are don’t only apply to works
created in the digital arena. Where art works integrate text, artists
have often breached the language border in order to make their work
more meaningful to local communities such as Robert Indiana’s internationally
recognised Love sculpture which has been translated to Hebrew
in the Israel Museum’s Billy Rose Art Garden.
In the online project Roses
[xiv]
, Jerusalem, 2004, Tal Adler and Yuli Haromisjenko encourage
surfers to send 12 roses to 12 people whom they suggest ‘really deserve
them’. Each electronic postcard depicts a red rose, with a thank
you note to be sent to 12 Israeli leaders expressing gratitude for
their ‘valuable contribution’. The thank you note designated for
the Israeli Prime Minister, Ariel Sharon, for example, reads – “for
your spotless, open and effective leadership, for your personal example
and integrity, for security, peace and economical prosperity, for
the hope for a better future.”
Maarav Screenshot
– October 2004 The exquisitely designed website carries
articles and links to leading art venues and performances, and acts
as a platform for the dissemination of critical art discourse. Much
in the same way that artzines such as Altx, http://www.altx.com/
Transmediale, http://www.transmediale.de,
Ctheory Multimedia - http://ctheory.concordia.ca,
Iola -http://artnetweb.com/iola/ and the seminal Rhizome,
http://www.rhizome.org/ all act as foci for digital art across the
English speaking world, so Maarav is set to take its place
as one of the local foci of the contemporary art scene in Israel and
across the Hebrew speaking world.
Maarav Screenshot
– Second Edition - October 2004
Maarav Screenshot
– About Us (English) – October 2004 At the moment of writing (October 2004),
there is a brief introduction to the site in English but the creative
animations seem to break through the linguistic barrier and appeal
to all users whether they join in the discourse and read the articles
or not. Beyond the Physical Museum and the
National Anchor Breaching the local specificity of the
language and of local politics is the prize winning net project, World
of Awe
[xvii] , 2000,
by Yael Kanarek, a New York born artist (1967), who grew up
in Israel and who currently lives and works in New York. According
to the project’s website: World of Awe, created by new media artist
Yael Kanarek, is a multi-media narrative that revolves around the
story of a traveller in search of a lost treasure. The project engages
the ancient genre of the traveller’s tale to explore the connections
between storytelling, memory, travel and technology that ranges from
the lament over the absence of a lover to a comical declaration of
loyalty to a floppy disk. To expand the story, World of Awe
spins a network of projects and collaborations online, in galleries
and in performance spaces.
Surfers are invited to click on the capsule to enter Kanarek’s World of Awe where they are pulled into a non-linear narrative through a portal on 419 East 6th Street in Manhattan, across 48 Nowheres (a series of outputs from the 3D environments), into Sunset/Sunrise, ‘a dessert terrain locked into the mindframe between night and day’ (http://worldofawe.net/index00.html). Kanarek first launched the site in 1995, based on a journal describing the adventures of a traveller in search of lost treasure that keeps on relocating – leaving behind a trail of crumbs that fall from the body of the treasure. The more recent version of the website was launched in July 2000. Over the years the World of Awe has been discussed (and linked) in articles all over the world - the New York Times, Le Monde Interactif, Tema Celeste, Art News, Time Out, Flash Art Italy, Firma, Paper Magazine, The Industry Standard, Wired, The Journal News and ArtByte. PORTAL, the three-part, interactive net.dance work was inaugurated as a Turbulence Project [xviii] , on the Turbulence website – New Radio and Performing Arts, Inc. (aka Ether-Ore). The on-going project has been shown at festivals and exhibitions in Brazil, Italy, Canada, France, England, Germany, Switzerland, Netherlands, Israel, Korea and the USA, and the site now resides at its signature location http://worldofawe.net. The work resists a geographic-location and anyone who wishes to venture into the ongoing project, or in fact to correspond with the artist herself, may find both at the Internet domain, including Kanarek’s e-mail address at yael@treasurecrumbs.com.
Kanarek’s journey takes the user on an adventure. From the portal across digital landscapes, through video, text and imagery, Kanarek’s World of Awe presents new twists of the plots with almost every screen. Travel log 85.6/98 Sunset/Sunrise (http://worldofawe.net/portal_netdance.html) Once drawn into this world it is difficult
to leave, and each screen brings new dimensions to the experience.
Treasure/Crumbs launched the Love Letters Dispatcher in
June 2001. The love letters are described as ‘not a virus, this feature
of World of Awe (WOA) will enable subscribers to receive love letters
via email approximately once a month through 2003’. The letters are
signed "Yours forever, your sunset/sunrise forever yours, yours
forever yours." Entering my own e-mail at the dispatcher at
the time of writing (November 2004) produced an immediate response,
with a love letter to an absent lover arriving within minutes…with
a heading - To: Beloved Love letter 54/39 Sunset/Sunrise Beloved, I have found the key to extreme
beauty but I don't have the key hole.
So I tried all the holes in my body but none seem to
fit. Confused and bewildered. Yours forever, your sunset/sunrise forever
yours, yours forever yours. Are we the absent lover? Are we partners
in the search? The extension of the world into our own mailbox extends
the project’s reach and allows the surfer/participant entrée
into the online world. Visitors/surfers/lovers participate in difference
ways including the nurturing of the online mRB - a prototype of the
moodRingBaby described in the Traveler's Journal. According to the
journal, the moodRingBaby — a mass-produced object purchased at Duane-Reade
for $1.99, was used by the traveller to soothe the effects of loneliness.
Visitors in the World of Awe can manipulate the mRB on their
own screen, adding to the bizarre list of experiences this world offers. Kanarek identifies herself as an artist
living and working in New York and in November 2004 is curating a
net exhibition, Net Art – 6 Works at VideoZone2
[xix]
, in Tel Aviv, at the 2nd International Video-Art Biennial
in Israel. The artists listed in this upcoming exhibition include:
Peter Horvath, David Crawford, a collaboration between dancer/filmmaker
Evann Siebens and Kanarek, Olia Lialina and Dragan Espenschied, and
Young-Hae Chang Heavy Industries. Simply denoted online This paper has explored a range of digital,
art projects that have been developed by Israelis, and others living
both in Israel and elsewhere. Some of the projects illustrate the
global or universal reach of digital art, while others have indicated
the site specificity that is bounded by language. The invisible boundary,
in the boundary-less Internet creates new borders that are defined
by language and shunt the discourse into gated-gardens. While artists
have the choice to denote themselves either as Israeli, or not, in
their self-promotion, those who have incorporated the Hebrew language
have inherently indicated their cultural association as well as their
national affiliation. In the same way that net projects may
slip silently through these barriers they also resist their preoccupation
of national provenance, indicating their location and non-specific
nationality through their URL as does the World of Awe. This
paper has endeavoured to set out the options open to artists who take
up the digital palette – to be able to think global and act local
or as the alternative would suggest – to think local and to act global.
[i]
Living Together The Israel Museum, Jerusalem
[ii]
SEE (Shrine Educational Experience)
[iii]
Sports and Art, The Israel Museum, Jerusalem
[iv]
Liquid Spaces, The Israel Museum, Jerusalem http://www.imj.org.il/eng/exhibitions/2003/liquid/index.html
[v]
Pagan Poetry,
By Pitaru and Paterson (InsertSilence) + Bjork + Nick Knight (ShowStudio)
[vi]
Hammond Flower,
Amit Pitaru
[vii]
See http://www.interfold.com/rabit/Theremin.htm
for a sound sample. viii Time Left, Michal Rovner’s, the Israel Pavilion of
the 50th Venice Biennale, 2003 http://www.labiennale.org/2003/en/visualarts/pavilions/participants/israel.html
[x]
Mirroring Evil: Nazi Imagery/Recent
Art, 2002 http://www.thejewishmuseum.org/site/pages/content/exhibitions/special/mirroring_evil/mirroring.html
[xi]
Rosenbaum, (2002) Mirroring Evil:
Nazi Imagery/Recent Art, Exhibition Catalog, edited by Norman
L. Kleeblatt, the Susan and Elihu Rose, New York: The Jewish Museum
and Rutgers University Press.
[xii]
J. Young, J. E. (2002) Mirroring
Evil: Nazi Imagery/Recent Art, Exhibition Catalog, edited by
Norman L. Kleeblatt, the Susan and Elihu Rose, New York: The Jewish
Museum and Rutgers University Press.
[xiii]
Lialini, O. (1999) Dispelling the Myth that Net Art
is (not) a Commodity: Olia Lialina (Los Angeles 12 April 2000) ©ARTMARGINS
1999
[xiv]
12 Roses, Tal Adler and Yuli Haromisjenko
[xvi]
Maarav.co.il
[xvii]
World of Awe, Yael Kanarek http://www.whitney.org/artport/exhibitions/biennial2002/kanarek.shtml
[xix]
Videozone2, Tel Aviv, November 2004 |
