INSIDE EXPO2015
VENICE BIENNALE: INTERVIEW WITH TSIBI GEVA
ISRAEL: THE ART MAP
DESIGN MUSEUMHOLON
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ISSN 2280-8817
U๏ฟฝcio culturale Ambasciata di Israele - Roma
I S R A E L
number 0 summer 2015 trilingualyear i
The natural
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vegetarian food & art since 1979
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โOur bodies
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William Shakespeare
โI nostri corpi
sono i nostri giardiniโ
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pagina artribune MARGUTTA Arcimboldo copia.pdf 1 16/04/15 08:54
The natural
Openyour vegetarian
art restaurantfranchise
vegetarian food & art since 1979
il Margutta
choice
Lib
era
inte
rpre
tazi
on
e d
i "Fl
ora
" Giu
sep
pe
AR
CIM
BOLD
O
ilmargutta.com
โOur bodies
are our gardensโ
William Shakespeare
โI nostri corpi
sono i nostri giardiniโ
C
M
Y
CM
MY
CY
CMY
K
pagina artribune MARGUTTA Arcimboldo copia.pdf 1 16/04/15 08:54
www.artribune.com
directorMassimiliano Tonelli
vice-directorMarco Enrico Giacomelli
editor in chiefGiorgia Calรฒ
news editing & project managementSanta Nastro
contributorsChristian Caliandro
Elazar CohenRaphael Gamzou
Hadas MaorSanta Nastro
Daniel ReichelRonit SorekAldo SpinelliCarlo Spinelli
Arianna TestinoGiulia Zappa
graphic designAlessandro Naldi
translationsChristian Caliandro
Sarah Kaminski
referees - honour committeeGalia Bar Or
Marisa Fox BevilacquaMartina Corgnati
Ruti DirektorGalit Gaon
Drorit Gur ArieAvi LubinAya Lurie
Hadas MaorEdna Moshenson
Alfredo PirriRaffaella Sciarretta
Ronit Sorek
Artribune Israel - Issue Zerois published with the support of
zero issue
Israel Ministry of Foreign Affairs
Israel Pavilion Expo Milano 2015
U๏ฟฝcio culturale Ambasciata di Israele - Roma
Embassy of Israel โ Cultural Department
coverTsibi Geva, Archeology of the Present,
The Israeli Pavilion at the 56th International Art Exhibition
la Biennale di Venezia, 2015. Photo: Elad Sarig
published by Artribune srl via Ottavio Gasparri 13/17
00152 Roma - [email protected]
printed by CSQ - Centro Stampa Quotidiani via dellโIndustria 52
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direttore responsabile Marco Enrico Giacomelli
for advertising and [email protected]
Architecture, eco-sustainability, the fields of tomorrow. The focus dedicated to Expo 2015 and to the Israeli Pavilion begins with the words of the journalist Daniel Reichelโฆ
Art to eat. History of food (in Israel), of its relationship with art and other aspects. An overview of โedibleโ artworks from Futurism to Giuseppe Stampone.
Hadas Maor leads you in the curatorial concept behind Tsibi Gevaโs exhibition. The Biennale focus, โinside the Pavilionโ, continues.
Already famous all over the world, Israeli design has also a museum. In Holon, near Tel Aviv, it is โbig and strongโ. Giulia Zappa writes about it.
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โฆwhile Elazar Cohen, Commissioner of the Israeli Pavilion at Expo 2015, explains its contents and its political and international dimension in an interview by Giorgia Calรฒ.
The difference between food and fashion? You canโt eat the models and food doesnโt need to wee-wee every five minutes. Dan Levโs words, in this chat with Giorgia Calรฒ.
Tsibi Geva, the artist representing the Israli Pavilion at the Venice Biennale, tells about himself and his work in an interview by Giorgia Calรฒ.
Christian Caliandro guides us in a Israeli tour, searching for art spaces. Among Museums, public and private institutions, galleries and non-profit spaces, with a map of Israeli art.
The whole art agenda, with prizes and exhibitions in Israel, in Italy and all over the world. Arianna Testino traces the route of the next season.
Some of his artworks based on iconic images from Israeli culture: Gal Weinstein is an artists constantly trying to stay as curious as possible. Working without distinction with installation, sculpure, and video. An interview by Santa Nastroโฆ
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am happy to present this new publishing project that sees, once again, the col-laboration between Italy and Israel.Artribune, the famous Italian free press dedicated to the contemporary art with its many aspects from visual arts to design, from architecture to cinema, from fashion to food, laun-ches today this new, ambitious project.It is the Israeli version of Artribune that will have the same modalities of distribution, page layout and content management of the original magazine, but with a look on the Israeli artistic and creative scenario. Indeed, Artribune Israel is a magazine of contemporary art and culture that tells the vibrant scene of Israel, paying attention both to what happens in the country and to the experiences that bring the Israeli creativity throughout the world.Which best occasion to present the pilot number of the magazine than the two international showcases of Milan EXPO 2015 and of the Venice Biennale, hosting the respective Israeli Pavilions?In this way, an international cooperation starts, that launches the free press at the same time in Italy and in Israel, hoping that this could become a fundamental vehicle for the communication of the exciting cultural scene that the country is currently living. For these reasons the Israeli Ministry of Foreign Affairs has sustained the project and its authors from the very beginning, wishing them good luck for the realization of this mission.
AmbAssAdor
deputy director GenerAl
HeAd of tHe division for culturAl And scientific AffAirs
isrAel ministry of foreiGn AffAirs
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EDITORIAL6
he Israeli Pavilion joins the most advanced technologies to thousand-year old traditions, celebrating the research spirit and the curiosity of Israeli people. The Pavilionโs logo is inspired to the prayer for the Peace and the Justice in the Psalm of King David (Psalm 85-12) and reflects through a graphic interpretation of the word โtruthโ (ืืืช) the key concepts, the colors and the creative energy of a people that made the desert flourish: "Truth springs from the earth and righteousness looks down from heaven." Only the one who searches and spreads the truth will see the fruit of his success. The concept of the search for truth is deep-rooted in the Hebrew culture and is expressed in the study of the Torah. Thanks to the values, to the teachings and to the study method of the sacred texts the Israeli society was able to discuss and interrogate reality with the aim of innovating and advancing. In this way, the Start Up Nation is born.In Hebrew, the word โtruthโ (ืืืช-emet) is composed by the first letter of the alphabet, Alef, by the central one, Mem, and by the last one, Tav: this gives an important significance to the alphabet itself. But this is not the only concept of our history connected to the themes of Expo 2015.According to the Jewish tradition, every seven years the fields have to rest: it is prohibited to plant, cultivate, reap or pick fruits, in order to let the nature restoring its rhythms. The schmita (ืฉืืืื), the sabbatical year of the soils of Israel that falls this year is an example of how the Jewish culture has always been careful to the farming sustaina-bility. It is truly symbolic that the schmita Expo 2015 coincides with the responsible message promoted by Expo.Besides, we remember that the Jewish agriculture tradition imposes to dedicate a portion of soil at the edges of the fields to the poors: the concept of donation (Tzdaka) has not to be an end in itself but strictly connected to the justice (Tzedek), the justice of an altruist and open economy and society.It is with this spirit of sharing, justice and truth that in Expo 2015 the Ministry of the Foreign Affairs and the Israeli Goverment make available the results of the technological and scientific research. To let prosperate the fields of tomorrow, for a better future. From Israel, at the service of manking.
GenerAl commissioner
isrAeli pAvilion โ expo milAn 2015
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EDITORIAL 7
am proud of presenting this new publishing project signed by Artribune. A challeng-ing work that had a long time of gestation, if we think that the first meeting about it between me and Massimiliano Tonelli was in 2012. Three years have passed, the necessary time to structure at its best a magazine that wants to talk to a country that is so complex in its multicultural and multidisciplinar dimension.
Artribune Israel is born with the will to offer a transversal look at the great creative season that the country is living in the last years. The long-awaited presentation of the Israeli pavilions for the Milan EXPO 2015 and for the Venice Biennale, the prizes that confirmed the excellence of the Israeli authors in different fields โ from literature to cinema, from exhibitions to the great events organized in foreign coun-tries that allowed the viewers to know artists and entire collections from the most important museums of the country, are only some of the treated topics. Indeed, this issue tells also about what happens in the nation, about the extraordinary excitement that involves museums, gal-leries, non-profit spaces and academies, within an art system able to present and represent the Israeli creativity in all its forms and aspects.
This is the mission of Artribune Israel, a valid means to know new and differ-ent cultural and creative realities, with the witty attitude and the attentive gaze that characterize Artribune from its birth.An article on the Israeli Pavilion at the EXPO 2015 in Milan opens this issue. The Universal Exposition, defined by Walter Benjamin โthe place of commoditiesโ celebrationโ, returns to Italy after more than a century from the first presentation in Milan in 1906, with a really universal subject as nourishment. An interview to the commissioner Elazar Cohen follows, to understand projects and expectations of the Israeli Pavilion. We speak about the Pavilion at the Venice Bi-ennale through the words of the protagonists, with an interview to Tsibi Geva, followed by an article signed by the Pavilionโs curator, Hadas Maor. These articles, as the following ones, tend to delineate a portrait of the Israeli research, high-lighting its historical relevance and its relationship with the Western investigations.In this sense the work of a young reality as the Italy Israel Foundation for the Culture and the Arts, wanted by the Ministries of the two countries to promote the cultural exchange expressed in the creative excellences, must not be undervalued. Also the work of the Cultural Department of the Israeli Embassy in Italy, that together with the Israeli Ministry of Foreign Affairs believed in this project from its very beginning, has a fundamental role in conveying the cultural dialogue in every aspect. The same has to be said for the Italian Embassy in Israel, that through the Italian Institute of Culture is able to bring all the creativity that the โBelpaeseโ can offer.Therefore, the relationships between Italy and Israel are constant and lasting with the aim of underlining the cultural exchange between these two countries, not only geographically close. In these terms, Artribune Israel intervenes in a scenario able to value international voices oriented to support and promote Israeli contemporary art.
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EDITORIAL8
hy does a magazine of art, culture and creativity that is still, somehow, a start-up decide to expand internationally in a country like Israel? Artribune was born in April 2011, and during four year has established itself at a national level as an innovative publishing case, especially thanks to the ability of succeeding not only in its sector of pertinance (the traditional art publishing) but also in adjacent fields. In these 48 months we became contentsโ providers for public institutions (the Province of Rome), we re-alized applications for smartphone together with big private patrons (the recent app dedicate to street art made in collaboration with Toyota), we launched an international platform dedicated to the job offers and searches (http://jobs.artribune.com), we planned and conveyed the cultural contents of a corporation like GTECH-Lottomatica and we projected and managed the website of the SkyArte broadcaster. We worked also with important in-
stitutions realizing special issues and dedicated publishing projects. We showed ous skills non only in our profession, but also as complete communication partners, and we did this in years that for Italy were and are charac-terized by a terrible economic crisis.In spite of all this and of all our countryโs criticalities, the necessity of ex-panding our model outside of Italy was alway present. Why Israel? What kind of reasoning led us to this result? First of all, the commitment of Gior-gia Calรฒ who had this intuition three years ago and who developed it per-sistently; in the second place, there was the intention of our firm to expand internationally in a different and peculiar way compared to other art maga-zines. Therefore, no London, New York or Berlin. We decided from the very beginning to orient ourselves towards destinations with specific character-istics: a vibrant creative, artistic and productive activity; a not so developed publishing activity; a proximity with Italy; a good economic growth. In this
sense, Israel emerged as the perfect destination for a cultural and entrepreneurial expansion of our model and of our brand. The contents of this zero issue โ that has to be read as a call for all the economic realities of the country that want to support the following issues โ demonstrate this aspect: we had the privilege of describing a country with very few equals in Europe and in the Mediterranean area in regard to the creative excitement. Hereafter, we want to do it periodically, thanks to Artribune Israel, and thanks to your closeness.
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EDITORIAL 9
The desert and the bar-ren earth will exult; the desert will rejoice and bloomโ, the prophecy
of Isaiah says. A few words that sum up the commitment and the ambition cultivated by the Israeli farmers during decades: to create life in Eretz Israel, also where the climatic conditions would have suggested to many to desist.
The lack of water and of natu-ral resources, the dryness of the terrain, the heat are some of the obstacle that Israeli farmers and scientists faced and face still now. But the adversities were an in-centive to find some answers, to look at the future and to build the progress, to realize the โFields of Tomorrowโ, as said by the title chosen for the Israeli Pavilion, among the protagonists of the Expo Milano 2015. For its capac-ity of opening new ways in the world of agriculture, thanks to technological innovation and to a constant scientific research, this issue is at the center of the Israeli
Pavilion: a 2400 meters space, projected by the Israeli architect and realized by the team Avs, an example of how the Hebraic State has become one of the most advanced countries in the culti-vation techniques, in the eco-sustainable production and in the saving of water resources.
The Israeli presence at Expo was con-ceived to rep-resent โthe nature of the Israeli people, never resigned to the reality but aimed at do-ing everything possible to improve itโ, as Elazar Cohen, Israeli general commis-sioner at the Milan international exposition, declared. The first representation of this concept is the structure of the pavilion (pro-moted by the Israeli Ministry of the Foreign Affairs and sponsored
by the Keren Kayemeth LeIsrael โ Jewish National Fund, KKL-JNF) the fulcrum of which are the sev-enty meters (twelve in height) of the vertical field: a cultivated row with a strong visual impact that
will change color during the months, following the
rhythm of nature. This vertical field,
as Knafo ex-plains, โis com-posed by culti-vable modular units. Every form contains
a computerized system of drop
irrigation that op-timizes the growing
conditions of the plants. Wheat, rice and corn, the main vegetable alimentary resources, will grow on the vertical field creating a mosaic of textures, per-fumes and colorsโ. It is not only a fascinating aesthetic proposal. The project presents to the view-er โ developing it โ the concept
of Vertical Planting, that is spread-ing in different parts of the world but that in the Mediterranean area is still relatively unknown. It is a method of cultivation that allows to savw and optimize the territory and the water. โImagine a future where food can be cultivated on the buildingsโ faรงades โ Knafo declare in a recent interview to archipanic.com โ the technology Vertical Planting will allow to ar-chitecture to become an active part in the production of energy, in the treatment of the grey waters (domestic waters from showers, bathtubs and washbasins), in the purification of the air in the build-ings, and these fields will be built mostly with recycled materials.
A sustainable urban life will encourage the people to produce their own food and to cultivate vegetables and herbs inside their own living spacesโ. So, the ver-tical field of the Israeli Pavilion fully reflects the concept of the Milan edition of Expo, โFeed the Life, Energy for the Planetโ, ori-
The Israeli presence at Expo was conceived to represent โthe nature of the Israeli
people, never resigned to the reality but aimed at doing
everything possible to improve itโ
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FIELDS OF TOMORROW the Israeli Pavilion at Expo 2015
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FIELDS OF TOMORROW the Israeli Pavilion at Expo 2015
FOCUS EXPO MILANO 201510
ented towards a redefinition of food production functional to nourish people and sustainable for the planet.
Letโs get back to the Pavilion placed in the very heart of Expo, in the crossing between Cardo and Decumano โ the major roads of the great Milan exhibition โ where the Italy Pavilion rises and where the four sinuous sculp-tures by Daniel Libeskind are positioned (renamed Expo Gates or also Expo Trees, and realized by the famous architect together with Siemens). The Israeli space is geographically at the center of the attention and is divided into four areas: in the wainting room, the visitors are entertained by ex-hibitions that use technology to create, in the definition of Elazar Cohen, 2.0 magics. Interactive performances side by side to vid-eos projected on the wall that in-teract with the viewer. Then, the first part of the exhibition tells the story and the lives of three genera-tions of farmers. A temporal path
will show how the dream of David Ben Gurion of making bloom the desert of Negev (covering 13.000 of the total 22.000 square kilome-ters of Israel, more that half the surface of the country) has been a possible project in only three generations. All thanks to a primary sector in a continuous evolution that uses hugh tech to attract new generations, as Yoram Kapul-nik, director of the Volcani Center, one of the Israeli avant-garde centers for agricul-ture, explained. Mi-dor le-dor, from generation to genera-tion (as recited by the Haggadah od Pesach, the story of the He-brew Easter), there was a passage oriented to make the exploitation of the scarce resources economi-cally and ecologically sustainable.
There was the will to build
a know-how that, for example, made the Hebraic State a leader in the drop irrigation, a technique that avoids the waste of water during this delicate phase of the cultivation and that is told inside
the Pavilion. The visit continues with a video clip of a
forest planted by the Keren Kayemeth
LeIsrael, envi-ronmenta l i s t Hebraic organi-zation founded in the manda-tory Palestine
that has plated 240mln of trees in Israel. โThe
KKL โ Rug-gero Gabbai,
presidents of the Expo Commis-sion of the Milan City Council, remembers โ sponsored half of the Israeli Pavilion and 300 of its delegates, from different coun-tries of the world, will come in September in Milan to visit itโ.
Third step of the Pavilion, a
huge dark room where lights project in the sky a virtual field and videos dedicated to four avant-garde projects, among which the application of digital and satellite technologies to the management of the fields and an innovative project of irriga-tion in Africa. The last space is dedicated to taste, with the res-taurant that proposes a sample of the heterogeneous Israeli food, the result of many cultures and traditions of the diverse He-brew migrations present in the country (where more than 120 nationalities that live together). From Russia to Marocco, from Poland to Iran, the flavors are protagonists with a space dedi-cated also to the Hebrew Italian cookery.
So, the Israeli Pavilion wants to be an experience that in-volves all the senses, from the eyes to the taste, as like as a space of reflection to continue to work and invest in the โFields of Tomorrowโ.
From Russia to Marocco, from Poland
to Iran, the flavors are protagonists with a space dedicated also to the Hebrew Italian
cookery.
The lack of water and of natural resources, the dryness of the terrain, the heat are some of the obstacle that Israeli farmers and scientists faced and face still now. But the adversities were an incentive to find some answers, to look at the future and to build the progress, to realize the โFields of Tomorrowโ, as said by the title chosen for the Israeli Pavilion, country among the protagonists of the Expo Milano 2015. The entire story in an article by Daniel Reichel
FOCUS EXPO MILANO 2015 11
The title of the Israeli Pavilion is โFields of Tomorrowโ. Why this choice?
This title was chose by the AVS group, the winner of the compe-tition to build, project and create all the Pavilionโs contents. I would like to tell you what is behind the title.You have to know that Israel, given its dimension and its scarce natural resources, is not a global supplier as Canada, Russia or Ukraine. Israel can supply the needs of the local population, but cannot engage in an international export. But what we can do is to give ideas and innovations to the world. We can offer innovative services, that do not depend on the earth or on the number of the people, or on the quantity of wa-ter, but on the attitude and on the values of the Israeli people, that date back to thousands years ago.I tell you a story. A person asked me to talk about the Pavilion giv-ing an image of Israel as a young
nation. Not that I disliked the idea, but it disturbed me in some way. Soon after, I saw a photo-graph of a Israeli young man with talled and tefillin (prayer objects worn only by men, ndr) praying at the Wailing Wall, and I thought โhe is a young man under 28 years but he is usying 3000 years old objectsโ. Then I understood that this is exactly the idea that I want to convey in the Pavilion, the idea that moves Israel: a young nation that could not look at the future if it was not so strongly connected to its past, to its history.Generally, after the military ser-vice the Israeli young people want to travel, make some life experiences. The world, the fu-ture is open to them, and they
are able to catch it because they have something behind their shoulders: a past made of history, of study of precepts and values. So, returning to your question, โFields of Tomorrowโ is projected towards the future and in the
Pavilion we want to demon-strate that this direc-
tion doesnโt begin now, in the pre-
sent, but 3000 years ago. This is our idea of T o m o r r o w. History is es-sential to the
futureโs devel-opment.
The Pavilion, con-
ceived by David Knafo, oc-cupies 2400 square meters. How is it structured?The form of the Pavilion retraces the geography of the State of Is-rael, long and narrow. Knafo had the idea of creating a 60 meters vertical field that covers almost
the entire pavilion, 100 meters high. This space/corridor has been an architectural challenge and we tried to face the problem exactly as it happens in Israel, a reduced territory where we need to find the necessary space for tourism, architecture, agricul-ture, transports, etc. We started to work on the heights in order to solve these problems of space. The pavilion was conceived ex-actly in this way: we cultivate in vertical clearing the space under-neath and dedicating it to other activities; it will be divided into three rooms ready to receive the visitor. In this way we exploited the entire space, its whole vol-ume and not only the surface.
Which kind of messages and visions the pavilion wants to communicate? Which event, from your point of view, is able to influence the Israeli opinion? A few months ago, during the presentation of the pavilion, you stated that the objective is
A nation that hosts young people from all over the world, characterized by a heterogeneous
population
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FIELDS OF TOMORROW Interview to Elazar Cohen, commissioner of the Israeli Pavilion
FIELDS OF TOMORROW Interview to Elazar Cohen, commissioner of the Israeli Pavilion
FOCUS EXPO MILANO 201512
to โshow the truce face of Israel, instead of the one appearing on newspapers.โOne of the reasons for our rel-evant investments in Expo is that of showing the different aspects of Israel. We would like to change the attitude of the public towards us. The first news of Israel in the newspapers or on TV are about politics, often in its negative dec-lination; then we receive posi-tive news like culture, technol-ogy, tourism, etc. We would like to change the sequence of these news: Israel must be identified with its qualities. Therefore, our aim is to show the many faces of this country, a na-tion that hosts young people from all over the world, characterized by a heterogeneous population composed by different ethnic groups and religions that live to-gether in peace. There are Rus-sians, Bedouins, Ethiopians, Muslims, Christians. We have to underline the cosmopolitan and colored side of this land.It is sufficient to look at the new Israelโs logo: the used color indi-cate the dialogue between Israel and the rest of the world. Israel is not an isolated country; it is a very important part of this world, and its cooperation is required by many countries, in different sec-
tors: farming, academy, science, business. The Israelis travel in the world, the world comes to visit Is-rael: these are our objectives, to demonstrates that this society is open, โmultifacetedโ, liberal, wel-coming, very advanced and with a very ancient history. It is not a bunker in the desert with the cannons pointed towards the en-emies as unfortunately someone imagines. In the pavilion, besides eco-tech, agriculture and sustain-ability, a part is dedicated to food, as the theme of the Expo requests. There will be also โColor-foodโ, a photo-graphic exhi-bition by Dan Lev. Could you please tell us something about it? In principle, we want to demostrate that also food in Israel is advanced. Food is generally considered traditional: when we talk about food we usually think about the motherโs or grand-motherโs kitchen. We have a cookery of many โmothersโ and โgrandmothersโ: there is food
from Syria, from Italy, from Mo-rocco, from USA, etc. Dan Levโs exhibition interprets the diver-sity of the Israeli food in a very visible way: the color. So, the Moroccan food is yellow, the Ital-ian one is red, the Syria none is colored, and so on. Therefore, it is through colors that we can see the different Israeli cookings.
The Israeli Pavilion is posi-tioned beside the Palazzo Italia: is it a wanted choice, or a casual one? Which are the relation-ships with Italy? We are honored to be in a cen-tral place, so close to Italy. It is a great honor, but also a great responsibility. For this reason, we want to create a pavilion with appropriate contents for this location, and we hope that our neighbors will like what we are doing. The proximity of the two pavilions represents in a good way the accordance between Italy and Israel, not only at a governative level. The relation-ships between the two countries overstep the formal institutions, because they are relationships between two civil society. The dimension of these connections
concerns many sectors: the academic one, the tour-
ist one, the scientific one and also the
political one. Almost four-teen years ago we signed a very important agreement, and
we are very ac-tive in different fields. So, the
proximity be-tween the pa-
vilions reflects the one between the societies.
The title of Expo is โFeeding the Planet, Energy for Lifeโ. A title that perfectly fits with the mis-sion that Israel is pursuing: let
bloom a land that owns scarce natural resources. What do you expect from the other partici-pating countries?In my opinion, every country in-terprets this general theme accord-ing two its own characteristics: I can imagine gigantic countries like Canada or Ukraine that liter-ally feed the planet with their own cultivations. These cases are obvi-ously very different from Israel that, given its dimensions and the scarcity of water, faced its need through technology. In this way, we valued very much the natural resources preserving them. Today, the world is starting to pay a lot of attention to this type of operations. If we think, for example, about the use of water, now today everyone is talking about saving the resources and to use them in an intelligent way: we have thought about it for a long time.
The 2015 Expo coincides with the Venice Biennale. As you know, this year Tsibi Geva was chosen to represent the Israeli Pavilion. After many editions dedicated to videoartists, a painter/sculptor and a kind of, letโs say, traditional art, come to the front of stage. What do you think about it?As Tsibi Geva shows in his paint-ing, I am persuaded that we can create a dialogue between Israeli and Palestinian people. Through his artworks, Tsibi reflects Is-raeliโs reality, but in peace. It is what we want to recreate in our pavilion, the Israel reality that contains many diversities.
A wish to accompany this new challenge?We Sephardic Jews raise a prayer during the nights until dawn, starting 49 days before Yom Kip-pur (day of penance for the Jewish people, ndr). A prayer says: โOur Lord in the skies bring peace to the world and give fullnessโ. This is our wish to the world.
Through his artworks, Tsibi reflects Israeliโs
reality, but in peace. It is what we want to recreate
in our pavilion
โThe first news of Israel in the newspapers or on TV are about politics, often in its negative declination; then we receive positive news like culture, technology, tourism, etc. We would like to change the sequence of these news: Israel must be identified with its qualities.โ The Israeli Pavilion at the Expo told by Elazar Cohen, General Commissioner
FOCUS EXPO MILANO 2015 13
The Futurists in their Fu-turist Food manifesto (1920) and in the Mani-festo of Futurist Cooking
(1930) gave relevance to the form and to the color of the courses. For the Italian avantgarde, the dishes became โcomplex savo-ry sculptures, where the origi-nal harmony of form and color nourishes the eye and excites the fantasy before tempting the mouthโ. In this sense, your work is conceptually Futurist, isnโt it?An aware approach to food fol-lows an itinerary of the senses. The first one is the sight: you see the food with your eyes, perceiv-ing its colors and its consistency. Then the sense of smell; you find the taste only at the end. In Colorfood the viewer doesnโt face a simple dish, but an art-work: we see a research made of inspiration and creativity, that starts from a color and an image and tells a story to reach another image. In Colorfood, I wanted to draw attention to the Chefs when they express their creativity out-side the traditionally intended dish. If the Manifesto of the Fu-
turist Cooking wants to underline this wayโฆ then yes, my work is conceptually close to Futurism.
The relationship between art and food is a very ancient ques-tion, that philosophy posed with Plato. Today this issue is more alive than ever, and it tests the chefsโ creative skills. We often interrogate ourselves about the aesthetics of the food and about the artโs status in the age of technical reproduction. In your opinion, is cooking really a form of art?As I said, the idea of Colorfood is to bring food where it can be art, that is to say outside the plate. For example, I do not consider as art the food porn, the spec-tacular and glamour visual pres-entation of cooking and food. Colorfood gives to the chefs an abstract stage to express their creativity as artists, not (only) as
cooks. This is the key and the connection between food and art in Colorfood: the chef is the actor of the opera.
Your first shooting was made in march 2014, a year ago. How much remains and what has
changed during the pro-cess, in respect to
the initial idea of Colorfood? From the very first photo-graphic shoot-ing for Color-food nothing
changed in the approach to the
project. We were always and will be
faithful to the original idea. Colorfood was very en-riched thanks to the Chefs that collaborated, with great partici-pation and comprehension and enthusiasm. All of them used the occasion of creating a special, abstract work that could repre-sent a window, also an intimate one, to their world and to their food.
Every photograph proves the personal idea of beauty of the chefs portrayed by you. The fa-mous chef Gualtiero Marchesi, considered the founder of the new Italian cookery, states that โnice is goodโ. Do you agree with him?Goodness and beauty are not the concepts and the terms related to Colorfood. We are at a deeper level. We are talking about inspi-ration, creation, fantasy, dream, interior world, love and memory.
I like very much the idea that behind the image of a dish there is an image that inspired the dish itself. For example, citing some of them: the volcano of Bonetta DellโOglio, the portrait of U Giancu, the sunflowers of Avi Steinitz, the Kate Mossโ por-trait of Efrat Enzel. Where do the single inspirations come from?First of all, the inspiration comes from the Chefsโ private world. It can be a memory, a landscape, an artwork. It can belong to daily life, or to the past. It can be a mes-sage tied to the political agenda or it can be related to the domain
If the Manifesto of Futurist Cooking wants to underline this wayโฆ
then yes, my work is conceptually close to
Futurism.
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DAN LEV COLORFOOD
FOCUS EXPO MILANO 201514
of dream and fantasy. This is the very core. For me, it is important to show to the public the crea-tive process that precedes and accompanies the final work. In this sense, the image that func-tions as an inspiration is as im-portant as the photograph that I shoot, because they are the two extremes of the creative process. Israeli food is extremely dif-ferent from the Italian one, so based on its roots: instead, the Israeli one is heterogeneous, rich of contaminations coming from every part of the world. Did you consider the cultural differ-ences in your photographs?This is a really important and interesting question. I am sure that the public could barely dis-tinguish the nationality of the Chefs from my photographs. But focusing on the images chosen by themโฆ then all the cultural differences emerge. It is an invi-tation to consider the exhibition also in this perspective.
The Italian cultural identity could be summarized, in the
global imaginary, with โartโ, โdesignโ, โfashionโ, and โfoodโ. With which terms you would identify the Israeli culture?Now that you ask me, I real-ize that I would identify some terms to describe well both Is-raeli cultur and food: โhistoryโ, โJudaismโ, and โrootsโ, but I would undoubt-edly add โhi-techโ. Also the words that you used fot the Italian cultural iden-tity are able to describe the Israeli one. Itโs non coincidence that Italy and Is-rael successfully col-laborate in these sectors.
I know that you often trans-form your studio in Tel Aviv in a home restaurant to host private dinners where food is narrated with images. It is a very social idea, that is in some way con-nected to the latest Milan ten-dency conceived by the galler-ist Rossana Ciocca: the public
is invited, through the social networks, to a dinner with all the guests dressed in white (the color as a central element re-curs here). Do you know about these urban dinners, and what do you think about them?I know these social tendencies
and I think that, in the end, the food is al-
ways the truly glue and the reason for success. It is not a nice framework or a particular set-ting that make
special these meetings.
You have a past experi-
ence as a fashion photographer. Did you find differences or simi-larities between glamour photo-graphs and gastronomic photo-graphs?The great difference between food photography and fashion pho-tography is that you canโt eat the models and that food doesnโt need to wee-wee every five minutes.
Today the haute cuisine is con-sidered a particular form of de-sign, and often (as you demon-strated) it builds a relation with art when it has a communica-tive and relational motivation, in addition to the creative one. In your point of view, will the future food design be an artis-tic language, as today happens with photography, videoart and performance?I think that Colorfood has intro-duced a new universal language of food and art. For this reason, after Expo we will move from country to country and we will involve chefs all over the world. Being original is more and more difficult, because it seems that everything has already been in-vented and realized. But if you take something that already ex-ists, and you merge it with other elements changing the point of view you can still create some-thing new and fresh. If food de-sign will become the next artistic language, this will depend on the originality and creativity of a art-ist or of a designer.
Being original is more and more difficult, because it seems that everything has already
been invented and realized
Colorfood is an artistic project conceived by the Israeli food photographer Dan Lev and by the Creativity Lab ICPO for the Israeli Pavilion at Expo Milano 2015. The exhibition is composed by 34 couples of photographs, each one portraying the dish of a famous chef (17 Italians and 17 Israelis), which were asked to realize a food artwork, starting from an image and drawing inspiration from a color. In the shootings with the chefs, conceived as authentic happenings realized in Italy and in Israel, Dan Lev represents and idea of food mixing with art, revealing affinities and differences between the culture and the tradition of the two countries, without neglecting all the phases of the preparation, from the idea to the creation, from the tasting to the โmise en placeโ.We interviewed Dan Lev, asking him some questions about the birth and the realization of this project.
Dan Lev Food Photographer
Shooting Antonello Colonna Shooting Giancarlo Morelli Shooting Tommaso Fara
FOCUS EXPO MILANO 2015 15
Chef: Israel Aharoni Color: Purpleinspiration Image: Dan Lev Styling: Gil Atlan
Chef: Shaul Ben Aderet Color: Blueinspiration Image: Eli Bochbut Styling: Talia Gon Assif
Chef: Haim Cohen Color: Red inspiration Image: Dan Lev Styling: Ilit Engel and Dan Lev
Chef: Efrat Enzel Color: White inspiration Image: Corine DayStyling: Diana Linder
Chef: Tom Franz Color: WhiteIspiration Image: Tom Franz Styling: Diana Linder
Chef: Guy Gamzo Color: OrangeIspiration Image: Guy Gamzo Styling: Guy Gamzo
Chef: Victor GlogerColor: YellowIspiration Image: Salvador Dali Styling: Keren Barak
Chef: Yaron KestenbaumColor: Green Ispiration Image: Yaron Kestenbaum Styling: Yaron Kestenbaum
Chef: Erez Komerovski Color: WhiteInpiration Image: Dan Lev Styling: Erez Komerovski
Chef: Shaily Lipa Color: BrownInpiration Image: Dan Lev Styling: Dalit Russo
Chef: Omer Miller Color: BlackInpiration Image: Omer Miller Styling: Rotem Nir
Chef: Aviv MosheColor: WhiteInpiration Image: Dan Lev Styling: Dalit Russo
Chef: Segev Moshe Color: WhiteInpiration Image: Segev Moshe Styling: Segev Moshe
Chef: Avivit Priel AvichaiColor: OrangeInpiration Image: Jackson PollockStyling: Oria Geva
Chef: Ido ShapiraColor: RedInpiration Image: from the book โFresh Fruitsโ Styling: Talia Gon Assif
Chef: Avi Steinitz Color: YellowInpiration Image:Eti Chen BryerStyling: Dalit Russo
Chef: Daniel Zach Color: GreenInpiration Image: Itiel Zion Styling: Talia Gon Assif
Israeli & Ita lian ChefsPhoto by Dan Lev
FOCUS EXPO MILANO 201516
Chef: Francesco Apreda Color: Red Inspiration Image: image taken from the web Styling: Dalit Russo
Chef: Enrico BartoliniColor: PurpleInspiration Image: Paolo ChiodiniStyling: Dan Lev e Ilit Engel
Chef: Heinz Beck Color: PinkInspiration Image: Inka & NiclasStyling: Dalit Russo
Chef: Cristina BowermanColor: Flesh-colouredInspiration Image: Dan Lev Styling: Dalit Russo
Chef: Francesca Castignani Color: YellowInspiration Image: Luigi Caputo Styling: Dalit Russo
Chef: Antonello Colonna Color: RedInspiration Image: Marco DeloguStyling: Dalit Russo
Chef: Carlo CraccoColor: Ocher (yellow earth)Inspiration Image: Alessandro RuggleStyling: Carlo Cracco
Chef: Iside De Cesare / Color: Yellow Inspiration Image: image taken from the web Styling: Dan Lev e Ilit Engel
Chef: Bonetta dellโOglioColor: GreenInspiration image: taken by internetStyling: Dalit Russo
Chef: Tommaso Fara Color: Blue Inspiration Image: Dan Lev Styling: Dan Lev e Ilit Engel
Chef: Victoire Gouloubi Color: Brick RedInspiration Image: Bunella Rossi Styling: Dan Lev e Ilit Engel
Chef: Aurora MazzucchelliColor: White, Yellow and Red Inspiration Image: Mazzucchelli FamilyStyling: Dan Lev e Ilit Engel
Chef: Giancarlo Morelli Color: YellowInspiration Image: Giancarlo Morelli Styling: Dan Lev e Ilit Engel
Chef: Davide OldaniColor: YellowInspiration Image: Maurizio GalimbertiStyling: Dan Lev e Ilit Engel
Chef: Fausto Oneto, aka U Giancu Color: Rainbow Colors Inspiration Image: Dan Lev Styling: Dan Lev e Ilit Engel
Chef: Emanuele PolliniColor: BrownInspiration Image: Alda MeriniStyling: Emanuele Pollini
Chef: Luigi Taglienti Color: Black and WhiteInspiration Image: Manuela VanniInspiration Song: Crรชuza de mรค by Fabrizio De AndrรฉStyling: Luigi Taglienti
Israeli & Ita lian Chefs
FOCUS EXPO MILANO 2015 17
It is relevant for our discourse to start from the biblical pas-sage, that lets us understand how food has always been
an essential part of a land where the cultural tradition is based on the observance of principles, and many of them concern food like bread and wine. Independently from the rules that move Juda-ism, Israel project itself as a na-tion whose contemporary spirit is nurtured also with the awareness of its heritage, a food is undoubt-edly part of it.We start with this reflections our investigations of some interna-tional examples of creative prac-tices in the relationship between art and food, with artists using food in different ways: we real-ized that, in some cases, it is very difficult to recognize a rigid dis-tinction between the single disci-plines. After all, today we speak very often about food design, and chefs are considered as artists, as shown by the recent shoot-ing with Carlo Cracco, realized within a series of events dedi-cated to the connection between design and food in Italy and in
Israel (#ITALY#FOOD#DESIGN, Tel Aviv-Holon march 2015). In 2007 the Spanish chef Ferran Adriร was the first chef invited to participate to Documenta12, and probably he was thinking of the Manifesto of Futurist Cooking (1930), with all its anticipations.Firs of all, food is a con-vivial experience and many artists have exploited this peculiarity. Letโs think to Felix Gonzalez-Torres. The Cu-ban artist, died almost twenty years ago, devel-oped a research focused on a public-private concept that involves the viewer, making available for him piles of candies, chocolates and chewing gums (Untitled, Placebo, 1991; Untitled, Placebo - Landscape - for Roni, 1993). The artist of-fered in this way the artwork to the public as a โconvivial giftโ, as Nicolas Bourriaud defined it [Es-thรฉtique relationelle, 1998]: the
priority is in the relation with the public manifested through the re-action. We find the relational at-titude also in the work of the Ar-gentinian artist Rirkrit Tiravanija, who describes his installations as โsharing platformsโ: his perfor-mances are soups cooked inside
museums and galleries all over the world.
And this approach characterize also the works of the Italian Ga-briella Cian-cimino: the food becomes
the platform of a dialogue with
the other, through the sharing of cook-
ing and the exchange of recipes. She realized a relevant performance in this sense at the American Academy in Rome in 2009: There were a man from Palermo, a man from Rome and an American; the third said to the others: โTell me your food and I will tell you who you are!โ.Talking about the convivial expe-rience, we recall Piero Manzoniโs
historic performance, Consump-tion of the Art (June 21, 1960): af-ter having signed with his finger some hard-boiled eggs, the artist offered them to the viewer who entered in conceptual commun-ion with the work.During the 1960s, we have to mention obviously the Pop Art, that succeeded in removing from food its primary role and mak-ing it become only a commercial good, symbol of consumerism: Andy Warhol, with his iconic Campbell Soup cans, and Claes Oldenburg, with his monumen-tal sculptures of pies, ice-creams and hot dogs, ironic symbols of the over-fed American society. In Dรผsseldorf, we remember the restaurant that Daniel Spoerri opened in 1968, coining the term โEat Artโ.But we all know that food can also become an obsession: the body ingesting, slowly or raven-ously, becomes subject and ob-ject, mean of expression and rep-resentation of the discomfort of an existential condition. Marina Abramovic in her video The On-ion (1995) is portrayed in close-up
First of all, food is a convivial experience and many artists have
exploited this peculiarity. Letโs think to Felix Gonzalez-Torres
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ART AND FOOD A LOVE STORY
FEATURES18
ART AND FOOD A LOVE STORY
while she is eating a raw onion, symbol of the pain and suffering of life. In the work The Book of Food by Vanessa Beecroft, today among the protagonist of the Italian Pavil-ion curated by Vincenzo Trione, the artist took note of the meal eaten every day. Ten years after, Beecroft realizes VB52, setting in the Castle of Rivoli a seven-hour performance that shows fashionโs and foodโs fetishism. The mod-els, impassive in the fixed pose, were seaten alongside with ladies of the Piedmontese aristocracy: half-naked around a long crystal table, they took part to a banquet characterized by the color of the dishes. In this case, the food be-comes blank: its distribution and the rigid tone of its colors make it plastic and unnatural, but cer-tainly beautiful and very glamour.Speaking about the Venice Bi-ennale, Michelangelo Pistoletto presented the project Love Dif-ference-Artistic Movement for an Inter-Mediterranean Politics at the 51st edition: the recipe of an ice-cream with the taste of halva, the sesame paste diffused in the
Middle-East countries and in the Balkans, is shared with the logic of free knowledge.The relationship between art and food, in design, fashion, cinema and many other aspect, is sum-marized in the exhibition curated by German Celant at the Milan Triennale, that opened in april as the first of-ficial Expo event. Arts&foods, set by Italo Rotaโs studio, is a gi-gantic show on seven thou-sand square meters present-ing hundreds of artworks, from the Marcel Duchampโs cases to the Frank Gehryโs fishes, in different artistic practices connected to food from XIXth century until today. Always in Milan, Giuseppe Stam-poneโs solo show at the Prome-teo Gallery of Ida Pisani, entitled Emigration Made Pavilion 148 (until June) deliberately coincides with Expo and is conceived as the 148th pavilion of the interna-
tional exhibition. With the ironic and playful mode of his work, Stampone investigate the theme of the โstrangerโ: in particular, in the pen drawing portraying the famous autarchic poster by Gi-acinto Mondaini with the child that holds the bread with a fear-
ful look and the phrase โDo not take away
the bread to our workersโ chil-dren. Buy Ital-ian productsโ. S t a m p o n e replicates the poster in differ-
ent languages changing also the
somatic aspect of the little girl, depending on
the nationality. So, these workers become the symbol of protection-ist strategies originating in the Fascist advertising, that we find again today in the idea of a socio-political border and of multiple levels of control implied by it.Bread is interpreted in an op-posed way by the Israeli artist Shahar Marcus, who concludes
this overview. His means are organic materials as pasta and bread, perishable products that symbolically indicate the nature of art and life, a metaphor of the human primary need.Waiting to find Marcus in septem-ber at the Expo Israeli Pavilion, with a site-specific installation that will employ thousands of loafs, we can see the video Sabich (2006), able to summarize with irony the local food culture. Mar-cus documents in a performative action the preparation of an enor-mous portion of a typical Israeli street food: on a gigantic bread that lies on the floor, the artist makes a series of gestures that recall Jackson Pollockโs action painting. The sauces substitute the paint and the process of ab-stract expressionism becomes a vernacular physical activity. This humorous artwork undermines the classical image of the artist, and in a totally absurd way blurs the distinction between creative process and daily experience. As Marcus says: โFood allows me to turn perishable substance into immortal artโ.
Bread is interpreted in an opposed way by the Israeli artist Shahar Marcus, who concludes
this overview
โA land flowing with milk and honeyโ, this is the biblical description, and we must not consider it only as a metaphor. A study of the Jerusalem Hebrew University has found the first apiary found in an archaeological excavation in the ancient Middle East, able to produce half a tonne in a year during the biblical period, in the land of Israel. This is the story of a convivial experience that conquered art.
ARTFOOD: EVOLUTION IN ISRAELI ART AND IN KOSHER FOOD. MUTATION AND TRANSFORMATION OBSERVED FROM TWO POINTS OF VIEW Heraclitusโ enlightening prophecy, โeverything moves and nothing staysโ, has been perfectly chewed and digested by contemporary art. Can we โplantโ the panta rei anagram in order to find the continuous change, becoming, evolution? If before we saw only a pipe, Magritte bypassed the obstacle stating: โThis is not a pipeโ. Change is evolution. But it i salso another type of change, more immediate and superficial: the artwork changing in front of the viewer. All you have to do is to invert the order of the factors, and the artistic result is always the same: if the viewer is moving, also a simple sculpture reveals its hidden parts. And a painting hanging on the wall? During the 1950s Yacoov Agam, an Israeli artist who lived in Paris, realizes his first artworks mutating their form and color in front of the public. The object is static, while the different angles of the look change its perception. The geometric figures are fragments painted on vertical strips, mounted on the background with an angle of 60 degrees. On the left we see an image, on the righ another, with a kaleidoscopic continuity. Developing his technique, Aram succeeded in making even flatter the paintingโs surface with his Agamographies, lens print on plastic that continue to present different image in conjunction with the angle of perception. The same transparencies invite to taste the Tiramisรน rivisitato alla fragola con sorbetto alle fragoline di bosco of the Italian Simone Zanoni, an astonishing chef at Versaillesโ Trianon Palace, honored with two Michelin stars, who opened also Rafael in the XVII arrondissement of Paris: this is the first kosher restaurant oriented towards the haute cuisine (http://lerafael.fr/). From Agamโs A to Zanoniโs Z the step is really short: both in Paris, both expressions of a culture and of a continuous movement, with the allusions and illusions that kosher eyes and palate love to share.
Carlo and Aldo Spinelli
Shahar Marcus, Sabich, 2006, video
FEATURES 19
You are a polyhedric art-ist, your work is mainly a pictorial one, but you create also monumen-
tal installations, sculptures, vid-eos. What will you present in this occasion? Which is the way you have chosen to represent Is-rael?The idea came out of my interest for objects, for finding objects. An exhibition made only of painting would not fit perfectly the pavil-ion. First of all, I had to face the modernist architecture, similar to that of many Israeli buildings from the beginning of the 1950s. Somehow this was the first chal-lenge: trying to understand what I could do in this occasion, raising the pavilionโs potential and mak-ing it more appropriate to this situation. I decided to create a combination of sculpture, paint-ing and architecture, builiding a relationship between the whole pavilion and the gigantic external installation that totally absorbs the building and that iteracts with
the internal space.This idea comes from past expe-riences where I confronted the local architecture, as for exam-ple in Jerusalem, Haifa, Berlin, New York. But here it is the first time that I realize a site spe-cific installation in the outside and in the inside, creating a sort of defense territory, a ref-uge. The anxie-ty of isolation is a typical Israeli one.
So, did you choose not to interact with the pavilionโs structure? I have the feeling that you worked on the re-planning of the space, deregulating the materials and the forms? No, on the contrary: I interacted with the pavilion changing its aspect, creating a new space, covering walls and building new
ones. A new architecture. All of this comes from Israel: the bricks, typical modules of the lo-cal buildings, that I didnโt paint and alter in any way. So, I created a completely square space in the
inside, the ideal situation for my installations.
The pavilion is articulated in some huge paintings that function as an introduction to the monu-
mental, wall i n s t a l l a t i o n s .
The objects are the real protagonists.
These are found objects, accumulated in an apparently chaotic but well studied hoard: they tell the history of a country, a way of life, and are recogniz-able simulacra of a shared nar-rative. Which is the relationship between the objects and the sto-ries they represent?
I realized a sort of warehouse, full of gathered objects. This is also a typical Israeli concept: if you walk in the streets of Tel Aviv, you realized that there are a lot of entries that contain objects. Of-ten these are high storages, under the roof; they are called Boydem, a term derived from Yiddish, I think. Here I recreate precisely an Israeli depot, where all the objects are gathered in the lower floor, and you can see the inside through the glass. We realized it in the most authentic way, faith-ful to reality. The exhibition is a mix of many things: I used the Lattices that used to be minimal and empty, if you remember the MACRO show, and now are full of stuff, are stor-ages of abandoned objects. A part of the space is set up with 64 new or second-hand windows, some of them painted. They also re-flect very much the architecture of Tel Aviv and of Israel; they are the typical plastic or aluminum windows, simple and useful, ab-
I interacted with the pavilion changing its
aspect, creating a new space, covering walls and
building new ones
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VENICE BIENNALEINTERVIEW TO TSIBI GEVA
FOCUS VENICE BIENNALE 201520
We announced the news on Artribune after his nomination: Tsibi Geva represents Israel at the Art Biennale 2015. His brother had the same honor with the 1993โs national pavilion. A unique case in the history of Venice Biennale: two brothers invited to represent their country in twenty years. We met Tsibi Geva in Venice
solutely unfashionable. And they represent very well what we call โspontaneous-vernacular archi-tectureโ, realized not by profes-sionals but by people who find objects and use or reuse them. Also in this case I built every-thing by myself, in my studio in Yaffo: during three-month work, I measured every single piece, comparing it with the pavilionโs walls, and combining all the el-ements. The paintings in the exhibition were chosen because they also speak the vernacular language: every work is made of different parts that come from diverse sources and moments, and that I afterwards assembled together.
I find very interesting the fact that the objects are contained within the Lattices, iron gratings with different patterns that we saw already in the past. The grid is a recurring element in your work, represented in paintings and in three-dimensional pieces.
It is the symbol of the modern-ist ambition in the field of visual arts, as Rosalind Krauss stated in a famous 1978 essay. What is the grid from your point of view? As any other pattern, the grid is a form that structures itself on division and on organization; it is an empty space (horror vacui) systematized by a linear division. It r e p r e s e n t s the modernist value of flat-ness opposed to perspective and depth. I use the grid and the other pattern as means for representing the idea of territory, as exemplary and ideological methods through which we are able to perceive a specific space, as it is shown in the Lattice video.In this sense, my research con-siders the grid a method of or-
ganization of the abstract tra-dition; at the same time, I see the grid in its political mean-ing: the network, the enclosure, the block. Forms that represent the reclusion and the inability
of moving towards and within a determined
space. Tell me again about the ob-jects. You said to me that all the materials come from Is-
rael: why? You could have found
the same things also in Italy.
It is very important that every-thing comes from Israel because we are talking about a typical Israeli mentality. Besides, I meta-phorically represent the instinct of keeping everything because there was a moment when we didnโt have much, or we had
nothing, and so it is better not to throw anything, it is better that somewhere there is this stuff. What I made was taking the ob-jects that I found and that we donโt need, what we do not want to see, what we remove and deny, and putting them in plain view, in front of the public. In this sense, my work is an archaelogy of the present, of what exists today, what we use every day, visible everywhere.
Speaking of which, it is interest-ing that the pavilionโs title Ar-cheology of the Present seems to introduce the theme chosen by Okwui Enwezor All the Worldโs Futures, about past and present and a global view of the future. Do you want to tell something more about it?Archeology of he Present is a paradoxical title, an oxymoron. Archaeology is the past, but in this case the term alludes to the catastrophic situation of the pre-sent, that can be considered as
I metaphorically represent the instinct
of keeping everything because there was a
moment when we didnโt have much
Tsibi Geva Shutter W
all, 2015, wood, alum
inum, plastic, glass, canvas, plaster, tin, Form
ica, installation view,ph. E
lad Sarig
FOCUS VENICE BIENNALE 2015 21
an archaelogical tomb. The title describes also an anthropologi-cal conception of the objects as witnesses of an age, of a political or mental situation. My project is structured arount to different modes of work: the attempt of creating an order, and of high-lighting the whirl, the erosion and the collapse of the structures and of the means that merge one each other.
Do you face in this project the issues that you develop in your work, like the dialogue between the Israeli and the Palestinian people, and the cultural identity? I believe that it is there, in some way. You can find the typical ob-jects of the Palestinian society, and there are Arab terms that rep-resent some works. For the installation and for every part of it, I used blocks, wooden pieces, reused objects; I impro-vised, representing that sense of instability and anxiety that is typical of our daily existence. And
that somehow reflects the Middle East situation.The Israeli Pavilion at the Bien-nial was often represented in the last years by videoartists, like for example Michal Rovner, Guy Ben-Ner, Sigalit Landau, Gilat Ratman in the last edi-tion. Why a painter was chosen this year, in your opinion?There were not always videoartists, although this form of art is very cutting-edge now, especially in Israel. I can say that this yearโs choise was made by a commission of five people, artists and curators. As you know, every year the stand-ards and the direction change: this time an announcement was published on an art magazine and everyone could participate; I
think that there were 68 propos-als. Obviously, I am very happy with the result. Anyway, I pre-sent also a video, Lattice: I used it as an essential part of the in-stallation, that fits perfectly with
it. The video was shooted in 2003 in the center of
Yaffo, and portrays the daily life in a
mixed zone of Jews and Ar-abs from the terrace of the building where the
that hosted the exhibition had
its seat.
Do you have a gallery at the moment?
No, I do not work with any gallery at the moment: it is my choice, because I want flexibility and I do not want to be in commercial situation; I want to be completely independent. I worked for more than fifteen years with Annina
Nosei, then she closed her gallery and we remained good friends. I prefer to work with museums, especially after my solo show at the Tel Aviv Museum in 2008, fol-lowed by the Ashdod Museum, the American University Muse-um in Washington, the MACRO in Rome etc.I exhibited my work in many mu-seums and alternative spaces, and this is my way of being independ-ent. I have to admit that I like to work with galleries, especially in Israel, but for me it is very impor-tant to move and react to specific situations or places and not being managed by a commercial idea. I am critical towards what is hap-pening today in the art market: I think that it is very problematic, and it will worsen; the market controls art and most of all it con-trols its essence, especially the young artists, which are oriented towards an artistic direction de-termined by what the market thinks or wants. And this is a very bad situation.
There were not always videoartists,
although this form of art is very cuttingedge now,
especially in Israel.
TSIBI GEVABorn in 1951 in the Ein Shemer kibbutz, son of the famous ar-chitect Cuba Geber, since 1989 Tsibi Geva is an art teacher at the University of Haifa and at the Department of Art of the Beit Berl College. Geva was chosen by the Selection Committee of the Ministry of Culture of Israel, composed by Amnon Barzel (president), Philip Rantzer, Dalia Levin, Dalia Manor and Joseph Berger. Among the motivations of this choice, his thirty-year ca-reer (the Tel Aviv Museum dedi-cated a huge retrospective to him in 2008), and his attention to the theme of the cultural identity. The pavilionโs curator is the tal-ented Hadas Maor, born in 1968, who signed the following article deepening Gevaโs work and the pavilion entitled Archeology of the Present.The famous architecture by Zeev Rechter built in 1952, then modi-fied by Fredrik Fogh in 1966, is completely absorbed from the outside by an installation formed by hundreds of tires, while inside it is a revelation in the concep-tion of a sculpture that crosses the space. If the space has the concrete solidity of things, the in-stallation penetrates it: the three ambients of the pavilion, and the stairs that connect them, acquire a real consistency thanks to the artworks that allow the pass through physical and imaginary grids.
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FOCUS VENICE BIENNALE 201522
Archeology of the Pre-sent, Tsibi Gevaโs project for the Israeli pavilion at the 56th In-
ternational Art Exhibition โ la Biennale di Venezia, is a new, site-specific installation encom-passing the thematic and formal characteristics that have come to define Gevaโs work over time. The project extends over the ex-terior of the pavilion as well as in its interior, destabilizing famil-iar divisions between inside and outside, the functional and the representational, high and low, abandoned, found, and modi-fied elements. Gevaโs work raises self-reflexive artistic concerns and epistemological questions, as well as political and cultural questions pertaining to locality and immigration, hybrid identi-ties, existential anxiety, ephem-erality, and existence in an age of instability. The viewerโs inter-action with the project begins while approaching the pavilion, which is entirely enveloped by
hundreds of used black tires. Tightly bound to each other with cable ties and other improve sed means, the tires form a thorny, prickly protective layer of sorts that both absorbs and repels contact. The pulsating pat-tern created by the tire walls is formed by an interplay between mate-rial presence and absence, and the en-tire structure is transformed into a sculptural event on a scale that exceeds famil-iar dimensions, disturb-ing the visual and subjective experience of the viewer. Even as one approaches the structure, it remains difficult to determine whether it is a solid, impenetra-ble block or a hollow container โ an interior that can be observed and perhaps even entered.The tire walls enveloping the
pavilionโs exterior make use of a common everyday object to create an environment charged with layered spatial possibilities: they allude to the political con-text, in which a tire may func-
tion as a protective object capable of absorbing
shocks while also constituting a sign of protest and serving as an impro-vised, read-ily accessible
weapon; at the same time, they
also relate to the installationโs architectural
and artistic context. These used tires, which are impregnated with a distinct odor, form an organized network of holes imbued with a protective potential, while simultaneously attesting to a state of danger, constituting a powerful material presence, and communicating
a charged, urgent visual and po-litical statement. Over the years, Geva has created various instal-lations based on the use of tires, but these were always exhibited in closed, interior spaces. In this case, the displacement of the artistic action from the interior to the buildingโs exterior walls transforms the entire pavilion into a sculptural object. This strategy enhances the architec-tural dimension of the work and the sculptural power stemming from it, while producing a decep-tive spatial and conceptual vac-illation between the real and its semblance, between an alleged origin and the tribute or fabrica-tion presented by the work. The enclosure of the pavilion through the construction of block walls overlain by tires creates a series of undefined, intermediate spaces that can only be perceived from within the building. These are enclosed storage spaces that may be viewed as tributes to, or echoes of, the typical Israeli boi-
The project extends over the exterior of the pavilion as well as in its
interior, destabilizing familiar divisions between inside
and outside
by
HA
DA
S M
AO
R
TSIBI GEVA ARCHEOLOGY OF THE PRESENT Hadas Maor, Curator of the Israeli Pavilion at the 56th International Art Exhibition - la Biennale di Venezia, presents the project of the artist Tsibi Geva. Entitled Archeology of the Present is a new, site specific installation encompassing the thematic and formal characteristics that have come to define Gevaโs work over time.
FOCUS VENICE BIENNALE 2015 23
dem (the Yiddish word for attic or crawl space) โ a relatively in-accessible domestic space locat-ed in an attic, under the roof, or in a niche within an apartment, and used to store old or rarely used objects. Up until the 1980s, every Israeli apartment included a boidem located in an overhead space in the corridor or kitchen.In the context of the current in-stallation at the pavilion, these intermediate spaces function as storage spaces for subjective awareness and memory. They are filled with an accumulation of doors, shutters, metal lattices, wooden boards, flattened card-board boxes, found and aban-doned objects, artworks, furni-ture items, personal souvenirs, and more. The presence of these spaces facilitates a process of ac-cumulation that results in excess and in the entanglement of func-tional, circumstantial, emotional, and existential concerns. They operate within the pavilion like a back yard of sorts, where eve-rything that has been repressed and denied is cast away, only to resurface over and over again. Across from these storage spaces, facing the entrance to the pavil-
ion, is a long block wall made entirely of gray cement blocks, a common construction material in Israel. This wall, which is char-acterized by a patterned, repeti-tive structure, constitutes an ad-ditional layer of circumscribing, separating and blocking. Extend-ing above it is a large wall of win-dows overlooking the back of the pavilion, which reveals the interior side of the tire wall envel-oping the build-ingโs exterior. This invasion of the interior by the exte-rior, which be-comes evident the moment one enters the pavil-ion, ruptures and fragments the a-temporal illusion of self-enclosure created by the white cube. Moreover, the windows overlooking the tire wall are ordered within a re-petitive metal grid. This Western, modernist, Mondrian-like pattern seems to overlay the disrupted, rounded, softened grid of the tire wall, so that they are visually in-
tegrated into one another in an almost inextricable manner. As the viewer transitions to the pavilionโs intermediate level, he comes upon a tall, long shutter wall covered entirely by closed shutters and opaque panels made of various materials, which come together to form a mosaic of sorts. The wall is present in
the space as a represen-tation of vernacular
architecture1 โ unrestrained, urgent, im-mediate, and above all cir-cumstantial. This palpably material en-
tity rises from floor to ceiling
โ overlooking the space, overflowing
onto the adjacent wall, and constituting a gigantic partition that bespeaks its own potential invasion or penetration. The wallโs surface constitutes a mes-merizing topographical expanse that playfully engages with the pattern of the grid while com-bining, in an entirely non-hierar-chical manner, found, new, old,
painted, and modified shutters, opaque windows, stretches of fabric, and more. The shutters are arranged so that the viewer is ob-serving their closed, exterior side, which is usually oriented towards the public sphere, while creating a deceptive vacillation between painting and sculpture, interior and exterior, front and back. The installation disrupts the relations between the different elements constituting the wall and their categorical status in the world, while creating a powerful impres-sion of an insurmountable obsta-cle, a powerful and total impasse. On the pavilionโs upper level, the viewer comes upon a large lattice installation. In contrast to Gevaโs early installations, where the lat-tices were arranged in long rows with no exits, like cold, threat-ening, empty cages, here they contain various objects โ empty flower pots, mattresses, used furniture items, old television sets, and more. This installation imitates a conventional logic employed in the Israeli urban sphere, where lattices serve as an improvised, minor extension of the interior, a temporary stor-age space where necessary and
This Western, modernist,
Mondrian-like pattern seems to overlay the disrupted, rounded, softened grid of the
tire wall
Tsibi Geva, T
ire Walls, 2015, T
ires, cable ties, found materials, ph. E
lad Sarig
FOCUS VENICE BIENNALE 201524
unnecessary objects are piled up indiscriminately.Gevaโs work is based on differ-ent types of obstructions, which always contain gaps and holes through which the gaze can pen-etrate, but the body cannot pass. The layout of the project within the pavilion space creates sharp transitions between experiences of blockage, discomfort, and spa-tial ambiguity and between in-timate, poetic moments, so that fragility and crudeness, lyricism and violence, are inextricably intertwined. The installationโs different focal points create en-claves that offer support for the overwhelming anxieties arising from within. These enclaves pro-vide a semblance of protection, which is in fact nothing but an il-lusion: The tire walls are incapa-ble of offering protection against an actual attack; the spaces on the entrance level offer only a tempo-rary refuge or hiding space; the displaced lattices no longer serve to expand an interior space or of-fer protection, but rather consti-tute an obstruction in space that
cages in their contents; and the shutter wall embodies the poten-tial of penetration.The keffiyeh, terrazzo tile, win-dow, shutter, lattice, and block wall are all accepted signifiers that serve to create a separation between the private and pub-lic spheres, interior and exte-rior, concealment and exposure, while partaking of a vo-cabulary of concepts and elements that have popu-lated Gevaโs work over the years. At the same time, their pres-ence in this specific project is โ as it has in fact always been โ fragmentary. They are present as bits and pieces of a home that no longer exists, or which may potentially come into existence in the future, yet not as the vestiges of an actual, concrete house. The concept of home, which repeatedly resurfaces in
Gevaโs work over the years, thus remains, in the end, a locus of distilled longing; an unrealized dream about a coherent, unques-tioned identity.Geva is a political artist in the deepest sense of this term. The political dimension of his work, however, is cumulative; it is re-vealed and understood in the
process of observing the works and becoming
acquainted with them โ rather than striking one directly, in one instant. Although his approach to
painting is fundamentally
conceptual, the works them-selves are im-bued with a
surprisingly expressive charge, and his entire work process is predicated upon the creation of a dialectical tension between contrasts and the combination of different arenas of discourse and
action. This combination always attempts to remain hybrid, am-biguous, multicultural and non-uniform, and simultaneously opens up onto artistic questions as well as cultural and political ones. His work involves the col-lection of signs in the world, and he can even be described as op-erating in the space between ar-cheology, anthropology, and art. Yet he does not gather informa-tion about a distant and foreign other. The forms and objects present in his work partake of a lived, highly specific, imme-diate reality, while attesting to the catastrophic dimension that suffuses it. His work is pervaded by the impossible complexity of Israeli-Palestinian existence in this place, and is imbued with a painful, sober and harsh aware-ness. It strives to deconstruct the fundamental concepts of place, culture, and identity that shape our life and actions, and to touch upon the most sensitive question of all: the question of this placeโs belonging to its inhabitants, to both Palestinians and Israelis.
Geva is a political artist in the deepest
sense of this term. The political dimension of his work, however, is
cumulative
1. Vernacular architecture is characterized by an absence of planning and by the use of local materials and traditional technologies to create buildings that tend to evolve over time, in a manner reflective of the surrounding environment, culture, and history.
* The full text by Hadas Maor, titled โVernacular Art,โ appears in the exhibition cata-logue Tsibi Geva: Archeology of the Present, and can be downloaded at israelipavilion2015.tsibigeva.com
FOCUS VENICE BIENNALE 2015 25
ART SPACES IN ISRAEL A VIBRANT SCENE FOR A YOUNG NATIONIsrael, a young nation with a very ancient tradition, was able to project itself on the international scenario during the last years as an extremely dynamic reality, forge of artistic and creative ideas, able to orient itself with decision towards the future and to connect the visual research with the fields of innovation and cultural industries.
Tel Aviv, with its sur-roundings, is naturally the fulcrum and the center of this drive, with
more than 150 art places among galleries, museums, foundations and non-profit spaces. The most important of them is the famous Tel Aviv Museum of Art, opened in 1932 and hosted in the current building from 1971; the museum includes also a space in the heart of the city, the Helena Rubinstein Pavilion for Contemporary Art, dedicated to temporary exhibi-tions. The spectacular adjacent wing of the TAM (Herta and Paul Amir Building), projected in 2011 by the architect Preston Scott Cohen, hosts a collection of Israeli contemporary art, tempo-rary exhibitions, a photographic selection and the library. Among the summer events, from May 15 to September 5 the museum directed by Suzanne Landau presents the unmissable group show This Place, with 12 pho-tographic journeys through the country and the West Bank real-ized between 2009 and 2013 by Frรฉdรฉric Brenner and other 11 authors invited by him: Wendy Ewald, Martin Kollar, Josef Koudelka, Jungjin Lee, Gilles Peress, Fazal Sheikh, Stephen Shore, Rosalind Fox Solomon, Thomas Struth, Jeff Wall e Nick Waplington. The exhibition, por-traying the complexity of these lands, is curated by Charlotte Cotton, chief ot the Photography Department of the Los Angeles County Museum of Art. 14 km north of Tel Aviv we find
the Herzliya Museum of Contem-porary Art: opened in 1965 and directed in the last year by Aya Lurie, it is dedicated to Israeli and international contemporary art and focuses on researches able to offer different points of view on the social and political situa-tion. Among the summer shows we recommend Temporary Relo-cation: Art Residency Programs New Exhibitions (May 30-August 15), realized in collaboration with the Kunst im Tunnel Exhibi-tion Space of Dรผsseldorf. Twelve artists (Angela Fette, Christoph Knecht, Sebastian Mejia, Jens Pecho, Leunora Salihu, Alexan-der Wissel, Rafram Chaddad, Uri Gershuni, Nir Harel, Alma Yitzhaky, Barak Ravitz, Gil Yef-man) have been selected for their residencies between 2012 and 2014, in Dรผsseldorf and Tel Aviv, were they lived and work for months. South of Tel Aviv there is the Design Mu-seum Holon that โ together with the Israeli Center for Digi-tal Art (hosting the exhibition A Piece for Two Floors and a Corridor by the sound artist Am-non Wolman until June 27), the Israeli Cartoon Museum, the Holon Institute of Technology and the Holon Mediatheque โ makes of this industrial town with 200.000 residents one of the main places in the whole country
for the spreading of contempo-rary languages as lifestyle and as privileged look on the world. The Petach Tikva Museum of Art is located east of Tel Aviv: opened in 1964 and dedicated to Israeli and international contempo-rary art, when it was reopened in 2004 it enlarged its collection adding artworks by young au-thors. The exhibition program faces a wide range of issues (from Israeli cultural sphere to the global contemporary society), promoting innovative approach-es that represent the curatorial focus for the museumโs director Drorit Gur Arie.Last but not least, the Petach Tikva Museum of Art hosts (until June, 13rd) Agro-Art. Contemporary Agriculture in Israeli Art, curated
by Tali Tamir: ineteen artists including Avital Geva,
Gal Weinstein and Ayelet Zohar
speak about the Israeli-Zionist farming ethos, seen from a contemporary p e r s p e c t i ve
and thinking about how it has
changed in the last decades.
The other important insti-tutional space is the Israel Mu-seum Jerusalem, celebrating this year the fiftieth anniversary of its foundation with a very rich pro-gram of exhibitions and events. Among them, the fascinating 1965 Today (Spertus Gallery, un-til August 29) that reconstructs โ
through the work of the curators Mira Lapidot, Aya Miron, Noga Eliash, Shua Ben-Ari and Noam Gal โ the year of the opening and the social, historic and cultural context of Israel in that moment. This is a dive in the freshness and in the creative energy just then, through the imaginary, the artistc scene and the material culture. For the anniversary, the project Rembrandt from Amsterdam to Jerusalem curated Shlomit Stein-berg puts close the early painting of the Dutch artist The Prophet Jeremiah Lamenting the Destruc-tion of Jerusalem to St. Peter in Prison, the masterwork from the museumโs collection (from June 3 to Decembre 5). IMJ presents also A Brief History of Humankind (Bella and Harry Wexner Gallery, May 1-January 2, 2016) curated by Tania Coen-Uzzielli: inspired by Yuval Harariโs best-selling book, the exhibition recalls the odissey of mankind through evo-lution, from prehistory to moder-nity, from the first artifacts to the Theory of Relativity.The Jerusalem Artistsโ House is very active in the city: it occupies the former seat of the Bezalel Academy of Arts and Design, founded in 1906 by the sculp-tor Boris Schatz (that opening is generally considered the birth of contemporary art in Israel), and it is a center totally dedicated to lo-cal and international contempo-rary art, promoting young, mid-career and well-known artists. Among the other events, it hosts the Osnat Mozes Prize for Young Artists every year, the Miron Sima
A dive in the freshness and in
the creative energy just then, through the imaginary, the artistc
scene and the material culture.
by
CH
RIS
TIA
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AL
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COLUMN26
JERUSALEM
UMM EL-FAHEM
EIN-HAROD
HAIFA
KABRI
PETACH TIKVA
TEL AVIV
HERZLIYA
HOLON
ASHDOD
Haifa Musaeum of Arthma.org.il
Gottesman Etching Centerwww.cabriprints.com
Israel Museum Jerusalemwww.imjnet.org.il
Jerusalem Artistsโ House www.art.org.il
Jerusalem Print Workshopwww.jerusalemprintworkshop.org
Umm el-Fahem Galleryumelfahemgallery.org
Museum of Artwww.museumeinharod.org.il
Petach Tikva Museum of Artwww.petachtikvamuseum.com
Herzliya Museum of Contemporary Artwww.herzliyamuseum.co.il
Tel Aviv Museum of Art www.tamuseum.org.il
CCA - Center for Contemporary Artcca.org.il
Artport tlvwww.artportlv.org
Israeli Center for Digital Artwww.digitalartlab.org.il
Ashdod Museum www.ashdodartmuseum.org.il
Visual Arts Award every two year and the Biennale for Drawing in Israel, a national project born in 2001 involving all the public galleries in the center of Jerusa-lem. Among the other museum on the national territory, we can mention: the Haifa Museum of Art, founded in 1951 in on of the most ancient cities of Israel, that from the very beginning assumed the role of an intercultural bridge among Jews, Christians and Mus-lims, the Museum of Bat Yam, lโAshdod Art Museum-Monart Centre and the Museum of Art Ein Harod.Also the non-profit spaces play an essential role in the evolution of the vibrant national artistic scene, and in its outside projec-tion. Among them, the Centre for Contemporary Art (CCA) of Tel Aviv stands out: opened in 1998 in a small room, it succeeded in changing the contemporary art scene in Israel and it occupies to-day an entire building, with three
exhibition space, an auditorium and an editing-room. It also hosts the Video Archive (with more that 3000 artworks, from 1960 to present days) and produces exhibitions, projects, festival, lectures, performances and events under the direction of Sergio Edelsz-tein. Always in Tel Aviv we find Artport, p r o m o t i n g young con-temporary art with a residency program for Israeli and international art-ist, while the Art Cube op-erates in Jerusalem, with a resi-dency program supported by the Jerusalem Foundation. Finally the Umm El Fahem Gallery, founded in 1996 in the district of Haifa with the aim of establishing a place for meeting and artistic elaboration dedicated to the 50.000 residents
of the area, is a project conceived for one of the poorest territories in Israel, located in the Arab sector of the country, with a high level of unemployment: but during the
last years the city of Umm El Fahem knew a small
economic growth, that led to an in-
crease of atten-tion towards the issues of re-sponsibility, of social welfare and of ecologic
sustainability. The space, born on the initiative
of artists and inhabitants to
bring contemporary art to the city and its residents and to foster the cultural and social exchange be-tween different cultural identities, through exhibitions, conferences, creative workshops, seminars. These activities are supported by the Ministry of Education of the
State of Israel, by the City Council, by various foundations and by citi-zensโ private donations. In conclusion, an important space is set aside to printmak-ing, within Israeli contemporary art scene. As Ronit Sorek, cura-tor of the Israel Museum Jerusa-lemโs Department of Prints and Drawings, says: โThe local artistic printmaking is mainly centered in two workshops: the Jerusalem Print Workshop which has re-cently celebrated its 40th anni-versary, and the Print Workshop in Kibbutz Cabri - the Gottesman Etching Center, established in 1993. Both workshops are run by a professional and skilled team of printers and curators. While the Cabri workshop focuses ex-clusively on intaglio techniques, the Jerusalem workshop produces also silkscreen and woodcut. The workshopsโ curators follow the activity of the Israeli artists and invite some of them each year for a residency.โ
But during the last years the city of Umm El Fahem knew a small economic
growth, that led to an increase of attention
COLUMN 27
The Design Museum Ho-lon (DMH) opened here in 2010: it was the first local exhibition space
dedicated to design in a vertical way and destined from the very beginning to become a place of fertile and inclusive debate. It is a natural center for the creative industryโs community, but it is also willing to broaden its vision to spred its plural vocation in-volving the general public.The country has cultivated a mu-seum establishment interested to design. From its opening in 1973, the Department of Design and Architecture of the Israel Museum in Jerusalem granted a continuous commitment in the field of design, gathering a rel-evant collection of XX century objects โ from furniture to tex-tiles, from ceramics to graphic projects โ and developing in par-allel a research activity focused on the local identity, but also open to tensions and ideas that naturally converge in a small but cosmopolitan country like Is-rael. The same was done, twenty years later, by the Tel Aviv Mu-
seum of Art with its Department of Architecture and Design, al-ways carefully investigating the frontier, often transversal phe-nomenologies between art and design.Nevertheless, soon the lack of an independent institution, re-leased from the currents and the debate animating the artistic identity of the two museums, emerged. The fol-lowing step was the creation of a dedicated in-stitution. The condition sine qua non was the financial support of the Holon City Council, which already devel-oped the Israeli Center for Digital Art, a cultural platform dedicated to the inves-tigation of contemporary art.The Design Museum Holon is first of all a museum of design, and then a museum about de-sign: its iconic building wrapped in the sinuous red strips that de-
limitate its volumed was project-ed by Ron Arad, Israeli archistar living in London. He marked the architecture of this 3200 square meters building with his unique stylistic signature, formally very close to the to some of his most famous furniture projects (for example, the Moroso chairs, or
the Bookworm bookcase made for Kartell).
Since five years, the museum is directed by Galit Gaon, an important reference in the country thanks not
only to a career built on the dou-
ble track of didac-tics and curatorships
(among which the Israeli Cartoon Museum Foundation). As DHMโs Chief Curator, Gaon is very care-ful in promoting initiatives able to widen the experience of de-sign in order to consolidate the public, show after show.With more than twenty exhibi-tions realized, there is not any
field of design that hasnโt been investigated by him: from the ret-rospectives of the great authors of contemporary fashion design, as the one on Yohji Yamamoto and the one on Iris Van Herpen, to the productive scenarios (as โPostfossilโ the show about de-sign without petroleum) and to โDecodeโ, retrospective about the digital experimentations. All this, obviously, without ignoring the tensions and the qualities of the Israeli designโs evolution, as in โOut of the box. Design Made in Israelโ, or in โDesigners Plus Ten, 42 Israeli Designersโ. This scenario was recently consoli-dated, and shows a strong dyna-mism. Israel, unlike Italy, does not have a sector industry in the field of furniture, and this inevi-tably favors the development of an interdisciplinary attitudy, deeply oriented towards the con-ceptual research, but apt to ex-periment with new materials in handmade way. Instead, the case of graphics is different, because it is very recognizable in its sign and strongly engaged in having a say on the political scene, be-
The Design Museum Holon is
first of all a museum of design, and then a museum about
design
by
GIU
LIA
ZA
PPA
DESIGN MUSEUM HOLON, THE PLURAL PROJECT
COLUMN28
tween humour and sarcasm. At the same time, the youth cul-ture is drenched with progress of start-ups: Start up Nation. The story of Israelโs Economic Miracle, the book by Dan Senor and Saul Singer has become an international best-seller and an essential point of reference for marketers and business-men. Trying to un-derstand how the awareness of the role and func-tion of design changed in the country, Galit Gaon says: โThe young people, grewn up with the design, used to the language of art, of fashion, of pr, of the web, of the technological innova-tion, understand very well the importance of design for inno-vation, and that its place is in the Research&Development de-partments and not only on the shopsโ shelves. But for the older generations design is still a syn-
onymous of nice style objects, of a captivating shapeโ.Gaon guides us towards another discovery: Israel has the largest number of graduates in design for square kilometers, 2.500 last yeat, a high number if we com-pare it to the seven millions of the local population. โThe atten-
tion to design is certainly growing โ Gaon says
โ but we believe that industry does not con-front it as we would like. In the same way, I do not believe
design is recog-nized as a re-
spectable profes-sion โ I doubt for example
that an Israeli mother would suggest to her son to start a designer career โ but it i salso true that more and more people understand how its role is crucial. Design speaks to people, speaks about people, favors the dialogue and a high quality of life for all of usโ.
Israel has the largest number of
graduates in design for square kilometers, 2.500 last yeat, a high number if we compare it to the seven millions of the
local population.
A museum that is deep-rooted in its a witness and a means focusing on the identity of national design, and at the same time open, at the same time open to register and to anticipate the tensions and the ideas that animate the evolution of the discipline at an international level. The flagship of the institutional offer that Israel built, step by step, in the field of design has the name of Holon, a town south of Tel Aviv.
The Design Museum Holon offers a look behind the scenes with โIN-Possible by Alessiโ (curated by Francesca Appiani), a retrospective dedicated to the historic Italian firm.A cure to rehabilitate a heritage apparently doomed to oblivion, a meditative exhibition about the tacit mechanisms that cause the lacking production of the industrial prototypes. The case-study to test what resembles the analysis of a psychic removal is undoubtedly excellent: one of the most long-lived factories in the history of Italian design, Alessi is proud of a deep impact on the imaginary of domesticity and the ability of having entered many homes in Italy and in the world without elitism. The objects from the museum of Omegna, the home town of the Alessi family hosting still today the factories and the contiguous exhibition space, are more that 50 and were selected among many others dating from 1921 to 2012. As Alberto Alessi, President of the firm, remembers, the reasons why a product is denied to enter in the catalogue are various and sometimes imponderable. First of all, there is a productive difficulty, that during the projectsโ development can prove to be insuperable due to the increase of cost. At the same time, also the lack of imagination of the marketing offices plays a key role: they are often prejudiced in evaluating the market and its reception of a daring proposal.The parterre of designers affected by this sinister fate is wide, from Philippe Starck to Zaha Hadid, from Patricia Urquiola to Ronan, from Erwan Bouroullec to Ettore Sottsass. From another point of view, this fact is reassuring: in the field of design, the experience of a refusal is not a prerogative of the young generations but it can happen โ as in life โ also to the global stars.
Until June 6, 2015 www.dmh.org.il
Giulia Zappa
IN-POSSIBLE BY ALESSI
ph
. Yael Pin
cus
Elena Manfredini, Fiori D
arancio, Fruit Bow
l, 2005
COLUMN 29
The summer season will be very intense for Isra-el creativity. Indeed, the program of international
events will see Israel as a promo-ter and as the origin of the pro-tagonists which will exhibition their works in other countries.Celebrating the fiftieth anniver-sary of the relationships between Germany and Israel, the Tel Aviv Museum of Art will send for the first time in Europe seventy ma-sterwork from its collections. The Martin Gropius Bau will host until June an exceptional selection of modern artworks, witnesses of a symbolic period of time from the modernityโs peak to present days. The connection between recent past and present is the focus of The Century Mark. Tel Aviv Mu-seum of Art visits Berlin, projected as a thread able to put in contact geographic distances and diffe-rent creativer approaches. The in-tention of the curators, Suzanne
Landau, Ellen Ginton, Irith Hadar and Raz Samira, comes from the desire to cross the physical and temporal borders, in order to compare the ways of making art in different ages. And to genera-te a fascinating dialogue among the masters of modernity and the contempora-ry Israeli artists. L a n g u a g e s with a histo-ricized identi-ty โ painting, sculpture and graphics โ live to-gether with the mo-ving images and the installations by the young Israel authors in the Berlin spa-ces. The great names of modern tradition, from Max Beckmann to Marc Chagall, from Edgar De-gas to Egon Schiele, from Geor-ges Seurat to Pablo Picasso, are put close to the artworks of Yael
Bartana, Guy Ben-Ner, Nevet Yitzhak, Nira Pereg, characteri-zed by a constant attention to the difficult contemporary socio-po-litical atmosphere. Past and pre-
sent establish a non-conflictual and positive dialectic,
replicating the spi-rit of the young
relationship bu-ilt by the two countries that promoted the initiative.In Northern
Europe, Yael Bartana, one of the artists shown
in Berlin, will be the spo-
keperson of Israeli community within The New Human, an exhi-bition project in two chapters, set at Moderna Museet of Malmรถ, in Sweden, until the end of 2016. The first event, with the subtitle You and I in Global Wonderland,
is hosted in the museumโs upper story and explicates the general objective of the exhibition, that proposes a reflection on the sta-tus of human beings in the con-temporary scenario through the videos of the involved artists. The next 18th of October will be the last day to visit a group show with profound political and so-cial implications, that invites its protagonists to stand on the col-lective phenomena of alienation, fear and zealotry widespread in our age, but also to suggest throu-gh their works new forms of en-counter and reconciliation. The ten artists in Malmรถ comprehend, more than Bartana, Adrian Paci, Cao Fei and Loulou Cherinet. The contribution of the Israeli video-maker and photographer is roo-ted in her long research about the issues of identity and memory, strictly connected to her count-ryโs history. Using the filter of ri-tuals and of popular ceremonies,
Yael Bartana, one of the artists shown in Berlin,
will be the spokeperson of Israeli community within
The New Human
ISRAEL CALLS THE WORLDFROM EUROPE TO USA: 2015, A YEAR RICH OF EVENTSIn addition to the excellent presences in the Italian context of Expo 2015 and of the 56th International Art Exhibition of Venice, Israel will be also the protagonist of a vibrant series of exhibitions dedicated to its artists. Among extraordinary loans and group shows inspired to young emerging authors, the second part of the year will highlight the cultural ferment that crosses the Near East.
Rutu M
odan, Hot air B
alloon, private comm
ission, 2003
by
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the artist identifies in the human being the starting point for a full recovery of awareness and collective conscience. Another more experimental group show involves a young representative of Israeli creativity, Michael Liani, who was selected together with other 49 artists to portray the range of pas-sions, interests, means and appro-aches that enliven the activity of emerging photographers, chosen among the students of 40 global academies. reGeneration (this is the exhibitionโs title) summari-zes its proposal at the Musรฉe de lโElysรฉe of Lausanne, in Switzer-land, between May and August. In its third edition, the project ori-ginates from the need to describe the great critical sense of the new generations of artists-photographers, an essential value to face the uncertainty of the new millennium, dominated by a widespread conflicts. The young Michael Liani values his belonging and transposes the most fami-liar aspects of it in shoots and videos that resonate as a terse and precise answer to the paradox of war and segregation, apart from the fronts.On the other side of the Ocean, the Museum of Con-
temporary Art (MCA) of Chicago hosts the first, extensive American retrospective of Keren Cytter, until October 4. Born in Tel Aviv but citizen of the world for her education, the artist shows in Chica-go eight videos realized in the last ten years, a new
series of drawings and work connected to performances. The exhibition, organized
by the Kunsthal Charlottenborg of Co-penhagen together with the MCAโs curator Naomi Beckwith, catches the desacrating charachter of Cyt-terโs creative production. Her poe-tics, symbol of an interdisciplinar style and apt to the mix of genres
and expressive forms, indicates a critical use of the cinematographic
medium, that is exploited at the le-ast. The movies, produced with low-fi effects and often shooted in the artistโs apartment, reach
results intentionally close to kitsch, put up daily narratives of love, sex, jealousy that reflect in an exemplary way the atmosphere thanks to unsophi-sticated techniques. Also the actors and the actions tend to increase continuously, fostering ourselves to call into question the narrative conventions of tradi-tional cinema.
Yael Bartana, Inferno, 2013, video still, courtesy of Petzel Gallery, New York; Annet Gelink Gallery, Amsterdam, and Sommer Contemporary Art, Tel Aviv
Past and present establish a non-
conflictual and positive dialectic, replicating
the spirit of the young relationship
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ITALIAN HOMAGES TO ISRAEL2014 ended with the delivery of the Milanโs Seal by the Mayor Giuliano Pisa-pia to the writer David Grossman (Jerusalem, 1954). Grossman, the creator of global best-selling novels, has also always practiced an essay approach to the delicate question of Middle-East conflict. His support to the research of pacific solutions gained the author, together with the deep relationship with the city of Milan, the prestigious recognition.Other two literary event involved Israeli authors, who were rewarded for their creative and social contribution. The writer and politician Yael Dayan (Nahalal, 1939) received the Prize for Peace 2015, established by the Ducci Foundation to promote the cultural and religious dialogue. Yael Dayan distin-guished herself for the great support given to the Israeli-Palestinian peace, opening tables of discussions also with representatives of some interna-tional countries.Literature as means of reflection and knowledge is the focus of the Inter-nazional Prized for Translation, an annual event promoted by the Ministry of Cultural Goods and Activities and of Tourism aimed at diffusing Italian culture in foreign countries. The 2014 edition recognized the commitment of the Editrice Carmel Publishing House, located in Israel. The prize was given for the intense activity of translation of the Divine Comedy, published for the first time in the Israeli context, and for the difficulty of respecting both the Italian fourteenth-century rime and the Hebrew modern language. Also cinema was the protagonist of some important events. The young Na-dav Mishali (Ofakim, 1986) won the prize for the best soundtrack with his short-movie Eishech, Teshukatech - Longing nellโambito at the Caโ Foscari Short Film Festival 2015, dedicated by the University to the studentsโ cinema and at its fifth edition. The work of Mishali portrays with a contemporary look the effect of millennial religious ritual on current society, focusing on the womanโs figure.The woman was also the center of the twenty-second edition of Sguardi Altrove Film Festival, that this year awarded Ben Zaken by Efrat Corem (Ashkelon, 1979). as best movie in the Nuovi Sguardi section. The film is a delicate portrait of the relationship between a single father and his teenage daughter on the background of the Israeli suburbs.
Arianna Testino
MARCH CHAGALL LOVE AND LIFEThe collection of the Israel Museum Jerusalem a the Chiostro del Bra-mante in RomeThe Israel Museum Jerusalem, celebrating this year its fiftieth anni-versary, has one of the richest and most representative collections of Marc Chagallโs complex and heterogeneous work. This happened thanks also to the deep friendship that tied the artist to the museum, also before its opening. Indeed, Chagall was one of the supporters of the previous institution, the Bezalel National Museum, contributing with generous donation, as his daughter did after.The Chiostro del Bramante hosts the exhibition Marc Chagall. Love and Life, curated by Ronit Sorek, until July 26. 140 artworks are shown, among paintings, watercolors and prints from the Israel Mu-seum, where Sorek is curator of the Department Prints and Drawings. โThe exhibition focuses on the booksโ illustrations: his autobiography Ma Vie, the books by his wife Bella, Gogolโs Dead Souls and La Fon-taineโs Tales โ Ronit Sorek explains โ Through this collection, Chagallโs poetics fully emerges: the great love for hiw wife, nostalgia, life, the love for his mother country and for human beings. These artworks allow us to narrate the life of an artist, but first of all of a man, whose story starts at the beginning of XXth century until the 1980s. This man crossed all the most important events of the period and told them re-maining always faithful to his style: his childhood in Russia, the Jewish culture, the life in Paris, the wars, his life in Berlin, his return to Paris. Chagall is one of those artists which transformed modern artโ.
Giorgia Calรฒ
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Is your artistic research spe-cifically connected to the tradition and the culture of Israel? If yes, how?
Some of my works are based on iconic images from Israeli culture - symbolic, nostalgic and jaded aspects exist in these images. Even though they are images, their presence in Israeli culture is more virtually symbolic than physical or actual. My work is trying to convert an emotional touch โ meaning the literal ex-pression โ into a physical touch. In other words, it means trying to convert the image from a sym-bolic aspect to a concrete aspect. The attempt is made with the help of synthetic materials (wall to wall carpets, steel wool, pvc, mdf) with the aim of tempting the viewer to touch and thus feel.
Is there any artist (dead or alive) that you consider like a teacher?It is hard for me to point out one particular artist. There is a number of artists whose work I
follow and appreciate with inter-est, and learn from - Bruce Nau-man, Mike Kelley, Paul McCa-rthy, Thomas Shรผtte, Willem de Kooning, Gideon Gechtman, Da-vid Wakstein, David Ginton, Roy Lichtenstein and many others. I think that the primary aspect that intrigues me is the way in which their work is always stronger than the spirit of the times. In truth it stands out to-day on the back-ground of a sense of flood-ing of images, exhibitions and works of art. In my opinion the inspiration I get from them has to do with the totality and loyalty that I experi-ence from their works. An ad-ditional teacher who is very im-portant as far as I am concerned - is experience...
Letโs speak about your โcarpetsโ. They look like visions from above, but also as camouflages, such as those of the soldiers: itโs just a suggestion, or are there really some thematic connec-
tion, at a sociological and political level?
I think the asso-ciation to the c a m o u f l a g e and the colors of it to the army uniform is correct. In my opinion
this connection comes from the
mapping process of the landscape by
shapes and colors. The reason for the camouflage colors and different shapes that are seen in it, comes from trying to create an illusion of blending into nature of the landscape and the topogra-phy, by sampling and mapping. Meaning the acceptable similar-ity to the camouflage colors flows
from the process of the work.
One of them was displayed in Brasil for the Mercosul Bien-nale. One belongs to the Israel Museum contemporary art col-lection. How โ if this happens โ can change the perception of the work, depending on the geo-graphical context?The work in the Israel Museum is based on an image of Nahalal, a community in the Jezreel Val-ley and an iconic image in Israeli Culture. The community itself was designed by the architect Richard Kauffman in 1921 and it was designed in the shape of a circle. This is also the reason for the passage from an installation to a wall sculpture or floor piece, because the image of Nahalal is acknowledged as a defined shape and is observed as such. For the work for the Mercosul Biennale I took a different approach. Ac-tually in order to emphasize my total alienation to the thematic connection to the place. It had
FOCUS ON THE ARTIST GAL WEINSTEIN
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I think that the primary aspect that
intrigues me is the way in which their work is always stronger than the spirit of the times.
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interested me to approach the work from an angle that would deliberately emphasize more for-mal aspects, and to underline the viewpoint of a stranger. The im-age that I chose depends on the association that I had with the dripping paintings of Jackson Pol-lock and on organic shapes that were part of the area. Although the work was based on concrete images of the landscape, I almost saw in it an abstract painting. In hindsight I could say that a sort of colorfulness that was in the images and shapes of the topog-raphy of the area that were dif-ferent from the shapes of Nahalal or the Jezreel Valley โ developed afterwards to a floor piece with black coffee that grows fields of mildew. In the image that was the starting point to the work for Brasil there were the visual clues to the future works with black coffee.
In your research there is not a privileged medium. You work
without distinction with instal-lation, sculpure, video, etc. So how much the medium is im-portant in your work? Or is it just a tool for something else?The choice of the medium comes from the desire to use the uniqueness from every medium to emphasize a point of view in the work that I want to point out. It is not al-ways planned. S o m e t i m e s something hap-pens in the process of drawing or sculpture that reveals to you the potential of working with video or photog-raphy. However, when I work with video or photography I have the discipline or loyalty of docu-menting the action. I donโt have a preference between the medi-ums, rather ethics of loyalty to the material. Every work is con-
sidered and checked through a number of possibilities and could express itself through different mediums. What is important to me is seeing the whole picture, meaning the wide consistency of
the works and the connec-tion that is built be-
tween them. Look-ing at one work is like looking at a word and miss-ing the mean-ing of the sen-tence.
What is funda-mental for you in
art? What is your biggest
dream?The most important thing for me is trying to stay as curious as possible. For me this is a very important motivation, and, at the same time to try and ex-pand each time the capacity to postpone judgement while I am in the process of work, to be as
much as possible in a playful and ongoing state. I think my dream is not to be afraid of experienc-ing and of postponing as much as possible the prejudice of right or wrong. To try to let time stabilize the ability to see the work. Of course I want very much to ex-hibit my work as much as I can, and to get recognition for it.
You work also with an Italian gallery: what is your opinion on Italian contemporary art?I have been working with the Riccardo Crespi Gallery for three and a half years. I enjoy working with the Gallery and I feel a deep interest on their side in my work and in our relationship. Most of the artists in the Gallery are from different countries so it is hard for me to give a relevant opinion of Italian contemporary art. May-be, I can say intuitively it is a lit-tle similar to the Israeli art scene where there is still a distinction between the international scene and the local scene.
โSome of my works are based on iconic images from Israeli culture - symbolic, nostalgic and jaded aspects exist in these imagesโ. Our chat with Gal Weinstein, one of the most representative artists of the Israelโs art scene, begins with these words. We met him in Tel Aviv, where he currently lives.
FOCUS ON THE ARTIST GAL WEINSTEIN
For me this is a very important
motivation, as like to expand as at the same
time the capacity to postpone judgement
while I am in the process of work
Coffee Cup, 2014/2015 Coffee and Mold on PVC
- 40 cm ยฉ Plutschow Gallery, Peter Schรคlchli
Courtesy the Artist and Plutschow Gallery
Coffee Cup, 2014/2015 Coffee and Mold on PVC
90 cm ยฉ Plutschow Gallery, Peter Schรคlchli
Courtesy the Artist and Plutschow Gallery
Installation View
, Light Holes, series of N
ight Visions at Plutschow
Gallery
ยฉ Plutschow
Gallery, M
artin Rรผtschi C
ourtesy the Artist and Plutschow
Gallery
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RAPHAEL GAMZOU Ambassador Deputy Director General Head of the Division for Cultural and Scientific Affairs ISRAEL Ministry of Foreign Affairs Sono lieto di presentare questo nuovo progetto editoriale che vede la collabora-zione, ancora una volta, tra Italia e Isra-ele. Artribune, noto free press italiano dedicato allโarte contemporanea nelle sue molteplici sfaccettature che vanno dallโar-te figurativa al design, dallโarchitettura al cinema, dalla moda al food, oggi lancia questo nuovo, ambizioso progetto. Si trat-ta della versione israeliana di Artribune che avrร le stesse modalitร di distribuzio-ne, impaginazione e taglio dei contenuti della rivista originale, ma con uno sguar-do sullo scenario artistico e creativo israe-liano. Artribune Israel รจ infatti una rivista dโarte e cultura contemporanea che rac-conta la vivacissima scena israeliana, con lโocchio puntato sia su cosa accade nel Paese, sia sulle esperienze che portano la creativitร israeliana in giro per il mondo. Quale occasione migliore di presentare il numero pilota della rivista se non durante due grandi vetrine di respiro internazio-nale quali lโExpo di Milano e la Biennale di Venezia che ospitano i rispettivi padi-glioni israeliani. In questo modo si dร avvio a una coopera-zione internazionale che vede il lancio del free press contemporaneamente in Italia e in Israele, nella speranza che questo possa diventare un veicolo fondamentale per la comunicazione della fervida scena culturale che sta vivendo in questo mo-mento il Paese. Per tali ragioni il Ministero degli Affari Esteri israeliano ha sostenuto fin da subi-to il progetto e i suoi ideatori, augurando loro buona fortuna nella realizzazione di questa missione. (pag. 6)
ELAZAR COHENCommissario GeneralePadiglione di IsraeleExpo 2015 MilanoIl Padiglione Israele unisce le piรน avan-zate tecnologie con le tradizioni mille-narie ma anche lo spirito di ricerca e la curiositร degli israeliani. Il logo stesso del padiglione รจ ispirato alla Preghiera per la Pace e la Giustizia nei canti di Re David (Salmo 85-12) e riflette, attraverso una reinterpretazione grafica della parola veritร (ืืืช), i concetti chiave, i colori e lโenergia creativa del popolo che ha sapu-to far fiorire il deserto. La veritร germoglierร dalla terra e la giustizia si affaccerร dal cielo. Salmo 85-12 Solo chi cerca e diffonde la veritร , vedrร il frutto del suo successo. Il concetto di ricerca della veritร รจ molto radicato nella cultura ebraica e si esprime nello studio della Torah. ร proprio grazie ai valori, agli insegnamenti e al metodo di studio dei te-sti sacri che la giovane societร israeliana ha saputo sempre mettersi in discussione e porre nuove domande sulla realtร per innovarsi e progredire. ร cosรฌ che nasce la Start Up Nation. In ebraico, la parola veritร (ืชืื-emet) รจ composta dalla prima lettera dellโalfabeto Alef, da quella centrale Mem e dallโulti-ma Tav, dando un significato importante allโalfabeto. Ma non รจ lโunico concetto della nostra storia ebraica che ci unisce ai temi dellโExpo. Secondo la tradizione giudaica, ogni sette anni i campi devo-no riposare: non รจ consentito piantare, coltivare, mietere o raccogliere frutti per permettere alla natura di ristabilire i suoi ritmi. La schmita (ืืืืืฉ), ovvero lโanno
sabbatico delle terre di Israele che cade proprio questo anno, รจ lโesempio di come la cultura ebraica sia da sempre attenta alla sostenibilitร agricola. ร simbolico che la schmita 2015 coincida con il messaggio responsabile promosso da Expo. Inoltre, ricordiamo come la tradizione agricola ebraica impone di dedicare una porzione di territorio ai margini dei cam-pi ai piรน bisognosi, il concetto di benefi-cenza (Tzdaka) non deve essere fine a se stesso ma strettamente legato alla giusti-zia (Tzedek), la giustizia di una economia e societร altruista e aperta verso lโesterno. ร con questo spirito di condivisione, giu-stizia e veritร che a Expo 2015 il Ministero degli Affari Esteri e il Governo di Israele mettono a disposizione i frutti della ricer-ca tecnologica e scientifica. Per far germo-gliare i campi di domani e per un futuro migliore. Da Israele al servizio dellโuma-nitร . (pag.7)
GIORGIA CALรEditor in chief โ Artribune IsraelPresento questo nuovo progetto editoriale firmato Artribune con orgoglio. Un lavoro impegnativo e con lunghi tempi di gesta-zione, se si pensa che il primo incontro in merito tra me e Massimiliano Tonelli risa-le al 2012. Sono passati tre anni da quella prima riunione, il tempo necessario per strutturare al meglio una rivista che vuole parlare di un Paese cosรฌ complesso nella sua dimensione multiculturale e pluridi-sciplinare.Artribune Israel nasce con lโintenzione di dare uno sguardo trasversale sulla grande stagione creativa che sta vivendo il Paese da qualche tempo a questa parte. Lโattesis-sima presentazione dei padiglioni israe-liani per lโExpo e la Biennale di Venezia, le premiazioni che hanno visto eccellere gli israeliani in campi diversi dallโeditoria al cinema, le mostre e i grandi eventi or-ganizzati allโestero che hanno permesso di far conoscere artisti e intere collezioni provenienti dai piรน importanti musei del Paese, sono solo alcuni dei temi affron-tati. Si parla, infatti, anche di quello che accade nel territorio, dello straordinario fermento che vede il coinvolgimento di musei, gallerie, spazi non profit e acca-demie, allโinterno di un sistema dellโarte capace di presentare e rappresentare la creativitร israeliana, in tutte le sue forme e sfaccettature. Questa รจ la mission di Artribune Israel, un valido mezzo per conoscere nuove e diverse realtร creative e culturali, tutto con lo spirito frizzante e uno sguardo at-tento che caratterizza Artribune fin dalla sua nascita. Apre il numero un servizio sul padiglione israeliano allโExpo di Milano 2015. LโE-sposizione Universale, โluogo di celebra-zione delle merciโ come la definรฌ Walter Benjamin, torna in Italia dopo oltre un secolo dalla prima presentazione proprio a Milano nel 1906, con un tema davvero universale come la nutrizione. Per meglio capire progetti e aspettative del padiglio-ne israeliano segue unโintervista al com-missario Elazar Cohen. Sempre attraverso la parola dei protagonisti si parla del padi-glione israeliano alla Biennale di Venezia con unโintervista a Tsibi Geva, a cui segue un articolo firmato dalla curatrice del pa-diglione Hadas Maor. Questi servizi, cosi come quelli che seguo-no, tendono a profilare un ritratto della ricerca israeliana, ponendo lโaccento sul-la sua attualitร storica e sui rapporti che marcano il dialogo con le indagini occi-dentali. In questo senso da non sottovalutare il la-voro di una giovane realtร come la Fonda-
zione Italia Israele per la Cultura e le Arti, voluta dai Ministeri dei due Paesi, per promuovere lo scambio culturale espres-so nelle loro eccellenze creative. Anche il lavoro del Dipartimento Cultura-le dellโAmbasciata dโIsraele in Italia, che insieme al Ministero degli Affari Esteri di Israele ha creduto fin da subito in questo progetto, detiene ormai da anni un ruolo fondamentale per la veicolazione e il dia-logo culturale in tutte le sue sfumature. Stessa cosa vale per lโAmbasciata italiana in Israele che attraverso lโIstituto Italiano di Cultura riesce a portare tutto ciรฒ che di creativo il Belpaese puรฒ offrire. Dunque, i rapporti tra Italia e Israele sono costanti e duraturi al fine di dare risalto allo scambio culturale tra questi due Pa-esi, vicini non solo geograficamente. In questi termini, Artribune Israel si pone allโinterno di uno scenario capace di va-lorizzare voci internazionali volte al soste-gno e alla promozione dellโarte contempo-ranea israeliana. (Pag. 8)
MASSIMILIANO TONELLIDirettore di ArtribunePerchรฉ una testata dโarte, cultura e crea-tivitร ancora, per certi versi, start-up, de-cide di espandersi allโestero in un paese come Israele?Artribune รจ nata ad aprile 2011 e in quat-tro anni si รจ affermata a livello nazionale, in Italia, come caso editoriale piuttosto inedito. Soprattutto grazie alla capacitร di far bene non solo nel settore di partenza (lโeditoria dโarte, diciamo cosรฌ, tradiziona-le), ma anche in ambiti immediatamente confinanti. In questi 48 mesi siamo diven-tati fornitori di contenuto per enti pubblici (la Provincia di Roma), abbiamo realizzato applicazioni per smartphone assieme a grandi mecenati privati (la recente app dedicata alla street art fatta con Toyota), abbiamo lanciato una piattaforma inter-nazionale sulla domanda e lโofferta di lavoro (la trovate su http://jobs.artribune.com), abbiamo pianificato e veicolato i contenuti culturali di una multinaziona-le come GTECH-Lottomatica e abbiamo gestito e disegnato il sito della emittente tv Sky Arte. Abbiamo lavorato con impor-tanti istituti realizzando numeri speciali e progetti editoriali ad hoc. Insomma ci sia-mo dimostrati bravi non solo nel nostro mestiere, ma come partner di comunica-zione a tutto tondo. E lo abbiamo fatto in anni che per lโItalia sono stati e sono di terribile crisi economica. A dispetto di tutto ciรฒ e delle tante da cose da sbrigare nel nostro paese, la necessitร di espandere il nostro modello fuori dallโItalia รจ sempre stata presente. Perchรฉ Israele? Quale ragionamento ha portato a questo? In primissima battuta lโimpegno di Giorgia Calรฒ che ha avuto questa intuizione ormai tre anni fa e che lโha portata avanti con tenacia, ma immediatamente in seconda battuta lโintenzione della nostra azienda di espandersi internazionalmente in maniera diversa e peculiare rispetto ad altre testate dโarte. Niente Londra, New York o Berlino, insomma: abbiamo deciso fin da subito di orientarci verso mete che avessero alcune specifiche caratteristiche: una grande atti-vitร creativa, artistica, produttiva; una non altrettanto grande attivitร editoriale; una relativa vicinanza con lโItalia; una condizio-ne di buona crescita economica. Mettendo insieme tutti questi requisiti, Israele รจ emer-sa come la meta prediletta di una espansio-ne culturale e imprenditoriale del nostro modello e del nostro brand. I contenuti di questo numero zero โ che deve essere letto come una call per tutte le realtร economiche del paese che vogliano appoggiare i numeri successivi โ lo dimostrano: abbiamo avuto
il privilegio di raccontare un paese che ha pochi eguali in Europa e nel Mediterraneo quanto a fermento creativo. Abbiamo in-tenzione e voglia, da qui in avanti, di farlo periodicamente. Di farlo grazie ad Artribune Israel. E di farlo grazie alla vostra vicinanza. (Pag. 9)
Focus Expo 2015: FIELDS OF TOMORROWDi Daniel ReichelLa carenza dโacqua e di risorse naturali, lโariditร del terreno, il caldo, sono alcuni degli ostacoli con cui hanno lottato e lotta-no tuttโora coltivatori e scienziati israeliani. Ma le avversitร sono state uno stimolo per trovare delle risposte, per guardare al fu-turo e costruire il progresso, per realizzare i โCampi di domaniโ (Fields of tomorrow) come recita il calzante titolo scelto per il Padiglione Israele, paese tra i protagonisti di Milano Expo 2015. Lโintera storia nellโar-ticolo di Daniel Reichel.โIl deserto e la terra arida gioiranno; il de-serto si rallegrerร e fiorirร โ, recita la profe-zia di Isaia. Poche parole che riassumono lโimpegno e lโambizione coltivata dagli agricoltori israeliani nellโarco di decenni: creare la vita in Eretz Israel, anche lad-dove le condizioni climatiche avrebbero suggerito a molti di desistere. La carenza dโacqua e di risorse naturali, lโariditร del terreno, il caldo, sono alcuni degli ostaco-li con cui hanno lottato e lottano tuttโora coltivatori e scienziati israeliani. Ma le av-versitร sono state uno stimolo per trovare delle risposte, per guardare al futuro e co-struire il progresso, per realizzare i โCam-pi di domaniโ (Fields of tomorrow) come recita il calzante titolo scelto per il Padi-glione Israele, paese tra i protagonisti di Milano Expo 2015. Proprio le sue capacitร di aprire nuove strade nel mondo dellโa-gricoltura, grazie a innovazioni tecnologi-che e una ricerca scientifica costante, รจ il tema al centro del Padiglione israeliano: uno spazio di 2400 metri, ideato dallโar-chitetto David Knafo e realizzato dal team Avs, in cui si ha un assaggio di come lo Stato ebraico sia diventato uno dei pa-esi piรน allโavanguardia nelle tecniche di coltivazione, nella produzione ecososteni-bile e nel risparmio delle risorse idriche. La presenza israeliana a Expo รจ stata con-cepita per rappresentare โla natura stessa del popolo israeliano, mai rassegnato alla realtร ma teso a fare tutto il possibile per migliorarlaโ, ha dichiarato Elazar Cohen, commissario generale israeliano della ras-segna internazionale milanese. E la prima rappresentazione di questo concetto รจ la struttura del padiglione - promosso dal Ministero degli Affari Esteri Israeliano e sponsorizzato dal Keren Kayemeth LeI-srael - Jewish National Fund (KKL-JNF) - il cui fulcro sono i settanta metri (dodici di altezza) del campo verticale: una distesa coltivata dal forte impatto visivo che nel corso dei mesi cambierร colore, seguendo il ritmo della natura. Questo campo verti-cale, spiega Knafo, โรจ composto da unitร modulari coltivabili. Ogni modulo contiene un sistema computerizzato di irrigazione a goccia che ottimizza le condizioni di cre-scita delle piante. Grano, riso e mais, ovve-ro le principali risorse alimentari di origine vegetale, cresceranno sul campo verticale creando un mosaico di texture, profumi e colori . Non si tratta solo di unโaffascinan-te proposta estetica. Il progetto presenta al visitatore, ampliandolo, il concetto di Vertical Planting, che si sta diffondendo in diverse parti del mondo ma che sulle sponde del Mediterraneo fatica ancora a diffondersi. Si tratta di un metodo di coltu-ra che permette di risparmiare e ottimiz-zare territorio e acqua. โImmaginate un fu-
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turo in cui il cibo puรฒ essere coltivato sulle facciate degli edifici โ ha dichiarato Knafo in una recente intervista a archipanic.com โ la tecnologia del Vertical Planting permetterร allโarchitettura di diventare parte attiva nella produzione dellโenergia, nel trattamento delle acque grigie (acque domestiche che provengono da docce, vasche da bagno e lavandini), nella puri-ficazione dellโaria allโinterno degli edifici, e questi orti saranno costruiti in gran parte con materiali riciclati. Una vita urbana sostenibile incoraggerร le persone a pro-durre il proprio cibo e a coltivare ortaggi ed erbe nei propri spazi di vitaโ. Il campo verticale del Padiglione Israele rispecchia quindi pienamente il concetto alla base dellโedizione milanese di Expo, โNutrire il pianeta, energia per la vitaโ, impronta-to su una ridefinizione della produzione alimentare che sia funzionale per provve-dere alle persone e altrettanto sostenibile per il pianeta. Torniamo al padiglione che trova posto nel cuore di Expo, allโincrocio tra Cardo e Decumano โ arterie principali della gran-de esposizione di Milano -, dove sorge il Padiglione Italia e dove sono state posi-zionate le quattro sinuose sculture di Da-niel Libeskind (ribattezzate Expo Gates o anche Expo Trees e realizzate dal celebre architetto assieme a Siemens). Lo spazio israeliano si trova dunque geografica-mente al centro dellโattenzione ed รจ sud-diviso in quattro aree: nella sala iniziale, di attesa, i visitatori sono intrattenuti da esibizioni che sfruttano la tecnologia per creare, nella definizione di Elazar Cohen, delle magie 2.0. Performance interattive affiancate da video proiettati alle pareti che interagiscono con lo spettatore. Poi, nella prima parte della mostra, si raccon-ta la storia e le vite di tre generazioni di contadini. Un percorso temporale che dimostra come in sole tre generazioni il sogno di David Ben Gurion di far fiorire il deserto del Negev (che copre 13mila dei 22mila chilometri quadrati totali di Israe-le, ovvero piรน della metร della superficie del Paese), sia diventato un progetto pos-sibile. Tutto grazie a un settore primario in continua evoluzione e che utilizza lโhi-gh tech per attirare le nuove generazioni, come ha spiegato Yoram Kapulnik, di-rettore del Volcani Center, uno dei centri dโavanguardia israeliani in merito allโagri-coltura. Mi-dor le-dor, di generazione in generazio-ne (come recita lโHaggadah di Pesach, il racconto della Pasqua ebraica), vi รจ stato un passaggio di testimone volto a rende-re economicamente ed ecologicamente sostenibile lo sfruttamento delle scarse risorse a disposizione di Israele. Si รจ vo-luto costruire un know-how che ha fatto ad esempio dello Stato ebraico uno dei paesi leader dellโirrigazione a goccia, tecnica che permette di non sprecare lโacqua durante questa delicata fase della coltura e che รจ raccontata allโinterno del padiglione. La visita prosegue con un fil-mato ambientato in una foresta piantata dal Keren Kayemeth LeIsrael, organizza-zione ambientalista ebraica fondata nella Palestina mandataria che ha allโattivo la piantumazione di 240milioni di alberi in Israele. โIl KKL โ ricordava Ruggero Gab-bai, presidente della Commissione Expo del Comune di Milano โ ha sponsorizzato metร del padiglione Israele e 300 suoi de-legati, da diversi paesi del mondo, verran-no a settembre a Milano per visitarloโ.Terzo passo nel percorso del Padiglione, una grande stanza buia in cui luci proiet-tano nel cielo un campo virtuale e filmati dedicati a quattro progetti allโavanguar-dia, tra cui lโapplicazione di tecnologie
digitali e satellitari alla gestione dei campi e un innovativo progetto di irrigazione in Africa. Al gusto รจ dedicato lโultimo spazio con il ristorante che propone un assaggio dellโeterogenea cucina israeliana, risulta-to delle tante culture e tradizioni delle di-verse immigrazioni ebraiche presenti nel paese (oltre 120 nazionalitร ). Dalla Russia al Marocco, dalla Polonia allโIran, sono i sapori ad essere protagonisti con uno spa-zio anche per la cucina ebraica italiana. Il Padiglione Israele vuole dunque essere unโesperienza che coinvolge tutti i sensi, dalla vista al gusto, cosรฌ come uno spazio di riflessione per continuare a lavorare e inve-stire nei โCampi di domaniโ. (Pag. 10 โ11)
Focus Expo 2015: FIELDS OF TOMORROWdi Giorgia Calรฒ
โDi solito quando si parla di Israele, le prime notizie che vengono veicolate nei giornali o telegiornali trattano di politica, nelle sue declinazioni negative. Poi vengo-no date informazioni piรน belle come la cul-tura, la tecnologia, il turismo ecc. Ebbene, noi vorremmo cambiare la disposizione di queste notizie. Israele deve essere identifi-cata nelle sue qualitร โ. Il Padiglione Isra-eliano allโExpo 2015 nelle parole del suo Commissario, Elazar Cohen.
Il titolo del padiglione israeliano รจ โField of Tomorrowโ, ossia โI campi del doma-niโ. Perchรฉ รจ stato scelto questo titolo? Questo titolo รจ stato scelto dal gruppo AVS, vincitore dellโappalto di gara per co-struire, disegnare e creare tutti i contenuti del padiglione. Mi piacerebbe raccontarti lโidea che cโรจ dietro a questo titolo. Devi sapere che Israele, vista la sua dimensio-ne e le sue poche risorse naturali, non รจ un fornitore mondiale come puรฒ essere il Canada, la Russia o lโUcraina. Israele puรฒ sostenere i bisogni della popolazio-ne locale, ma non puรฒ impegnarsi in una esportazione internazionale. Quello che possiamo fare perรฒ รจ fornire al mondo idee ed innovazioni. Possiamo fornire prodotti sotto forma di servizi innovativi che non dipendono dalla terra o dal nu-mero della popolazione, o dalla quantitร di acqua, ma piuttosto dallโattitudine del popolo israeliano e dai suoi valori, che si possono far risalire a migliaia di anni fa. Una persona mi aveva chiesto di parlare del padiglione dando di Israele lโimma-gine di nazione giovane. Non che lโidea mi fosse dispiaciuta, perรฒ in qualche maniera mi disturbava. Subito dopo mi รจ capitato di vedere la foto di un giova-notto israeliano con talled e tefillin (ogget-ti di preghiera indossati solo da uomini, ndr), mentre prega al Muro del Pianto, e ho pensato โsi tratta di un giovane sotto i 28 anni perรฒ sta usando oggetti che han-no tremila anniโ. Allora ho capito che รจ esattamente questa lโidea che voglio dare del padiglione e che muove Israele: una nazione che pur essendo giovane non po-trebbe guardare al futuro se non fosse cosรฌ fortemente legata al suo passato, alla sua storia. Solitamente dopo il servizio milita-re i giovani israeliani vogliono viaggiare, fare delle esperienze di vita. Il mondo, il futuro รจ aperto a loro e loro riescono a coglierlo perchรฉ hanno qualcosa alle spal-le: un passato che รจ fatto di storia, studio dei precetti e valori. Quindi, tornando alla tua domanda iniziale, Field of Tomorrow รจ proiettato al futuro, ma quello che vor-remmo dimostrare รจ che questa direzione non comincia adesso, nel presente, ma oltre 3000 anni fa. Questa รจ la nostra idea di โdomaniโ. La sto-ria รจ essenziale per lo sviluppo del futuro.
Il padiglione, ideato da David Knafo, poggia su 2400 mq. Come si struttura? La forma del padiglione ricalca la geome-tria dello stato dโIsraele: lungo e stretto. Knafo ha avuto lโidea di creare un campo verticale di 60 metri che ricopre quasi tutto il padiglione, che ne misura 100. Questo spazio/corridoio รจ stato una sfida architettonica e abbiamo cercato di af-frontare il problema esattamente come capita in Israele, un territorio ridotto in cui bisogna allocare spazio per il turismo, architettura, agricoltura, trasporti ecc. Per risolvere questi problemi di spazio, abbia-mo iniziato a lavorare sulle altezze. Ed รจ esattamente in questa maniera che รจ stato concepito il padiglione: si coltiva in aria liberando lo spazio sotto dedicato ad al-tre attivitร , scandito in tre sale pronte ad accogliere il visitatore. In questa maniera abbiamo sfruttato tutto lo spazio, non solo la superficie ma tutto il volume. Quali messaggi e quali visioni vuole tra-smettere il padiglione? Questo evento secondo lei puรฒ influenzare lโopinione pubblica su Israele? Lei stesso ha affer-mato durante la presentazione del pa-diglione qualche mese fa, che si vuole โmostrare il vero volto di Israele e non quello che appare sui giornaliโโฆ Una delle ragioni per cui abbiamo investi-to una somma non marginale per parteci-pare allโExpo รจ quella di mostrare le varie facce di Israele. Vorremmo cambiare lโat-titudine che ha il pubblico nei nostri con-fronti. Di solito quando si parla di Israele, le prime notizie che vengono veicolate nei giornali o telegiornali trattano di po-litica, nelle sue declinazioni negative. Poi vengono date informazioni piรน belle come la cultura, la tecnologia, il turismo ecc. Ebbene, noi vorremmo cambiare la di-sposizione di queste notizie: Israele deve essere identificata nelle sue qualitร . Dun-que il nostro scopo รจ quello di mostrare le molte facce di questo Paese, una nazione che ospita ragazzi di tutto il mondo, carat-terizzata da una popolazione eterogenea composta da diverse etnie e religioni che vivono pacificamente. Ci sono russi, bedu-ini, etiopi, musulmani, cristiani. Insomma bisogna evidenziare il lato cosmopolita e colorato di questa terra. Basti vedere il nuovo logo di Israele. I co-lori usati indicano il dialogo tra Israele e il resto del mondo. Israele non รจ un paese isolato, รจ una parte molto importante di questo mondo, e la sua collaborazione รจ richiesta da molti paesi, in molti settori: agricoli, accademici, scientifici, business. Gli israeliani viaggiano in tutto il mondo, tutto il mondo arriva a visitare Israele, questi sono i nostri obbiettivi, dimostra-re che รจ aperta, โmultifaccialeโ, liberale, che accoglie tutti, molto avanzata ma con una storia molto antica. Non รจ un bunker nel deserto con i cannoni puntati verso i nemici come qualcuno purtroppo si im-maginaโฆ Nel padiglione, oltre a dare molto spazio allโeco tech, lโagricoltura e la sostenibi-litร , una parte รจ naturalmente dedicata anche al cibo, come richiede il tema dellโExpo. Ci sarร anche una mostra fo-tografica di Dan Lev โColorfoodโโฆNella linea generale vogliamo dimostrare che anche il cibo in Israele รจ qualcosa di avanzato. Il cibo viene generalmente con-siderato tradizionale. Quando si parla di cucina solitamente si pensa alla cucina della mamma e della nonna. Noi abbiamo una cucina di molte โmammeโ e โnonneโ: cโรจ una cucina che proviene dalla Siria, dallโItalia, dal Marocco, dagli USA, ecc. La mostra di Dan Lev interpreta la diversitร
della cucina israeliana in una modalitร molto visibile: il colore. Cosรฌ la cucina marocchina รจ gialla, quella italiana รจ ros-sa, quella siriana รจ colorata e via dicendo. Quindi รจ attraverso i vari colori che si pos-sono vedere le varie cucine in Israele. Il padiglione israeliano รจ situato accanto al palazzo Italia, una scelta voluta da voi o assegnata? Quali sono i rapporti con lโItalia? Siamo onorati di essere in un posto cosรฌ centrale, vicino allโItalia. ร un grande ono-re ma รจ anche una grande responsabilitร . Per questo vogliamo creare un padiglione con contenuti che siano adatti a questa localizzazione e speriamo che ai nostri vicini italiani piaccia quello che stiamo facendo. La vicinanza tra i due padiglioni rappresenta in una bella maniera lโalline-amento tra Italia e Israele, non solo a livel-lo governativo. Tra Italia e Israele i rappor-ti vanno al di lร delle istituzioni formali, si tratta di relazioni fra due societร civili. La dimensione di questi rapporti copre molti settori: accademico, turistico, scientifico e anche politico. Abbiamo firmato un accor-do molto importante quasi 14 anni fa, e siamo molto attivi in vari ambiti. Quindi la prossimitร fra i due padiglioni riflette la vicinanza fra le due societร . Il titolo dellโExpo 2015 รจ Nutrire il piane-ta, energia per la vita. Un titolo che calza a pennello con la mission che da sempre Israele porta avanti: far germogliare una terra di per sรฉ priva di grandi risorse naturali. Cosa si aspetta dagli altri paesi che partecipano? Secondo me ogni paese interpreta questo tema generale secondo le proprie carat-teristiche. Posso immaginare un paese di dimensioni enormi come il Canada o lโU-craina che nutrono letteralmente il piane-ta con le proprie coltivazioni. Questi casi sono ovviamente diversi rispetto a Israe-le. Israele, date le dimensioni e le scarsitร dโacqua, ha dovuto far fronte ai bisogni attraverso la tecnologia. In questa maniera abbiamo dato un gran-de peso alle risorse naturali dovendole co-stantemente salvaguardare. Oggi il mon-do comincia a prestare molta attenzione a questo tipo di operazioni. Pensiamo ad esempio allโutilizzo dellโacqua: adesso tut-ti parlano di salvare le risorse idriche e di utilizzarle in maniera intelligente. Noi ne parliamo giร da tempo. LโExpo 2015 coincide con la Biennale di Venezia. Come sa questโanno รจ stato scelto Tsibi Geva a rappresentare il pa-diglione israeliano. Dopo tante edizioni dedicate ai videoartisti, torna alla ribalta un pittore/scultore, quindi lโarte chiamia-mola tradizionaleโฆCome rappresenta nei suoi quadri Tsibi Geva, sono convinto che si possa creare un dialogo tra ebrei e palestinesi. Attra-verso i suoi lavori Tsibi riflette la realtร in Israele, ma in pace. ร quello che vogliamo ricreare noi nel padiglione, la realtร israe-liana che contiene molte diversitร . Un augurio per accompagnare questa nuova sfida?Noi ebrei sefarditi facciamo una preghiera durante le notti fino allโalba, a partire da 49 giorni prima di Yom Kippur (giorno di espiazione per il popolo ebraico, ndr). In una preghiera si dice โSignore nostro che stai nei cieli metti pace nel mondo e porta sazietร โ. ร questo il nostro augurio per il mondo. (Pag. 12-13)
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Focus Expo 2015IL CIBO A COLORIdi Giorgia CalรฒColorfood รจ un progetto artistico ideato dal food photographer israeliano Dan Lev e il Creativity Lab ICPO, ad hoc per il pa-diglione israeliano a Expo Milano 2015. La mostra รจ composta da 34 coppie di fotografie, ciascuna delle quali immortala il piatto di un noto chef (sono complessi-vamente 17 italiani e 17 israeliani) a cui รจ stato chiesto di realizzare unโopera dโar-te culinaria, partendo da unโimmagine e ispirandosi a un colore. Dagli shooting con gli chef, concepiti come veri e propri happening realizzati in Italia e in Israele, Dan Lev restituisce unโidea di cucina che si fonde con lโarte, rivelando somiglianze e differenze tra la cultura e la tradizione dei due Paesi, senza trascurare tutte le fasi di preparazione, dallโispirazione alla cre-azione, dallโassaggio alla โmise en placeโ. Lo abbiamo intervistato sulla nascita e la realizzazione di questo progetto durato ol-tre un anno.Giร i futuristi nel manifesto Culinaria futurista del 1920 e nel Manifesto della cucina futurista del 1930, davano impor-tanza alla forma e al colore nei piatti. Per lโavanguardia italiana le pietanze diven-tano โcomplessi plastici saporiti, la cui armonia originale di forma e colore nu-tre gli occhi ed eccita la fantasia prima di tentare le labbraโ. In questo senso, il tuo lavoro รจ concettualmente โfuturistaโ, non trovi?Un approccio consapevole al cibo segue un percorso dei sensi. Il primo senso รจ la vista: vedi il cibo con i tuoi occhi, ne percepisci i colori e la consistenza. Subito dopo รจ lโolfatto. E solo alla fine รจ il gusto. In Colorfood lo spettatore non si trova da-vanti un piatto ma unโopera dโarte: quello a cui assiste รจ un percorso di ispirazione e creativitร che parte da un colore e da unโimmagine e racconta una storia per ar-rivare ad unโaltra immagine.In Colorfood ho voluto porre lโaccento su-gli Chef nel momento in cui esprimono la loro creativitร fuori dal piatto nel senso tradizionale del termine. Se il Manifesto della Cucina Futurista intende dare rilievo a questo percorsoโฆ allora sรฌ, il mio lavoro รจ concettualmente vicino al Futurismo.
La relazione tra arte e cibo รจ una que-stione molto antica che la filosofia si รจ posta fin da Platone. Oggi questo argo-mento รจ piรน vivo che mai e mette alla prova la capacitร creative degli chef. Ci si interroga spesso sullโestetica dei piatti e sullo statuto stesso dellโarte nellโepoca della riproducibilitร tecnica. Secondo te la cucina รจ davvero una forma dโarte? Come ho accennato prima, lโidea di Co-lorfood รจ di portare il cibo laddove sicura-mente puรฒ essere arte, cioรจ fuori dal piat-to. Ad esempio non considero arte il food porn, la presentazione visiva spettacolare e glamour della cucina e del cibo. Color-food dร agli chef un palcoscenico astratto per esprimere la loro creativitร come ar-tisti, non (solo) come cuochi. Questa รจ la chiave e la connessione tra cucina e arte in Colorfood: lโattore dellโopera, lo chef.
Il primo shooting che hai fotografato ri-sale a maggio 2012. Quanto รจ rimasto e cosa รจ cambiato in corso dโopera, rispet-to allโidea iniziale di Colorfood?Fin dal primo shooting fotografico per Colorfood nulla รจ cambiato nellโapproccio al progetto. Siamo sempre stati e restere-mo fedeli allโidea iniziale. Colorfood si รจ arricchito moltissimo grazie agli Chef che hanno collaborato con grande coinvolgi-mento e comprensione ed entusiasmo.
Tutti hanno davvero colto lโopportunitร di creare unโopera astratta che fosse specia-le e che costituisse una finestra โ anche intima โ sul loro mondo, oltre che sulla loro cucina.
Ciascuna foto testimonia la personale idea di bellezza degli chef che di volta in volta hai immortalato. Il celebre cuoco Gualtiero Marchesi, considerato il fonda-tore della nuova cucina italiana, afferma che โil bello รจ il buonoโ. Sei dโaccordo?Bontร e bellezza non sono i concetti e i termini che meglio si riferiscono a Color-food. Siamo ad un livello un poโ piรน pro-fondo. Parliamo di ispirazione, creazione, fantasia, sogno, mondo interiore, amore e ricordi.
Mi piace molto lโidea che dietro allโim-magine di un piatto ci sia unโimmagine che ha ispirato il piatto stesso. Penso ad esempio al vulcano di Bonetta DellโO-glio, ai girasoli di Avi Steinitz, al ritratto di Kate Moss di Efrat Enzel, solo per ci-tarne alcuni. Da dove sono nate le ispi-razioni?Prima di tutto lโispirazione viene dal mondo privato degli Chef. Puรฒ essere un ricordo, un panorama, unโopera dโarte. Puรฒ appartenere alla vita quotidiana o al contrario provenire dal passato. Puรฒ essere un messaggio legato allโagenda po-litica cosรฌ come puรฒ riferirsi alla sfera del sogno e della fantasia. ร proprio questo il nocciolo. ร importante per me mostrare al pubblico il processo creativo che prece-de e accompagna lโopera finale. In questo senso, lโimmagine di ispirazione รจ tanto importante quanto la foto dellโopera che scatto io, proprio perchรฉ sono i due estre-mi del processo creativo.
La cucina israeliana รจ estremamente dif-ferente da quella italiana, se non altro perchรฉ questโultima si basa sulle radici, mentre la cucina israeliana รจ eteroge-nea, ricca di contaminazioni provenienti da ogni parte del mondo. Nelle tue foto hai tenuto conto delle differenze cultu-rali? Questa domanda รจ molto importante e interessante. Sono sicuro che dalle mie foto difficilmente il pubblico riuscirร a distinguere la nazionalitร degli Chef. Ma spostando lโattenzione sulle immagini scelte dagli Chef come ispirazioneโฆ allo-ra lรฌ emergono davvero tutte le differenze culturali. ร un invito a guardare la mostra anche in questโottica.
Lโidentitร culturale italiana nellโimma-ginario globale puรฒ essere riassunta in โarteโ, โdesignโ, โmodaโ e โciboโ. Con quali parole si potrebbe identificare la cultura israeliana, secondo te?Ora che me lo chiedi mi rendo conto che per identificare la cultura israeliana userei alcuni termini che possono descriverne bene anche la cucina: โstoriaโ, โebraismoโ e โradiciโ ma aggiungerei senza dubbio โhi-techโ. Anche le parole che hai usato per lโidentitร culturale italiana sono adat-te per descrivere quella israeliana. Non a caso sono tutti settori in cui Italia e Israele collaborano con grande successo.
So che spesso trasformi il tuo studio di Tel Aviv in home restaurant per ospitare cene private in cui il cibo si racconta per immagini. Eโ unโidea molto social che in qualche maniera si riallaccia allโultima tendenza milanese ideata dalla gallerista Rossana Ciocca in cui viene invitato un pubblico, attraverso i social network, a partecipare ad una cena con gli invita-ti vestiti di bianco (ritorna anche qui la
centralitร del colore). Hai mai sentito parlare di queste cene urbane e cosa ne pensi?Conosco queste tendenze social e penso che alla fine il vero collante e il motivo del successo sia sempre e comunque il cibo. A rendere questi appuntamenti speciali non basterebbe solo una bella cornice o una scenografia particolare.
Le tue esperienze passate ti vedono fo-tografo di moda. Hai trovato differenza o viceversa peculiaritร tra le fotografie glamour e le fotografie gastronomiche?La grande differenza tra la fotografia ga-stronomica e quella di moda รจ che le mo-delle non si possono mangiare e il cibo non ha bisogno di fare pipรฌ ogni cinque minuti.
Oggi lโalta cucina รจ considerata una par-ticolare forma di design, e spesso come ci hai dimostrato tu stesso, tesse un rap-porto con lโarte quando con questa in-trattiene una motivazione oltre che cre-ativa anche comunicativa e relazionale. Secondo te in futuro il food design sarร assurto a linguaggio artistico, come lo รจ ora la fotografia, la videoarte e la perfor-mance?Penso che Colorfood abbia avviato un nuovo linguaggio universale di cibo e arte. Per questo dopo lโExpo ci sposteremo di Paese in Paese e coinvolgeremo Chef in tutto il mondo. Essere originali รจ sem-pre piรน difficile perchรฉ sembra che tutto sia giร stato inventato e realizzato. Ma se prendi qualcosa che giร esiste e lo fondi con altri elementi e cambi la prospettiva puoi ancora creare qualcosa di nuovo e di fresco. Se il food design diventerร il pros-simo nuovo linguaggio artistico dipenderร dallโoriginalitร e dalla creativitร di un arti-sta o di un designer. (pag. 14-15)Info: ColorfoodExpo Milano 2015Padiglione Israele14 โ 31 maggio 2015-03-23www.colorfood.co.il
ARTE E FOOD: A LOVE STORYdi Giorgia Calรฒ
โTerra in cui scorre latte e mieleโ, questa รจ la descrizione biblica di Israele, e non va interpretata solo come una metafora. Lo afferma uno studio della Hebrew University di Gerusalemme che ha scoperto il primo apiario finora trovato in uno scavo archeologico nellโantico Medio Oriente, capace di produrre circa mezza tonnellata di miele allโanno giร nel periodo del Tempio di Salomone. Storia di unโesperienza conviviale che ha conquistato lโarte.
ร rilevante partire da questo passo biblico che ci fa capire quanto il cibo sia parte integrante di una terra il cui retaggio culturale si basa sullโosservanza di precetti, molti dei quali mettono in primo piano alcuni alimenti come il pane (challot) e il vino. Indipendentemente dallโosservanza delle regole che muovono lโebraismo, Israele si presenta come un paese in cui la contemporaneitร passa anche attraverso la consapevolezza delle proprie tradizioni, e il cibo fa inevitabilmente parte di queste.Partiamo da queste riflessioni per analizzare alcuni esempi internazionali di pratiche creative nelle relazioni tra arte e cibo, con artisti che hanno usato gli alimenti in modo diverso e costatando come, in alcuni casi, sia difficile tracciare una distinzione tra le singole discipline.
Del resto oggi si parla sempre piรน spesso di food design e gli chef sono soventemente considerati artisti a tutti gli effetti, come ha dimostrato il recente shooting di Carlo Cracco, realizzato in occasione di una serie di eventi dedicati al legame tra il design e il cibo in Italia e in Israele (#ITALY#FOOD#DESIGN, Tel Aviv-Holon marzo 2015).Da ricordare in questo senso anche lo spagnolo Ferran Adriร , che nel 2007 รจ stato il primo chef invitato a partecipare a Documenta12, e che probabilmente aveva in mente il Manifesto della cucina futurista del 1930, con tutte le sue anticipazioni avveniristiche.Il cibo รจ in primo luogo unโesperienza conviviale e molti artisti hanno sfruttato questa sua peculiaritร . Si pensi a Felix Gonzalez-Torres. Lโartista cubano, venuto a mancare quasi ventโanni fa, ha svolto una ricerca incentrata sul concetto dialettico pubblico-privato che coinvolge lo spettatore, mettendogli a disposizione cumuli di caramelle, cioccolatini e gomme da masticare (Untitled, Placebo, 1991; Untitled, Placebo - Landscape - for Roni, 1993). Lโartista in questo modo consegnava al pubblico lโopera stessa in una sorta di โofferta convivialeโ, come la definisce Nicolas Bourriaud [Esthรฉtique relationelle, 1998], per cui la prioritร sta nella relazione con il pubblico che si manifestava attraverso la sua stessa reazione. Unโattitudine, quella relazionale, che ritroviamo anche nel lavoro dellโartista argentino Rirkrit Tiravanija, che definisce le sue installazioni โpiattaforme per condividereโ, con le sue performance a base di zuppe cucinate nei musei e nelle gallerie di tutto il mondo, e in quello dellโitaliana Gabriella Ciancimino dove la cucina si fa piattaforma per lโavvio di un dialogo con lโaltro, attraverso la condivisione del cucinare e lo scambio di ricette. Rilevante in questo senso la sua performance realizzata nel 2009 allโAmerican Academy in Rome, Cโerano un Palermitano, un Romano ed un Americano; il terzo disse ai primi due: โDimmi che cucina fai e ti dirรฒ chi sei!โ.Rimanendo sullโesperienza conviviale, va ricordata la storica performance di Piero Manzoni, Consumazione dellโarte, datata 21 giugno 1960, in cui dopo aver firmato con lโimpronta digitale del pollice uova sode, Manzoni le offriva al fruitore che entrava cosi concettualmente in comunione con il suo lavoro.In questo breve excursus tra arte e cibo, rimanendo negli anni Sessanta, non si puรฒ non menzionare la Pop Art che รจ riuscita a sottrarre al cibo il suo ruolo primario per farlo diventare prodotto commerciale, simbolo della cultura di consumo: Andy Warhol, con le sue iconiche lattine di Campbell Soup, e Claes Oldenburg, con le sue monumentali sculture di torte, gelati e hot dog, simboli ironici dellโipernutrita popolazione americana. Sempre negli anni Sessanta, ma spostandoci a Dรผsseldorf, va ricordato il ristorante che aprรฌ Daniel Spoerri nel 1968 coniando il termine โEat Artโ, in cui racchiude i suoi lavori basati sui principi della nutrizione.Ma il cibo, si sa, puรฒ diventare anche unโossessione e il corpo che lo ingerisce, in maniera lenta o famelica, diventa soggetto e oggetto, mezzo di espressione e strumento per rappresentare il disagio di una condizione esistenziale. Marina Abramovic nel suo video The Onion (1995) รจ ripresa in primo piano mentre trangugia una cipolla cruda, simbolo dei dolori e delle sofferenze della vita.
TRANSLATIONS38
Nella prima opera di Vanessa Beecroft, oggi tra i protagonisti del padiglione Italia curato da Vincenzo Trione, intitolata Il libro del cibo, lโartista ha annotato in modo maniacale per otto anni, dal 1985 al 1993, tutti i pasti consumati quotidianamente. Dieci anni dopo Beecroft realizza VB52, mettendo in scena al Castello di Rivoli una performance di sette ore in cui si mostra il feticismo per la moda e il cibo. Le modelle, algide nelle loro pose quasi fisse, erano sedute accanto a signore dellโaristocrazia piemontese. Seminude attorno ad un lungo tavolo di cristallo, prendevano parte a un banchetto scandito dal colore delle portate. Il cibo in questo caso si fa inespressivo. La distribuzione delle pietanze e la timbrica rigida dei colori lo rendono plastico e innaturale, ma sicuramente bellissimo e molto, molto glamour.A proposito di Biennale รจ da ricordare il progetto di Michelangelo Pistoletto Love Difference-Movimento Artistico per una Politica InterMediterranea, presentando alla 51ma edizione un gelato al gusto di halva, pasta di sesamo diffusa nei paesi medio-orientali e dellโarea balcanica, la cui ricetta viene condivisa secondo la logica del free knowledge, cioรจ della libera diffusione della conoscenza.Il rapporto tra arte e cibo, nelle varie declinazioni che comprendono anche design, moda, cinema e tanto altro, รจ riassunto nella mostra curata da Germano Celant alla Triennale di Milano, che ha aperto i battenti lo scorso aprile come primo evento targato Expo 2015. Arts&foods, allestita dallo studio Italo Rota, รจ una mostra mastodontica su una superficie di settemila metri quadrati dove vengono presentati centinaia di lavori, dalle valigette di Marcel Duchamp ai pesci dellโarchistar Frank Gehry, nelle diverse pratiche artistiche legate al cibo dalla metร del XIX secolo a oggi.Rimanendo a Milano รจ da citare anche la personale di Giuseppe Stampone alla Prometeo Gallery di Ida Pisani. Emigra-tion Made Pavilion 148, in mostra fino a giugno, coincide volutamente con lโExpo ed รจ concepita come il 148ยฐ padiglione dellโesposizione internazionale. Con il fare giocoso, ma nemmeno troppo, che contraddistingue il suo lavoro, Stampone indaga sulla questione dello โstranieroโ. Rilevante per il nostro discorso รจ il dise-gno a penna bic che ritrae il famoso ma-nifesto autarchico di Giacinto Mondaini in cui appare una bambina dagli occhi spauriti che tiene del pane in mano e sot-to la scritta โNon togliete il pane ai figli dei nostri lavoratori. Acquistate prodotti italianiโ. Stampone replica il manifesto in diverse lingue cambiando anche i tratti somatici della bambina a seconda della nazionalitร rappresentata.Questi lavori diventano cosรฌ il simbolo delle strategie di merchandising prote-zionistiche che hanno origine dalle pub-blicitร fasciste, e che ritroviamo ancora oggi nellโidea di un confine sociopolitico e delle molteplici forme di controllo che questo presuppone.Il pane viene interpretato in maniera dia-metralmente opposta dallโartista israelia-no Shahar Marcus, con cui concludiamo questa carrellata. I suoi mezzi privilegiati sono i materiali organici quali la pasta e il pane, prodotti deperibili che stanno ad in-dicare simbolicamente la natura dellโarte e della vita, nonchรฉ metafora del bisogno primario dellโessere umano.Nellโattesa di ritrovare Marcus a settem-bre nel padiglione israeliano dellโExpo, con unโinstallazione site specific che ve-drร lโimpiego di migliaia di pagnotte, ci
soffermiamo su un video del 2006, Sa-bich, capace di sintetizzare con ironia la cultura culinaria locale. Marcus, in un atto performativo, documenta la preparazione di una porzione enorme di cibo da strada tipico israeliano, noto come Sabich. Su di una pasta di pane gigante fissata a terra, Marcus compie una serie di gesti che ri-cordano lโaction painting di Jackson Pol-lock. Le salse grondanti sostituiscono le vernici e la processualitร dellโespressioni-smo astratto si trasforma in un vernacolo, in unโattivitร fisica. Questo lavoro, che รจ soffuso di umorismo, mina lโimmagine classica dellโartista, e in maniera del tutto assurda sfuma la distinzione tra il proces-so creativo con lโesperienza quotidiana. Come Marcus afferma:โIl cibo mi permette di trasformare le sostanze deperibili in arte immortaleโ. (pag. 18 -19)
La Biennale di Venezia - 56. Esposizione Internazionale dโArteFocus padiglione IsraeleINTERVISTA A TSIBI GEVAdi Giorgia CalรฒLo avevamo annunciato questa estate in una news su Artribune, appena subito dopo la sua nomina, Tsibi Geva rappre-senta Israele alla Biennale Arti visive del 2015. A far notizia era anche il fatto che al fratello Avital Geva toccรฒ il medesimo ono-re con il padiglione nazionale del 1993. Un caso forse unico nella storia della Biennale di Venezia: due fratelli chiamati a rappre-sentare la propria nazione a distanza di ventโanni uno dallโaltro. Ne parliamo con il diretto interessatoโฆSei un artista poliedrico, il tuo lavoro รจ prevalentemente interpretato dalla pittura, ma crei anche installazioni mo-numentali, sculture, video. Cosa hai de-ciso di presentare per questa occasione? Qual รจ stato il tuo modo di rappresentare Israele?Lโidea รจ venuta fuori dal mio interesse per gli oggetti, per il trovare oggetti. Ho ritenuto opportuno non realizzare una mostra di soli dipinti, non sarebbe stata adatta per il padiglione. Come prima cosa ho dovuto fare i conti con lโarchitettura modernista, simile a molti palazzi israe-liani dellโinizio anni โ50. In qualche modo รจ stata la prima sfida, ovvero cercare di capire cosa avrei potuto fare in questa circostanza, elevando il potenziale del pa-diglione per renderlo piรน adatto a questa situazione. Ho deciso di creare una com-binazione tra scultura, pittura e architet-tura, mettendo in relazione lโintero padi-glione con lโenorme installazione esterna che ingloba totalmente lโedificio e che a sua volta interagisce con lโinterno. Unโidea che proviene da esperienze passate in cui mi sono relazionato con lโarchitettura del luogo, come ad esempio ho fatto a Geru-salemme, Haifa, Berlino, New York. Qui perรฒ รจ la prima volta che realizzo unโin-stallazione site specific allโesterno oltre che allโinterno, creando una sorta di terri-torio di difesa, come un rifugio. Unโansia, se vogliamo tipicamente israeliana, quella di volersi isolare. Quindi hai scelto di non interagire con il padiglione? Ho la sensazione che hai lavorato sulla riprogettazione dello spa-zio deregolamentandone i materiali e le forme.No, il contrario, ho interagito con il pa-diglione cambiandone la fisionomia, creando un nuovo spazio, coprendo e costruendo nuovi muri, una nuova archi-tettura. Tutto proviene da Israele, i matto-ni, i blocchi tipici delle costruzioni locali, che non ho volontariamente dipinto per non alterarli. In questo modo ho creato allโinterno un contenitore completamente
quadrato, la situazione ideale per le mie installazioni. Il padiglione รจ scandito da alcune tele di grande formato che fanno un poโ da in-troduzione alle installazioni parietali di stampo monumentale. Gli oggetti sono i veri protagonisti. Sono oggetti trovati e allestiti in un apparente accumulo caoti-co, in realtร molto ragionato, raccontano la storia di un paese, il modo di vivere, sono simulacri identificativi di una nar-razione condivisa. Che rapporto cโรจ fra questi e le storie che rappresentano? Ho realizzato una sorta di deposito, pie-no di oggetti radunati. Anche questo รจ un concetto tipicamente israeliano, se cammini per le strade di Tel Aviv, ti ac-corgi che ci sono molte entrate, porte e serrande, che contengono oggetti. Spesso questi depositi sono posti in alto, sotto ai tetti, si chiamano Boydem, credo sia un termine derivante dallโyiddish. Qui ho ricreato esattamente un deposito israe-liano, dove tutti gli oggetti sono inseriti al piano di sotto, e attraverso il vetro si puรฒ vedere lโinterno. Lโabbiamo realizzato nel modo piรน autentico possibile, fedele alla realtร . La mostra รจ un mix di molte cose, ho usato i Lattices che prima erano minimal e vuoti, basti ricordare la mostra al MACRO di Roma; ora invece sono pieni di oggetti, sono depositi per oggetti non utilizzati. Una parte dello spazio รจ allestita con 64 finestre, trovate o comprate di se-conda mano, alcune le ho dipinte. Anche queste riflettono molto lโarchitettura di TLV o dโIsraele. Sono le tipiche finestre di plastica o alluminio, sono semplici e utili, affatto eleganti. Ben rappresentano quello che chiamiamo โArchitettura spontanea-vernacolareโ, realizzata non da professio-nisti ma da persone che trovano oggetti e li usano, o li riusano. Anche in questo caso ho costruito tutto io, prima nel mio studio a Yaffo. Un la-voro di tre mesi in cui ho dovuto misurare pezzo per pezzo, rapportandomi ai muri del padiglione, combinandoli tra loro. Le stesse tele presenti in mostra sono state scelte perchรฉ anchโesse parlano un lin-guaggio vernacolare. Ogni dipinto รจ fatto di parti diverse che provengono da fonti e momenti diversi, e che poi ho combinato insieme.Trovo molto interessante il fatto che gli oggetti siano contenuti allโinterno dei Lattices, grate di ferro dai diversi pattern che abbiamo giร avuto modo di vedere in passato (ma vuoti). La griglia ricorre spesso nel tuo lavoro, rappresentata nei dipinti o realizzata in maniera tridimen-sionale. ร lโemblema stesso dellโambi-zione modernista nel campo delle arti visive, affermava Rosalind Krauss in un suo famoso saggio del 1978. Cosโรจ per te la griglia?La griglia (come qualsiasi altro pattern), รจ una forma che si struttura sulla divisione e sullโorganizzazione; รจ uno spazio vuoto (Horror Vacui) sistematizzato da una divi-sione lineare. Rappresenta il valore mo-dernista che si oppone alla prospettiva e alla profonditร , a favore dellโappiattimen-to. Uso la griglia e altri pattern come mez-zi per rappresentare lโidea del territorio, sono metodi paradigmatici e ideologici attraverso i quali si riesce a percepire un determinato spazio, come รจ dimostrato nel video Lattice. La mia ricerca in que-sto senso tiene conto della griglia come metodo di organizzazione della tradizione astratta; allo stesso tempo perรฒ vedo nel-la griglia anche il suo significato politico: il reticolo, la recinzione, il blocco; forme che rappresentano la reclusione e lโinca-pacitร di muoversi verso e allโinterno di un dato spazio.
Parlami ancora degli oggetti, mi hai det-to che tutti i materiali provengono da Israele. Perchรฉ? Anche in Italia avresti potuto trovare le stesse coseโฆร molto importante che provenga tutto da Israele perchรฉ si sta parlando di una mentalitร tipicamente israeliana. Inoltre rappresento metaforicamente lโistinto di tenere tutto perchรฉ cโรจ stato un momento in cui non avevamo molto, o addirittura nulla, dunque รจ meglio non buttare niente, รจ meglio che da qualche parte ci siano queste cose. Ciรฒ che ho fatto รจ stato prendere gli oggetti che ho trovato di cui non abbiamo bisogno, ciรฒ che non voglia-mo piรน vedere, che ci buttiamo alle spalle o neghiamo, li ho messi in bella vista, di fronte al pubblico. Il mio lavoro รจ in que-sto senso unโarcheologia del presente, di cosa cโรจ oggi, che si usa quotidianamente, visibile ovunque.A proposito, รจ interessante il titolo del padiglione, Archeology of the Present, sembra voler introdurre il tema scelto da Enwezor All the Worldโs Futures, par-lando di passato e presente, in vista poi di uno sguardo globale sul futuro. Ce ne vuoi parlare?Archaeology of the Present รจ un titolo pa-radossale, un ossimoro. Lโarcheologia รจ il passato, ma in questo caso il termine al-lude allโaspetto di distruzione catastrofica in cui vive il presente, che puรฒ effettiva-mente essere visto come un tumulo arche-ologico. Il titolo rappresenta anche a una concezione antropologica nel modo in cui gli oggetti sono portavoce di unโepoca, una situazione politica o mentale. Il mio progetto si struttura su due diversi modi di procedere: da un lato cโรจ il tentativo di cre-are ordine, dallโaltro lato invece evidenzio il turbine, lโerosione e lo sgretolarsi delle strutture e dei mezzi che si fondono uno nellโaltro.Per questo progetto affronti le tematiche che porti avanti da anni, come il dialo-go tra israeliani e palestinesi e lโidentitร culturale?Credo che in qualche modo ci sia. Si pos-sono trovare oggetti tipici della societร palestinese, ci sono termini o parole ara-be che rappresentano alcuni lavori. Per lโistallazione e per ogni singola parte di cui รจ composta ho usato blocchi, pezzi di legno, oggetti di recupero, ho improv-visato, rappresentando cosi quel senso di instabilitร e ansia tipica del nostro vivere quotidiano. Tutto ciรฒ espone in un certo modo la situazione medio-orientale.Il padiglione israeliano della Biennale da diversi anni รจ rappresentato spesso da videoartisti, penso a Michal Rovner, a Guy Ben-Ner, a Sigalit Landau, allโultima edizione con Gilat Ratman, solo per fare alcuni esempi recenti. Secondo te per-chรฉ questโanno รจ stato scelto un pittore?Non ci sono stati sempre video artisti, no-nostante sia molto in voga adesso, soprat-tutto in Israele. Posso dirti che la scelta di questโanno รจ stata voluta da una commis-sione di 5 persone, artisti e curatori. Come sai ogni anno cambiano criteri e direzioni in cui muoversi, questa volta hanno pub-blicato un annuncio su una rivista dโarte e tutti potevano partecipare, credo ci fos-sero 68 proposte. Ovviamente sono felice di come sono andate le cose. Comunque anchโio presento un video, Lattice, lโho usato come parte integrante dellโistalla-zione, non รจ separato da questa ma vi ri-entra perfettamente. Il video รจ stato girato nel 2003 al centro di Yaffo e riprende la vita quotidiana di una zona mista di ebrei e arabi dalla terrazza di un palazzo dove risiedeva la galleria che aveva ospitato la mostra. Al momento hai una galleria di riferi-
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mento?No, non lavoro con nessuna galleria al momento, รจ una mia scelta perchรฉ vo-glio flessibilitร e non voglio ritrovarmi in situazioni commerciali, voglio essere totalmente indipendente. Ho lavorato per oltre 15 anni con Annina Nosei, ma ora ha chiuso la sua galleria e siamo rimasti buoni amici. Preferisco lavorare con i musei, soprattutto dopo la personale al Tel Aviv Museum nel 2008 a cui hanno seguito lโAshdod Museum, lโAmerican Uni-versity Museum a Washington, il MACRO a Roma etc. Ho esposto in molti musei e spazi alternativi, questo รจ il mio modo di essere indipendente. Devo ammettere che soprattutto in Israele mi piace lavo-rare con gallerie, ma per me รจ molto im-portante muovermi e reagire a specifiche situazioni o luoghi per non essere gestito da unโidea commerciale. Ho anche una critica da muovere su cosa sta succeden-do oggi al mercato dellโarte: penso che sia molto problematico e penso sia destinato a peggiorare, in qualche modo il mercato controlla lโarte e ancor di piรน ne controlla lโessenza, gli artisti giovani soprattutto, si dirigono in una direzione artistica che va verso ciรฒ che pensa o vuole il mercato, il che รจ davvero una brutta situazione.(Pag. 20-23)
TSIBI GEVA: ARCHEOLOGIA DEL PRESENTEdi Hadas MaorHadas Maor, curatore del Padiglione Israele alla 56. Esposizione Internazio-nale dโArte โ la Biennale di Venezia, pre-senta il progetto dellโartista Tsibi Geva. Intitolato โArcheologia del Presenteโ, รจ una nuova installazione site-specific rea-lizzata attraverso le tematiche e le carat-teristiche formali che hanno definito nel corso del tempo lโopera di Geva.Archeologia del Presente, il progetto di Tsibi Geva per il Padiglione Israele alla 56. Esposizione Internazionale dโArte-la Biennale di Venezia, รจ una nuova installa-zione site-specific realizzata attraverso le tematiche e le caratteristiche formali che hanno definite nel corso del tempo lโope-ra di Geva. Il progetto si estende allโester-no del padiglione e ne occupa lโinterno, destabilizzando le divisioni familiari tra dentro e fuori, funzionale e rappresenta-tivo, alto e basso, elementi abbandonati, trovati e modificati. Lโopera di Geva sol-leva questioni artistiche autoriflessive ed epistemologiche, cosรฌ come questioni po-litiche e culturali relative alla collocazione e allโimmigrazione, alle identitร ibride, allโinquietudine esistenziale, allโeffimero e alla vita in unโepoca di instabilitร . Lโin-terazione dello spettatore con il progetto inizia sin dal primo approccio con il pa-diglione, che รจ interamente avvolto da centinaia di pneumatici usati. Legati stret-tamente uno allโaltro da cavi e altri mezzi, essi formano un complesso strato protet-tivo che al tempo stesso assorbe e respin-ge qualsiasi contatto. Il pattern pulsante creato dal muro di gomma รจ costituito da unโinterazione reciproca tra presenza materiale e assenza, e lโintera struttura รจ trasformata in un evento scultoreo su una scala che eccede le dimensioni familiari, disturbando lโesperienza visiva e soggetti-va dello spettatore. Anche quando ci si av-vicina alla struttura, รจ difficile determina-re se sia un blocco solido, impenetrabile o un contenitore vuoto โ un interno che puรฒ essere osservato e forse anche penetrato.Il muro di pneumatici che avvolge lโe-sterno del padiglione fa uso di un oggetto comune, quotidiano per creare un am-biente caricato con possibilitร spaziali
stratificate: esse alludono a loro volta al contesto politico, in cui una gomma puรฒ funzionare come oggetto protettivo in grado di assorbire colpi e di costituire un segno di protesta, cosรฌ come servire da arma improvvisata e prontamente accessibile. Allo stesso tempo, essi si ri-feriscono anche al contesto architettonico e artistico dellโinstallazione. Questi pneu-matici usati, impregnate di uno specifico odore, formano una rete organizzata di buchi permeate di potenziale protettivo, attestando simultaneamente uno stato di pericolo, costituendo una presenza mate-riale potente, e comunicando unโafferma-zione visiva e politica carica di urgenza. Negli anni, Geva ha creato varie installa-zioni con pneumatici, ma erano sempre state esposte in spazi chiusi, interni: in questo caso, il dispiegamento dellโazione artistica dallโinterno dellโedificio alle pa-reti esteriori trasforma lโintero padiglione in un oggetto scultoreo. Questa strategia potenzia la dimensione architettonica del lavoro e lโefficacia scultorea che ne ema-na, producendo unโoscillazione spaziale e concettuale tra il reale e la sua apparenza, tra unโorigine presunta e lโartificio presen-tata dallโopera.La recinzione del padiglione attraverso la costruzione di muri ricoperti di gomme crea un senso di spazi indefinite e inter-mediate, che puรฒ essere percepito solo dallโinterno dellโedificio, suddiviso in spa-zi recintati che possono essere visti come tributi a, o echi dei tipici boidem israelia-ni (la parola Yiddish per sottotetto o cu-nicolo di servizio), uno spazio domestico relativamente inaccessibile situato nella mansarda, sotto il tetto, o in una nicchia allโinterno dellโappartamento, e usato per immagazzinare oggetti vecchi o usati ra-ramente. Fino agli anni โ80, ogni appar-tamento israeliano includeva un boidem situato in un vano sopra il corridoio o la cucina.Nel contesto dellโattuale installazione nel padiglione, questi spazi intermedi funzio-nano come depositi per la coscienza e la memoria soggettiva. Sono riempiti con ac-cumulazioni di porte, saracinesche, grate di ferro, assi di legno, scatole di cartone appiattite, oggetti trovati e abbandona-ti, opera dโarte, oggetti di arredo, ricordi personali e altro. La presenza di questi spazi facilita il processo di accumulazione che risulta in un eccesso e in un intrico di preoccupazioni funzionali, circostanziali, emozionali ed esistenziali. Essi operano allโinterno del padiglione come un corti-le, in cui tutto ciรฒ che รจ represso e negate viene gettato, solo per riemergere ancora e ancora.Davanti a questi depositi, di fronte allโin-gresso del padiglione, cโรจ un lungo muro fatto interamente di blocchi di cemento, un materiale di costruzione comune in Israele. Questo muro, caratterizzato da una struttura ripetitiva, costituisce un ulteriore strato che circoscrive, separa e limita. Sopra di esso cโรจ una lunga fila di finestre che guardano il retro del padiglio-ne, che a sua volta rivela il muro di pneu-matici che avvolge lโedificio dallโesterno. Questa invasione del dentro da parte del fuori, che diviene evidente quando lo spettatore entra nel padiglione, rom-pe e frammenta lโillusione atemporale dellโauto recinzione create dal white cube. Inoltre, le finestre che guardano al muro di gomma sono dotate di una ripetitiva griglia metallica: questo pattern occiden-tale, modernista, alla Mondrian, sembra rivestire la griglia interrotta, tondeggiante, morbida del muro di pneumatici, in modo che i due elementi sono visualmente in-tegrati lโuno con lโaltra in maniera quasi
inestricabile. Mentre il visitatore passa nel livello inter-medio del padiglione, raggiunge un muro alto, lungo interamente coperto da serran-de chiuse e pannelli opachi in materiali vari, che insieme formano una sorta di mosaico. Il muro รจ presente nello spazio come una rappresentazione dellโarchitet-tura vernacolare1 โ incontrollata, urgente, immediate, e soprattutto legata alla con-tingenza. Questa entitร materiale in modo palpabile si innalza dal pavimento al soffitto โ dominando lo spazio, sommer-gendo il muro adiacente, e rappresentan-do una partitura gigantesca indica la sua stessa potenziale invasione o penetra-zione. La superficie del muro costituisce unโespansione topografica affascinante che si confronta giocosamente con il pattern della griglia combinando, in un modo interamente non-gerarchico, sara-cinesche trovate, nuove, vecchie, dipinte, modificate, finestre opache, pezzi di tes-suto, e altro. Le serrande sono sistemate in modo che lo spettatore osservi il loro lato chiuso, esteriore, che รจ generalmente orientate verso la sfera pubblica, creando cosรฌ unโoscillazione illusoria tra pittura e scultura, interno e esterno, fronte e retro. Lโinstallazione interrompe le relazioni tra i diversi elementi che costituiscono il muro e il loro stato categorico nel mondo, cre-ando lโimpressione potente di un ostacolo insormontabile, di una totale impasse.Al piano superiore del padiglione, lo spettatore giunge a una grande installa-zione di grate. A differenza delle prime installazioni di Geva, in cui le grate erano ordinate in lunghe file senza uscita, come fredde, minacciose e vuote gabbie, qui esse contengono vari oggetti โ vasi da fio-ri vuoti, materassi, oggetti dโarredo usati, vecchi televisori, e altro. Questa installa-zione imita la logica convenzionale impie-gata nella sfera urbana israeliana, in cui le grate servono come estensioni improvvi-sate e minori dellโinterno, un magazzino temporaneo in cui oggetti necessari e inu-tili sono accumulati indiscriminatamente. La lavoro di Geva si basa su differenti tipo-logie di ostruzione, che contengono sem-pre buchi e falle attraverso cui lo sguardo โ ma non il corpo โ puรฒ passare. Il pro-getto crea transizioni chiare tra esperien-ze di blocco, disagio, ambiguitร spaziale e momenti intimi, poetici, in modo che fragilitร e crudezza, lirismo e violenza sia-no indissolubilmente intrecciati. I diversi punti focali dellโinstallazione creano delle enclave che offrono un sostegno alle ansie schiaccianti provenienti dallโinterno. Que-ste enclave offrono unโapparenza di pro-tezione, che di fatto perรฒ non รจ altro che unโillusione: i muri di pneumatici sono incapaci di garantire protezione contro un vero attacco; gli spazi al livello dellโingres-so offrono solo un rifugio temporaneo in cui nascondersi; le grate non servono piรน a espandere uno spazio interno o a pro-teggere ma costituiscono piuttosto unโo-struzione in uno spazio che imprigiona i loro contenuto; il muro di saracinesche incarna il potenziale di penetrazione.Il keffiyeh, la tegola, la finestra, la serran-da, la grata, il muro sono tutti segni che servono a creare una separazione tra sfe-ra private e pubblica, interno ed esterno, occultamento ed esposizione, parti di un vocabolario di concetti e di elementi che hanno popolato nel tempo il lavoro di Geva. Al tempo stesso, la loro presenza in questo specifico progetto รจ โ come sem-
1. Lโarchitettura vernacolare รจ caratterizza-ta dallโassenza di pianificazione e dallโuso di materiali locali e tecniche tradizionali per creare edifice che tendono a evolvere nel tempo, in un modo che riflette il con-testo, la cultura e la storia circostanti.
pre โ frammentaria. Sono presenti infatti come pezzi di una casa che non esiste piรน, o che potrebbe esistere in futuro, ma non come le vestigia di una casa reale, concre-ta. Il concetto di casa, che ripetutamente riemerge nel lavoro di Geva, rimane in fondo un luogo agognato; un sogno irrea-lizzato di unโidentitร coerente, indiscussa.Geva รจ un artista politico nel senso piรน profondo del termine. La dimensione politica della sua opera, in ogni caso, รจ cumulativa; si rivela e si comprende nel processo di osservazione dei lavori, nel-la loro esperienza โ piuttosto che mani-festarsi direttamente, istantaneamente. Sebbene il suo approccio alla pittura sia fondamentalmente concettuale, le opera sono permeate da un senso sorprendente-mente espressivo, e il suo intero processo creativo si basa sulla creazione di una ten-sione dialettica tra contrasti e sulla com-binazione di arene differenti del discorso e dellโazione. Questa combinazione tende sempre a rimanere ibrida, ambigua, mul-ticulturale e multiforme, e affronta simul-taneamente questioni artistiche, culturali e politiche. Il suo lavoro comprende la collezione di segni del mondo, e Geva puรฒ essere descritto come un autore che opera nello spazio tra archeologia, antropologia e arte. Eppure, non raccoglie informazioni relative a un altro distante e straniero: le forme e gli oggetti presenti nella sua ope-ra sono parte di una realtร vissuta, alta-mente specifica, immediate, attestando la dimensione catastrofica che la sottende. Il suo lavoro รจ pervaso dalla complessitร impossibile della convivenza Israelo-Pale-stinese in questo luogo, e da una consa-pevolezza dolorosa, sobria e amara; lotta per decostruire i concetti fondamentali di luogo, cultura e identitร che modella-no la nostra vita e le nostre azioni, e per affrontare la questione piรน importante di tutte: quella dellโappartenenza di questo luogo ai suoi abitanti, sia Palestinesi che Israeliani.Il testo integrale di Hadas Maor, intitolato โVernacular Art,โ รจ pubblicato nel catalogo della mostra Tsibi Geva: Archeology of the Present, รจ puรฒ essere scaricato da israelipa-vilion2015.tsibigeva.com (Pag. 24 โ 25 )
SPAZI ARTISTICI IN ISRAELE: UNA SCENA VIVIDA PER UNA NAZIONE GIOVANEdi Christian Caliandro
Israele, nazione giovane con unโantichis-sima tradizione, ha saputo proporsi negli ultimi anni sullo scenario internazionale come una realtร estremamente dinamica fucina di idee artistiche e creative, in gra-do di orientarsi decisamente verso il futu-ro e di connettere la ricerca visiva con il territorio dellโinnovazione e dellโindustria culturale.
Tel Aviv, con la zona circostante, รจ na-turalmente il fulcro e il centro di questa spinta propulsiva, con i suoi oltre 150 luo-ghi deputati, tra gallerie, musei, fondazio-ni e spazi non-profit, su cui primeggia il famoso Tel Aviv Museum of Art. Inaugu-rato nel 1932 e ospitato nellโattuale sede a partire dal 1971, il museo comprende anche uno spazio situato nel cuore di Tel Aviv, l โHelena Rubinstein Pavilion for Contemporary Art, dedicato prevalen-temente alle mostre temporanee. La spet-tacolare ala adiacente del TAM (Herta and Paul Amir Building), progettata nel 2011 dallโarchitetto Preston Scott Cohen, ospita una collezione dโarte contemporanea israeliana, uno spazio per le mostre temporanee, una selezione fotografica e la
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biblioteca. Dal 15 maggio al 5 settembre il museo diretto da Suzanne Landau presenta tra gli altri appuntamenti estivi lโimperdibile This Place, mostra collettiva di 12 viaggi fotografici attraverso il Paese e il West Bank realizzati โ tra il 2009 e il 2013 โ da Frรฉdรฉric Brenner e altri 11 foto-grafi da lui invitati: Wendy Ewald, Martin Kollar, Josef Koudelka, Jungjin Lee, Gil-les Peress, Fazal Sheikh, Stephen Shore, Rosalind Fox Solomon, Thomas Struth, Jeff Wall e Nick Waplington. La mostra, che ritrae la complessitร di Israele e della Cisgiordania, รจ a cura di Charlotte Cotton, capo del Dipartimento di fotografia del Los Angeles County Museum of Art. Nelle vicinanze di Tel Aviv, spostando-ci di appena 14 km verso nord, si trova lโHerzliya Museum of Contemporary Art. Fondato nel 1965, da un anno diretto da Aya Lurie, รจ dedicato allโarte contempo-ranea israeliana e internazionale, e si concentra principalmente sulle ricerche capaci di offrire diversi punti di vista sulla situazione sociale e politica. Tra le mostre estive va segnalata Temporary Relocation: Art Residency Programs New Exhibitions (30 maggio โ 15 agosto), in collaborazione con il Kunst im Tunnel Exhibition Space di Dรผsseldorf. Dodici artisti (Angela Fette, Christoph Knecht, Sebastian Mejia, Jens Pecho, Leunora Salihu, Alexander Wis-sel, Rafram Chaddad, Uri Gershuni, Nir Harel, Alma Yitzhaky, Barak Ravitz, Gil Yefman), sono stati selezionati per le re-sidenze tra il 2012 e il 2014, a Dรผsseldorf e Tel Aviv, dove hanno vissuto e lavorato per diversi mesi. A sud di Tel Aviv trovia-mo invece il Design Museum Holon che - insieme allโIsraeli Center for Digital Art (che fino al 27 giugno ospita la mostra A Piece for Two Floors and a Corridor, del sound artist Amnon Wolman), allโIsrae-li Cartoon Museum, al Holon Institute of Technology, e alla Holon Mediathe-que - fa di questa cittadina industriale di 200mila abitanti uno dei luoghi principali e a piรน alta densitร per la diffusione del contemporaneo come stile di vita e come sguardo privilegiato sul mondo nellโintero Paese. A est di Tel Aviv si trova il Petach Tikva Museum of Art: inaugurato nel 1964 e dedicato allโarte contemporanea israeliana e internazionale, al momento della sua riapertura nel 2004 ha ampliato la sua collezione con lโaggiunta di giovani artisti. Il programma espositivo affronta una vasta gamma di temi (dalla sfera cul-turale israeliana alla societร globale nellโe-ra contemporanea), promuovendo ap-procci innovativi che sono al centro della linea curatoriale del direttore del museo Drorit Gur Arie. Fino al 13 giugno ricordia-mo, inoltre, la mostra Agro-Art. Contem-porary Agriculture in Israeli Art a Petah Tikva, a cura di Tali Tamir. Diciannove ar-tisti, tra i quali Avital Geva, Gal Weinstein e Ayelet Zohar esplorano lโethos agricola israeliana, dalla prospettiva degli anni 2000, riflettendo su come รจ cambiato il suo status negli ultimi decenni.Oltre al Tel Aviv Museum, lโaltro grande spazio istituzionale dedicato allโarte รจ lโIsrael Museum Jerusalem, che celebra questโanno il cinquantesimo anniversario della sua fondazione, e lo fa con un ricchis-simo programma di esposizioni ed even-ti. Tra questi, lโaffascinante 1965 Today (Spertus Gallery, fino al 29 agosto). La mo-stra, attraverso il lavoro dei curatori Mira Lapidot, Aya Miron, Noga Eliash, Shua Ben-Ari e Noam Gal, ricostruisce lโanno in cui il museo fu inaugurato e il contesto so-ciale, storico e culturale di Israele in quel preciso momento: un tuffo nella freschez-za e nella dirompente energia creativa di allora, attraverso lโimmaginario, la scena
artistica e la cultura materiale. Sempre in occasione dellโanniversario, allโinterno del progetto espositivo Rembrandt from Amsterdam to Jerusalem a cura di Shlomit Steinberg, il dipinto giovanile del maestro olandese Il profeta Geremia che piange la distruzione di Gerusalemme รจ esposto dal 3 giugno a 5 dicembre accanto al capola-voro di proprietร del museo, S. Pietro in prigione. Inoltre, il museo presenta (Bella and Harry Wexner Gallery, dal 1 maggio al 2 gennaio 2016) A Brief History of Hu-mankind, a cura di Tania Coen-Uzzielli: liberamente ispirata al libro best-seller di Yuval Harari, lโesposizione ricostruisce lโodissea dellโumanitร attraverso lโevo-luzione, dalla preistoria alla modernitร , dai primi manufatti fino alla Teoria della Relativitร . Sempre a Gerusalemme, molto attiva รจ la Jerusalem Artistsโ House: essa occu-pa la ex-sede della Bezalel Academy of Arts and Design, fondata nel 1906 dallo scultore Boris Schatz e la cui fondazione รจ considerata comunemente lโatto di na-scita dellโarte contemporanea in Israele. LโArtistsโ House รจ un centro interamente dedicato allโarte contemporanea locale e internazionale, oltre che un punto im-portante di incontro e di promozione per artisti esordienti, mid-career e affermati. Tra i numerosi eventi e attivitร , ospita ogni anno lโOsnat Mozes Prize for Young Artists, ogni due anni il Miron Sima Visual Arts Award, e inoltre la Biennale for Dra-wing in Israel, progetto nazionale nato nel 2001 che coinvolge tutte le gallerie pubbli-che presenti nel centro di Gerusalemme. Tra gli altri musei da menzionare, presen-ti sul territorio nazionale: lโHaifa Museum of Art, fondato nel 1951 in una delle cittร piรน antiche di Israele, che fin dallโinizio si รจ assunto il compito di funzionare come ponte interculturale tra ebrei, cristiani e musulmani, il Museum of Bat Yam, lโA-shdod Art Museum-Monart Centre e il Museum of Art Ein Harod.Anche gli spazi non-profit svolgono un ruolo essenziale nellโevoluzione della vivida scena artistica nazionale e nella sua proiezione esterna. Tra di essi, spic-ca il Centre for Contemporary Art (CCA) di Tel Aviv che, fondato nel 1998 in una stanzetta, ha saputo rivoluzionare la sce-na artistica contemporanea di Israele e oggi occupa un intero palazzo, con ben tre spazi espositivi, un auditorium e una sala-editing. ร sede del Video Archive (con oltre 3000 opere, dal 1960 a oggi), e produce grazie alla direzione di Sergio Edelsztein esposizioni, progetti, rasse-gne, conferenze, performance ed eventi. Sempre a Tel Aviv troviamo Artrport, che promuove la giovane arte contemporanea con un programma di residenze rivolto agli artisti israeliani e internazionali. A Gerusalemme invece ha sede Art Cube, il cui programma di residenze supporta-to dalla Jerusalem Foundation. Infine la Umm El Fahem Gallery, fondata nel 1996 nel distretto di Haifa allo scopo di costru-ire un punto di incontro e di elaborazione artistica per i 50.000 residenti della zona. Si tratta di un progetto interamente de-dicato a uno dei territori piรน disagiati di Israele, nel settore arabo del Paese, con un alto tasso di disoccupazione: eppure, negli ultimi anni la cittร di Umm El Fahem ha conosciuto una certa crescita economi-ca, che ha portato ad un aumento della sensibilitร verso i temi della responsabili-tร , del welfare sociale e della sostenibilitร ecologica. Lo spazio, nato su iniziativa di artisti e residenti, ha lo scopo di portare arte contemporanea di qualitร alla cittร e ai suoi abitanti, e di favorire lo scambio culturale e sociale tra differenti identitร .
Lo fa attraverso mostre, conferenze, wor-kshop creativi, seminari โ tutte attivitร supportate dal Ministero dellโEducazione dello Stato di Israele, dalla municipalitร , da varie fondazioni e da donazioni private dei cittadini.Per concludere, uno spazio importante รจ riservato, allโinterno dellโarte contempo-ranea israeliana, allโincisione. Come affer-ma Ronit Sorek, curatore del dipartimen-to di stampe e disegni dellโIsrael Museum Jerusalem: โLโincisione artistica locale รจ incentrata in due laboratori: il Jerusalem Print Workshop, che ha recentemente cele-brato il suo quarantesimo anniversario, e il laboratorio di incisione nel Kibbutz Cabri, il Gottesman Etching Center, fondato nel 1993. Entrambi gli spazi sono gestiti da team professionali e talentuosi di incisori e curatori. Mentre il laboratorio di Cabri si concentra esclusivamente sulle tecniche di intaglio, quello di Gerusalemme produce anche serigrafie e xilografie. I curatori se-guono lโattivitร degli artisti israeliani, e ne invitano alcuni ogni anno per una residen-za.โ (Pag. 26-27)
DESIGN MUSEUM HOLON, IL PROGETTO AL PLURALEdi Giulia ZappaUn museo fortemente radicato nella sua comunitร , testimone e strumento per la messa a fuoco dellโidentitร progettuale del paese e allo stesso tempo aperto a racco-gliere, e perchรฉ no anticipare, le tensioni e gli spunti che animano lโevoluzione della disciplina a livello internazionale. Il fiore allโocchiello dellโofferta museale che Israele ha costruito, passo dopo passo, nel campo del design porta il nome di una cittadina a sud di Tel Aviv, Holon.
ร qui che, nel 2010, viene inaugurato il Design Museum Holon (DMH), prima struttura espositiva locale dedicata in ma-niera verticale al design e destinata a tra-sformarsi, fin dal suo debutto, in un luogo di un dibattito fertile e inclusivo. Epicen-tro naturale per la comunitร dellโindustria creativa, ma desideroso innanzitutto di allargarne le maglie per diffondere, attra-verso il coinvolgimento del grande pub-blico, una vocazione plurale.Non che il paese fosse privo, fino a quel momento, di un establishment museale interessato alla progettazione. A partire dalla sua apertura nel 1973, il Department of Design and Architecture dellโIsrael Museum di Gerusalemme, ha garantito un impegno continuativo nel campo del design, mettendo insieme una collezione significativa di manufatti del XX secolo โ dagli arredi ai tessuti, dalle ceramiche ai progetti di grafica -, e coltivando paralle-lamente unโattivitร di ricerca focalizzata sรฌ sullโidentitร locale, ma anche aperta alle tensioni e alle idee che, in un paese picco-lo e allo stesso tempo cosmopolita come Israele, confluiscono in maniera naturale. Lo stesso ha fatto, una ventina di anni dopo, il Tel Aviv Museum of Art con il Department of Architecture and Design, da sempre attento indagatore delle feno-menologie di confine, spesso trasversali, tra arte e design. Tuttavia, la mancanza di unโistituzione in-dipendente, svincolata dalle correnti e dal dibattito che anima lโidentitร artistica dei due musei, non ha tardato a farsi sentire. Di qui alla creazione di unโistituzione de-dicata il passo รจ stato breve. Conditio sine qua non, il sostegno finanziario di una municipalitร , quella di Holon, che con la presenza dellโIsraeli Center for Digital Art aveva giร dato vita ad una piattaforma culturale dedicata allโindagine sul con-temporaneo.
Prima che un museo sul design, il Design Museum Holon รจ innanzitutto un mu-seo di design: il suo iconico contenitore, avvolto nelle sinuose fasce rosse che ne delimitano i volumi, รจ infatti firmato da Ron Arad, archistar israeliana da tempo residente a Londra, che ha marcato con una cifra stilistica inconfondibile, e peral-tro molto vicina agli stilemi di alcuni tra i suoi piรน famosi progetti di arredo (si pensi alle sedute per Moroso, o alla stessa libre-ria Bookworm per Kartell) lโarchitettura di questo edificio di 3200mq.Da cinque anni, il museo รจ diretto da Galit Gaon, un riferimento importante allโinterno del paese e non solo in virtรน di una carriera costruita sul doppio binario della didattica e dellโattivitร curatoriale (tra cui si annovera anche la fondazione dellโIsraeli Cartoon Museum). In veste di Chief Curator di DMH, Gaon รจ attenta a promuovere iniziative che sappiano allar-gare lโesperienza del design cosรฌ da con-solidare, mostra dopo mostra, il pubblico degli appassionati. Con oltre venti mostre inaugurate fino ad oggi, non ci sono campi del design che non siano finiti sotto il suo attento occhio osservatore: dalle persona-li sui grandi interpreti del fashion design contemporaneo, come le retrospettive su Yohji Yamamoto e Iris Van Herpen, alle derive possibili degli scenari produttivi (come quella sul design senza petrolio di โPostfossilโ), fino a โDecodeโ, retrospetti-va sulle sperimentazioni nel campo del digitale. Il tutto senza lasciare da parte, naturalmente, le tensioni e le prerogative che caratterizzano lโevoluzione del design israeliano, come per โOut of the box. De-sign Made in Israelโ, o con โDesigners Plus Ten, 42 Israeli Designersโ.Uno scenario, questโultimo, consolidatosi di recente, ma segnato da un forte dina-mismo. Israele, a differenza dellโItalia, non ha unโindustria di settore nel campo dellโarredo, e questo favorisce giocoforza lo sviluppo di unโattitudine interdiscipli-nare, fortemente votata alla ricerca con-cettuale, ma incline a sperimentare con i nuovi materiali secondo modalitร che sono proprie dellโartigianato. Diverso รจ il caso della grafica, fortemente ricono-scibile nel suo segno e molto impegnata a dire la sua, tra umorismo e sarcasmo, sulla scena politica. Allo stesso tempo, la cultura del mondo giovanile รจ impregnata dellโavanzata delle start up: il libro di Dan Senor e Saul Singer โStart up Nation. The story of Israelโs Economic Miracleโ รจ diven-tato un bestseller internazionale per un ri-ferimento imprescindibile per marketer e imprenditori. Cercando di capire come sia cambiata nel paese la consapevolezza sul ruolo e la funzione del design, Galit Gaon ci dice che โi giovani, cresciuti con il de-sign, avvezzi al linguaggio dellโarte, della moda, delle pr, del web, dellโinnovazione tecnologica, capiscono benissimo quanto il design faccia da volano allโinnovazione, e che il suo posto, oltre che negli scaffa-li dei negozi, sia anche nei dipartimenti Ricerca&Sviluppo. Per la vecchia genera-zione, invece, il design รจ ancora sinonimo di begli oggetti di stile, di una forma ac-cattivanteโ.Gaon ci guida ancora verso unโaltra sco-perta: Israele ha il numero piรน alto di laureti in design per chilometro quadrato, addirittura 2.500 lo scorso anno, un nu-mero elevato se comparato ai sette milioni della popolazione locale. โLโattenzione sul design sta sicuramente crescendo molto,โ - dice Gaon โ โtuttavia crediamo che lโin-dustria non tratti ancora il design come ci piacerebbe che facesse. Allo stesso modo, non credo che il design sia riconosciuto come professione seria โ dubito che una
TRANSLATIONS 41
madre israeliana suggerirebbe al figlio di intraprendere una carriera nel design โ ma รจ anche vero che sempre piรน persone ca-piscono quanto il suo ruolo sia cruciale. Il design parla alla gente, parla della gente, favorisce il dialogo e una buona qualitร di vita per tutti noiโ. (pag. 28 โ 29)
ISRAELE CHIAMA MONDO. DALLโEUROPA AGLI STATI UNITI: 2015 RICCHISSIMO DI EVENTIdi Arianna TestinoOltre alle presenze eccellenti nel contesto, tutto italiano, di Expo 2015 e della 56. Esposizione Internazionale dโArte di Ve-nezia, Israele sarร anche protagonista di un vivace calendario di mostre dedicate ai suoi artisti. Tra prestiti straordinari e collettive ispirate ai giovani emergenti, la seconda parte dellโanno in corso farร luce sul fermento culturale che attraversa il Vi-cino Oriente.
La stagione estiva si preannuncia intensa per la creativitร israeliana. Il programma di appuntamenti internazionali vedrร in-fatti Israele impegnato nel duplice ruolo di promotore e di terra dโorigine dei prota-gonisti in mostra oltre confine.Per celebrare il cinquantesimo anniversa-rio dalla stipula delle relazioni tra Germa-nia e Israele, il Tel Aviv Museum of Art in-vierร per la prima volta in Europa settanta capolavori appartenenti alla propria colle-zione. Il Martin Gropius Bau ospita fino a giugno, unโeccezionale selezione di opere dellโetร moderna, testimoni di un arco temporale emblematico, racchiuso tra il culmine della modernitร e lโattualitร piรน stretta. Il legame tra passato recente e im-mediato presente รจ al centro di The Centu-ry Mark. Tel Aviv Museum of Art visits Ber-lin, rassegna progettata come un ideale fil rouge capace di avvicinare distanze geo-grafiche e differenti approcci creativi. Lโin-tento dei curatori, Suzanne Landau, Ellen Ginton, Irith Hadar and Raz Samira, emer-ge dal desiderio di valicare confini fisici e temporali per mettere a confronto i modi di fare arte connaturati ad epoche diver-se, generando un affascinante dialogo tra i maestri della modernitร e gli artisti isra-eliani contemporanei. Categorie di media dallโidentitร storicizzata, pittura, scultura e arte grafica, convivono negli spazi ber-linesi con le immagini in movimento e le installazioni delle attuali leve di artisti israeliani. I grandi nomi della tradizio-ne moderna, da Max Beckmann a Marc Chagall, da Edgar Degas a Egon Schiele, da Georges Seurat a Pablo Picasso, trag-gono nuova linfa vitale dallโaccostamento alle opere di Yael Bartana, Guy Ben-Ner, Nevet Yitzhak, Nira Pereg, impregnate di unโattenzione costante al difficile clima socio-politico contemporaneo. Passato e presente entrano in una dialettica non conflittuale e finalmente propositiva, dop-piando lo spirito dellโancora giovane rap-porto instaurato tra i due Stati promotori dellโiniziativa.Sempre in Europa, ma piรน a nord, una de-gli artisti presenti a Berlino, Yael Bartana sarร portavoce della comunitร israeliana nellโambito di The New Human, progetto espositivo in due capitoli, a cura di Joa Ljungberg, allestito presso il Moderna Mu-seet di Malmรถ, in Svezia, fino agli ultimi mesi del 2016. Il primo appuntamento, sottotitolato You and I in Global Wonder-land, ospitato al piano superiore del mu-seo, esplicita lโobiettivo generale dellโini-ziativa, che propone una riflessione sullo status di essere umano nel panorama con-temporaneo attraverso le opere video de-gli artisti coinvolti. Il prossimo 18 ottobre
sarร lโultimo giorno utile per visitare una mostra collettiva dai profondi risvolti poli-tici e sociali, che invita i suoi protagonisti a prendere una posizione sui fenomeni di alienazione, paura e fanatismo dilaganti nel nostro tempo, ma anche a suggerire, grazie alla mediazione delle opere, nuovi terreni di incontro e riconciliazione. Oltre a Bartana, sono dieci gli artisti interna-zionali presenti a Malmรถ, tra cui Adrian Paci, Cao Fei e Loulou Cherinet. Lโapporto della video maker e fotografa israeliana affonda le radici nella decennale ricerca da lei condotta sui temi dellโidentitร e della memoria, strettamente collegati alla storia del suo paese natio. Usando il filtro dei rituali e delle cerimonie popolari, an-che in questa occasione lโartista identifica nellโessere umano il punto di partenza per il pieno recupero della coscienza di sรฉ e della collettivitร .Unโaltra mostra a piรน nomi, di respiro maggiormente sperimentale, vede coin-volto un giovane esponente della creati-vitร israeliana, Michael Liani, selezionato insieme ad altri quarantanove artisti per tratteggiare la gamma di passioni, inte-ressi, strumenti e approcci che animano lโattivitร dei fotografi emergenti, scelti tra gli studenti di oltre quaranta accademie mondiali. reGeneration, questo il titolo della mostra, sintetizza la proposta espo-sitiva del Musรฉe de lโElysรฉe di Losanna, in Svizzera, per il periodo compreso tra maggio e agosto 2015. Giunto alla terza edizione, il progetto nasce dallโurgenza di render conto del grande senso critico che percorre le nuove generazioni di artisti-fotografi, valore essenziale per far fronte allโincertezza del nuovo millennio, domi-nato da una conflittualitร diffusa. Il non ancora trentenne Michael Liani fa tesoro della propria appartenenza e ne traspone gli aspetti a lui piรน familiari in scatti e ope-re video che suonano come una risposta secca e precisa al paradosso della guerra e della segregazione, a prescindere dallo schieramento.A distanza di un oceano, il Museum of Contemporary Art (MCA) di Chicago ac-coglie il primo, esteso approfondimento monografico allestito negli Stati Uniti per celebrare la carriera di Keren Cytter, fino al 4 ottobre 2015. Originaria di Tel Aviv e cittadina del mondo come formazione, lโartista espone a Chicago otto video rea-lizzati negli ultimi dieci anni, una nuova serie di disegni e opere legate ad azioni performative. La mostra, organizzata dalla Kunsthal Charlottenborg di Copenhagen insieme alla curatrice del MCA Naomi Beckwith, coglie nel segno il carattere dis-sacratorio che accompagna la produzione creativa della Cytter. Emblema di uno sti-le multidisciplinare, incline alla commi-stione di generi e forme espressive, la sua poetica denota un uso critico dello stru-mento filmico, sfruttato al minimo della potenzialitร . I film, prodotti con effetti low-fi e spesso girati nello stesso appar-tamento dellโartista, raggiungendo esiti volutamente prossimi al kitsch, mettono in scena storie quotidiane di amore, sesso, gelosia che si rispecchiano in una inecce-pibile resa dellโatmosfera proprio grazie a tecniche non sofisticate. Anche gli attori e le azioni tendono a moltiplicarsi senza sosta, incentivando la messa in discussio-ne delle convenzioni narrative del cinema tradizionale. (Pag. 30-33)
FOCUS SULLโARTISTA: GAL WEINSTEINdi Santa Nastro
โAlcuni dei miei lavori si basano su immag-ini iconiche tratte dalla cultura israeliana
โ che contengono aspetti simbolici, nos-talgici ed esaustiโ. Comincia cosรฌ la nostra chiacchierata con Gal Weinstein, uno degli artisti piรน rappresentativi della scena artis-tica israeliana. Lโabbiamo incontrato a Tel Aviv, dove attualmente vive.La tua ricerca artistica รจ connessa alla tradizione e alla cultura di Israele? Se sรฌ, come?Alcuni dei miei lavori si basano su im-magini iconiche tratte dalla cultura israe-liana โ che contengono aspetti simbolici, nostalgici ed esausti. Anche se sono im-magini, la loro presenza nella cultura israeliana รจ piรน simbolica che non fisica o attuale. Il mio lavoro cerca di convertire un tocco emotivo โ intendo nel senso let-terale del termine โ in uno di tipo fisico. In altre parole, significa cercare di trasfor-mare lโaspetto simbolico dellโimmagine in un aspetto concreto. Questo tentativo รจ realizzato con lโaiuto di materiali sintetici (tappeti che coprono lโintero pavimento, paglietta dโacciaio, pvc, mdf) allo scopo di tentare lo spettatore a toccare, e dunque a sentire. Cโรจ qualche artista (vivente o scomparso) che consideri un maestro?ร difficile per me citare uno specifico arti-sta. Ce ne sono molti il cui lavoro seguo e apprezza, di cui mi interesso e da cui im-paro: Bruce Nauman, Mike Kelley, Paul McCarthy, Thomas Shรผtte, Willem de Kooning, Gideon Gechtman, David Wak-stein, David Ginton, Roy Lichtenstein e molti altri. Penso che lโaspetto principale che mi affascina sia il modo in cui la loro opera รจ stata sempre piรน forte rispetto allo spirito del proprio tempo. In effetti, oggi questi lavori emergono dallo sfondo di unโalluvione di immagini, mostre e altre opere. Dal mio punto di vista, lโispirazione che ne traggo ha a che fare con la totalitร e la lealtร di cui faccio esperienza attraverso la loro arte. Un altro maestro che รจ davve-ro importante, per quanto mi riguarda, รจ lโesperienzaโฆParliamo dei tuoi โtappetiโ. Hanno lโa-spetto di visioni dallโalto, ma anche di mimetizzazioni, come quelle dei soldati: รจ solo una suggestione, o realmente esi-ste una connessione tematica, di caratte-re sociologico e politico? Credo che lโassociazione con il camou-flage, la mimetizzazione e i colori delle uniformi militari sia corretta. Secondo me, questa connessione proviene dal processo di mappatura del paesaggio con forme e colori: la ragione dei colori e delle forme mimetiche che si possono vedere รจ il tentativo di creare lโillusione di confon-dersi con la natura del paesaggio e della topografia, campionando e mappando. La similaritร accettabile con il camouflage viene fuori dal processo del lavoro.Uno dei tappeti รจ stato esposto in Brasi-le, alla Biennale di Mercosul; un altro fa parte della collezione di arte contempo-ranea dellโIsrael Museum. In che senso โ se ciรฒ accade โ la percezione del lavoro cambia a seconda del contesto geografi-co?Il lavoro dellโIsrael Museum รจ basato su unโimmagine di Nahalal, una comunitร della Valle di Jezreel e unโimmagine ico-nica della cultura israeliana. Il villaggio stesso รจ stato progettato nel 1921 dallโar-chitetto Richard Kauffman, con una for-ma circolare. Questo รจ anche il motivo del passaggio da installazione a scultura a muro o a terra, perchรฉ lโimmagine di Na-halal รจ conosciuta e osservata come una forma definita. Per lโopera alla Mercosul Biennale, invece, ho adottato un approc-cio diverso, affrontando il lavoro da unโan-golo che avrebbe deliberatamente enfa-tizzato gli aspetti formali, sottolineando il
punto di vista dello straniero. Lโimmagine che ho scelto dipendeva dallโassociazione con i dipinti dripping di Jackson Pollock e con forme organiche che sono parte in-tegrante di quellโarea. Sebbene il lavoro fosse basato su immagini concrete del pa-esaggio, riuscivo quasi a vederlo come un dipinto astratto. Con il senno di poi, potrei dire che i colori delle immagini e delle for-me appartenenti alla topografia originale, differenti dalle forme di Nahalal o della Valle di Jezreel, si sono successivamente sviluppati in unโopera a terra color caffรจ. Nellโimmagine che ha funzionato come punto di partenza dellโopera per il Brasile cโerano gli indizi visivi di futuri lavori con il caffรจ. Nella tua ricerca non cโรจ un medium privilegiato: lavori indistintamente con lโinstallazione, la scultura, il video, ecc. Quanto รจ importante il medium per il tuo lavoro? O รจ piuttosto solo lo strumento per qualcosโaltro? La scelta del medium proviene dallโunici-tร di ognuno, e dalla loro capacitร di en-fatizzare il punto di vista che voglio. Non sempre รจ pianificato: a volte, qualcosa ac-cade nel processo del disegno e della scul-tura, rivelandoti il potenziale insito nel lavorare con il video o con la fotografia. In ogni caso, quando lavoro con il video o la fotografia ho la disciplina, o lโonestร , di documentare lโazione. Non ho preferenze per un medium in particolare, a eccezio-ne dellโetica e della fedeltร al materiale. Ogni lavoro passa attraverso molte possi-bilitร , e potrebbe esprimersi secondo stra-de differenti; ciรฒ che รจ importante per me รจ considerare lโintero quadro, voglio dire la consistenza piรน ampia delle mie opere e le connessioni che stabilisco tra di esse. Guardare a un unico pezzo รจ come guar-dare una sola parola e perdersi il signifi-cato della frase.
Che cosa รจ fondamentale per te nellโarte? Qual รจ il tuo sogno piรน grande?La cosa piรน importante per me รจ cercare di rimanere il piรน possibile curioso. Per me questa รจ una motivazione davvero importante, cosรฌ come il cercare di espan-dere ogni volta la capacitร di posporre il giudizio, mentre sono nel processo crea-tivo, per rimanere il piรน possibile in una condizione giocosa e ininterrotta. Penso dunque che il mio sogno sia quello di non aver mai paura di esperire e di posporre il piรน possibile il pregiudizio su ciรฒ che รจ giusto e su ciรฒ che รจ sbagliato. Provare a fare in modo che sia il tempo stesso a sta-bilizzare la capacitร di guardare il lavoro. Naturalmente, desidero molto esporre il mio lavoro ogni volta che posso, e ottene-re il riconoscimento per esso.
Lavori anche con una galleria italiana: che opinione hai rispetto allโarte contem-poranea italiana? Ho lavorato con la Galleria Riccardo Cre-spi per tre anni e mezzo: mi piace lavo-rarci, e sento un profondo interesse da parte loro per il mio lavoro e per la nostra collaborazione. Molti artisti della galleria provengono da Paesi differenti, perciรฒ รจ difficile per me comunicare unโopinione in merito allโarte contemporanea italiana. Forse, a livello intuitivo, posso dire che mi sembra abbastanza simile al contesto artistico israeliana, in cui sussiste una di-stinzione tra scena internazionale e scena locale. (Pag. 34 โ 35)
TRANSLATIONS42
ืืืจืื ืืชืจืืืชื ืืืืื. ืงืจืืืจื ืฉื ืื ืชื ืขื ืืกืืื ืืคืื: ืืืืงืืืงื ืืืืฆืจืืช, )ืืื ืืฉืืจ ืืืืช ืืืจืืืช ืืืงืืช ืืืืืืืื ืืืฉืจืืื ืืงืจืืงืืืจื
ืืงืืืืงืก(. ืืืืช ืื ืฆืืช ืขื ืชืื ืืช ืืืืข ืืืืฆืจืช ืืจืืฉืืช ืฉื ืืืืืืืื ืืื ืืขืืื ืืืืืืช ืืืกืืืืืช, ืืขืืจืช ืจืฆืฃ ืฉื ืชืขืจืืืืช, ืืื ืืื ืืช ืืืืืช
ืืขืืฆืื ืืงืื ืืืื ืฉื ืืืงืจืื -ืืืืืื. ืขื ืืืื ืืืื ืืฉืืงื ืขืฉืจืื ืชืขืจืืืืช ืืืขื ืืืื ืชืืืื ืขืืฆืื ื ืขืืื ืืขืื ืื ืืืืื ืืช: ืืขืจืืืืช
ืืืฉืืืช ืขื ืืขืฆืื ืืืคื ื ืขืืฉืืืืื, ืจืืจืืกืคืงืืื ืขื ืืืื ืืืืืืื ืืืืจืืก ืืื ืืจืคื, ืืืื ื ืฉื ืกืฆื ืช ืืืฆืืจ ืืชืขืฉืืืชื ืชืื ืืกืชืืืืช ืืขืืฆืื ืืขืืื
ืืื ืืืง, โืคืืกื ืคืืกืืโ. ืืืืื ืืฉืืื ื ืืกืคืช ืืื โืืืงืืโ, ืืฆืื ืจืืจืืกืคืงืืืืืช ืฉื ืืฆืืื ืืืืืืืงืืื ืืืืืืืืื. ืื ืื ืืืื ืืืื ืื ืืช ืืฉืืืืช ืืืืขืจืืช ืืืืชืืื ืืืืคืืื ืื ืืช ืืชืคืชืืืชื ืฉื ืขืืื ืืขืืฆืื
ืืืฉืจืืื. ืืื ืืฆืจื ืืช ืืชืขืจืืื โืืืืฅ ืืงืืคืกื. ืขืืฆืื ืืฉืจืืืโ, ืืื โืืขืฆืืื ืคืืืก 10โ, ืืืฉืชืชืคืืช 42 ืืขืฆืืื ืืฉืจืืืืื. ืืฆืืืืช ืืืกืืช ืืืฉื ืืืืืคืืื ืช ืืืื ืืืืช ืจืื. ืืืฉืจืื, ืืฉืื ื ืืืืืืื, ืืื ืกืงืืืจ ืืืืืจ ืฉื ืชืขืฉืืืช ืจืืืืื ืืืืืจ ืืืืงื ืืขืืื ืคืืชืื ืฉื ืืืฉื ืืื ืชืืืืืช, ืืืชืืงืืช ืืืืฉื ืงืื ืฆืคืืืืื ืขื ืืืฉ ืขื ืืืคืืฉ ืืืืจืื
ืืืฉืื ืืืฉืงืขื ืืชืืื ืืืืื ืืช-ืืจืืืื. ืืืฆื ืฉืื ื ืืชืืื ืืืจืคืืงื, ืืื ืืืืื ืืืืืจ, ืืืืจ ืืืขื ืขืืฆืื ืืฉืื, ืื ืืืข ืืืืฆืขืืช ืืืฉ ืืืืืจ
ืืฆืื ืืืช ืื ืืคืืืืืืงื. ืขืืื ืืฆืขืืจืื ืกืคืื ืืจืขืืื ืืขืฉืืื ืืืกืืืจื-ืืค ืืกืคืจื ืฉื ืื ืกืื ืืจ ืืฉืืื ืืื ืืจ, โืืืื ืช ืืกืืืจื ืืค, ืื ืืข ืืฆืืืื ืืืืืืืช ืฉื ืืฉืจืืโ, ืืคื ืืจื ืืืจ ืืื ืืืืื ืืงืจืืืช ืืืื ืืืืืื
ืืืงืืื ืืืืจืืช. ืืื ืืืกืืืจ ืืืืฆื ืืฉืชื ื ืืืฉืจืื ืชืคืงืื ืืขืืฆืื ืืืขืืื, ืืืืช ืืืื ืืืจื ืื ื ืฉโืืฆืขืืจืื ืฉืืืื ืขื ืืจืื ืืขืืฆืื ืืืืขืื
ืืฉืคืช ืืืื ืืช, ืืืืคื ื, ืืืืฆื ืืช, ืจืฉืช ืืืืืจื ื, ืืืืืฉื ืืืื ืืืืืื ืืืืื ืื ืืืื ืืช ืืฉืืืืช ืืขืืฆืื ืืืจืืืจ ืืงืืื. ืืงืื ืืขืืฆืื ืืื ื
ืืื ืืืืช ืืืื, ืื ืืื ืืืคื ืืกืคืจืื, ืืื ืื ืืืืืงืืช ืืืืงืจ ืืืคืืชืื. ืืืช ืืขืื ืืืืจ ืืงืืื ืืชืืืืก ืืขืืฆืื ืืืืื ื ืจืืคืช ืืืคืฆืื ืืกืืื ื ืื
ืื ืืืโ. ืืืื ืืืืืื ืืืชื ื ืืืืืข ื ืืกืฃ โืืืฉืจืื ืืฉ ืืช ืืืกืคืจ ืืจื ืืืืชืจ ืฉื ืืืืจื ืืงืืืื ืืชืืื ืืขืืฆืื, 2500 ืืขืฆืืื ืืงืโืจ, ืืกืคืจ
ืืืื ืืืืืื ืื ืืชืืฉืืื ืืืืืช ืืืืืืช ืฉื ืืืืืืกืืืช ืืืืื ื.
ืืขื ืืื ืื ืืฉื ืจื, ืืืฉืืื ืืืื, ืืื ืืืช, ืืืขืชืื ื, ืืชืขืฉืืื ืขืืืื ืื ืืืืื ืื ืืฉื ืืืืืช ืืืขืืจืืืช ืืจืืืื. ืืืจืื ืืงืจืื ืืืขืฆื ืขืืืื ืื
ืืืืจ ืืืืฉ ืืงืฆืืข ืืื ืืืจ โ ืืื ื ืื ืืกืคืง ืื ืืื ืืฉืจืืืืช ืขืฉืืื ืืขืืื ืืช ืื ื ืืคื ืืช ืืชืืื ืืื โ ืืขื ืืืช ืืืชืจ ืืืืชืจ ืื ืฉืื ืืืื ืื ืืช
ืืฉืืืืช ืืืงืฆืืข. ืืขืืฆืื ืืืืจ ืืงืื ืืืืืจ ืขื ืื ืฉืื, ืืขืืื ืื ืฉืื ืืืืืืช ืืืื ืืืื ืืืืืโ
ืืฉืจืื ืงืืจืืช ืืขืืื. ืืืืจืืคื ืืขื ืืืจืฆืืช ืืืจืืช - 2015 , ื ื ืขืฉืืจื ืืืืจืืขืื ืืื ืืืืืืื.
ืืืจืืื ื ืืกืืื ื ืืืื ืื ืืืืืช ืืืืืคืืื ืช ืืืฆืืืื ืืช ืืืงืื ืืงืกื ืฉืืืื ืืืืืงื, ืืืืืจ
ืืงืกืคื 2015 ืืืชืขืจืืื ืืืื โื ืืืืืฉืื ืืฉืฉ ืืืื ืืช ืืืื ืฆืื, ืืฉืจืื ืชืืื ืืืืืช ืืืจืืช ืืจืืืืช ืืืโื ืฉื ืชืขืจืืืืช ืืืืงืืฉืืช ืืืื ืื
ืืคืืขืืื ืื. ืืืืฆืืช ืืฉื ืื ืฉื ืืฉื ื ืืชืงืืืื ืชืขืจืืืืช ืงืืืงืืืืืืช ืืชืฆืืืืช ืฉืชืฆืื ื ืืืโื ืืืฉืืื ืืืืืืช ืืืืจ ืืืจืงืืจืื ืืืคื ื ืืขืืจ
ืืืืื ืืืช ืืชืจืืืชืืช ืืืชืงืืืืช ืืจืืื ืืืืจื ืืชืืืื.ืขืื ืช ืืงืืฅ ืืกืชืื ืช ืืชืงืืคื ืืืื ืกืืืืช ืืืฆืืจืชืืืช ืืืฉืจืืืืช. ืชืืื ืืช ืืืคืืฉืื ืืืื ืืืืืืื ืจืืื ืืช ืืฉืจืื ืืขืืจืืช ืืชืคืงืื ืืืคืื ืฉื ืืงืืืช ืืื ืื ืืฉืจืืืืื ืืืืช ืืื ืืช ืืื ืฉืืฆืืื ืืชืขืจืืืืช ืืืืฅ
ืืืืืืืช ืืืจืฅ. ืืจืื ืืืืืืืช ืืืืื ืืืชืืืช ืืกืื ืืงืฉืจืื ืืืืคืืืืืืื ืืื ืืจืื ืื ืืืฉืจืื, ืืืืืืื โืชื ืืืื ืืืื ืืชโ ืืฉืื ืืืืจืืคื, ืื ืืคืขื
ืืจืืฉืื ื ืืื ืืืืืกืื, ืฉืืขืื ืืฆืืจืืช ืืืคืช ืืืืกืคื ืืคืจืื. ืืืจืืื, ืืืืืืื โืืจืืื ืืจืืคืืืก ืืืโ, ืืืจื ืขื ื-21 ืืืื ื ืืืืจ ืืืืืื ืฉื ืืฆืืจืืช ืืืชืงืืคื ืืืืืจื ืืช, ืขืืืช ืืชืงืืคื ืืืกืืืจืืช ืฉืืืชืืจื ืื ื
ืืื ืืช ืืืืืืืืช ืืืื, ืื ืขื ืืจืืขื ืืฉืื ืฉื ืืืืืจื ื ืืขื ืืืฆืืจื ืืืงืืืืืืช, ืืช ืืื ืื ื. ืืงืฉืจ ืืื ืขืืจ ืืืกืืืจื, ืฉืขืืืื ืงืจืื ืืืื ื
ืืืืื ื ืืืฉ ืืืืืื, ื ืืฆื ืืืจืื ืืืื ื-ืื ืกื ืืืืจื ืืจืง ืืื ืืืืืืื ืชื-ืืืื ืืืืื ืืช ืืชืืจื ืืืจืืื, ืืืจืืข ืืืชืืื ื ืืืชืคืืืจื ืืืืืืืช,
ืืขืื ืืื ืืฉื ื ืืื ืืกืื ืงืจืื ืืื ืืจืืงืื ืืืืืืจืคืืื ืืืืฉืืช ืฉืื ืืช ืฉื ืืฆืืจืชืืืช. ืืืื ืช ืืืืฆืจืื: ืกืืื ื ืื ืืื, ืืื ืืื ืชืื, ืืืจืืช ืืืจ ืืจื
ืกืืืจื, ื ืืฉืคืช ืืฉืืืคื ืืืฆืืช ืืืืืืช ืฉื ืืงืื ืืืื ืืื ืืขืืช ืืจืืื ืฉืื ืืช ืฉื ืขืฉืืื ืืื ืืชืืช ืืืืฉืคืืช ืงืืืื ืืืคืืกืืื ืืืืืืืื ืืชืงืืคืืช
ืฉืื ืืช. ืชืืืื ืืฉืจ ืืืฉืขืฆืื ืืืืื ืื-ืฉืื ืืจืชืง ืืื ืืืืื ืืื ื ืืืืืจื ื ืืืืืฆืจืื ืืืฉืจืืืืื ืื ื ืืื ืื ื. ืงืืืืจืืืช ืืชืืื โืืืืืื
ืืืืืืืืโ ืืืขืืื ืืช ืืงืื ืืงืกื ืืืกืืืจื ืขืืกืงืืช ืืชืืืื ืืฆืืืจ, ืืคืืกืื ืืืืื ืืช ืืืจืคืืช, ืขืืืืืช ืืืืฆืืืช ืืจืืื ืืืืืืืื ืืืจืืื ืื ืืฆื ืืืืื ืชื ืืขื ืืืืฆืืื ืฉืืคืืงื ืืื ืื ืืฉืจืืืืื ืขืืฉืืืืื. ืืฉืืืช ืืืืืืื ืฉื
ืืืื ืืช ืืืืืจื ืืช ืืืงืก ืืงืื, ืืจืง ืฉืืืื, ืืืืจ ืืื, ืืืื ืฉืืื, ืโืืจืโ ืกืจื ืืคืืืื ืคืืงืืกื ืืืขืฉืจืื ืืืืืจืื ืืืื ืืื ืืืืฆืืืช ืืืฉืืืื
ืืืฆืืจืืชืืื ืฉื ืืขื ืืจืชื ื, ืืื ืื ื ืจ, ื ืื ืืฆืืง ืื ืืจื ืคืจื. ืขืืืืืช ืืกืคืืืืช ืืืชืืืืกืืช ืืชืืฉืืช ืืืงืืื ืืกืืฆืื-ืคืืืืื ืืืืจืื ืืื ื ืื ืฆืืืืืช. ืขืืจ ืืืืื ืืคืชืืื ืืืืืงืืืงื ืฉืืื ื ืงืื ืคืืืงืืืืืืช,
ืืื ืืืจืื, ืืื ืืงืคืืื ืืืชื ืื ืืืจื ืฉื ืืงืืื ืงืื ืกืืจืืงืืืืืช, ืืืจ ืืขืื ื ืืจืื ืืฆืขืืจื ืืืืคืืื ืช ืืช ืืงืฉืจืื ืืืฆืืืื ืืขืฆื ืชืืืื
ืืืชืงืจืืืช ืืื ืฉืชื ืืืืื ืืช ืืืงืืืืช ืืช ืืืืื. ืื ืื ื ืขืืืื ืืืืจืืคื ืื ืืืืงื ืืฆืคืื ื ืืืขื ืืจืชื ื ืืืฆืืื ืืืจืืื ืชืืืื ื ืฆืืืช ืงืืืืืืช
ืืืื ืืช ืืืฉืจืืืืช ื- ืื ื ืื ืืืืื. ืคืจืืืืงื ืชืฆืืืชื ืืืืจืื ืืฉื ื ืืืงืื ืืืืขืจื ืืฉืืืืื, ืืืืืืืื ืืืื ืืช ืืืืจื ืืช ืฉื ืืขืืจ ืืืืื, ืืืฆืืจืชื
ืฉื ืืืื ืืืื ืืจื. ืืชืขืจืืื ืชืืืื ืคืชืืื ืืงืื ืขื ืืืจืฃ 2016. ืืืืจืืข ืืจืืฉืื ืฉืืืชืจืชื "ืื ื ืืืชื ืืขืืื ืืคืื ืืืืืืื", ืืชืืจื ืืงืืื
ืืขืืืื ื ืฉื ืืืืืืืื; ืืืืื ืืืขืืืื ืืคื ืื ืืช ืืืคืฉืจืืช ืืืจืืจ ืขื ืืฆืื ืฉื ืืืื ืืคื ืืจืื ืืขืืฉืืืืช ืืืืฆืขืืช ืืืฆืื ืืืืื ืฉื ืืืื ืื ืืืขืืจืืื ืืชืขืจืืื. ื-18 ืืืืงืืืืจ ืืื ืืืื ืืืืจืื ืื ื ืืชื ืืืืื
ืืืงืจ ืืชืขืจืืื ืืงืืืงืืืืืช, ืืืืืืช ืชืื ืื ืคืืืืืืื ืืืืจืชืืื ืืืืืื ื ืืช ืืืืฆืจืื ืื ืงืื ืขืืื ืื ืืฉืื ืื ืืืืจ, ืืคืื ืืืคื ืืืืช ืืืกืชื ื ืืช
ืืืื ืืื ืคืื ื ืฉืืขืืื. ืืจืขืืื ืืืืืื ืฉื ืืชืขืจืืื ืืื ืืืืื ืื ืืืฆืืข, ืืชืืืืื ืฉื ืขืืืืืช ืืืื ืืช, ืืจืืื ืืคืืฉ ืืืชืคืืืกืืช ืืืฉืื.
ืืืฅ ืืืจืชื ื ืืฆืืืื ืืืืืื ืขืฉืจื ืืื ืื ืืขืื ืฉื ืืื ืืืืื ืืืื ืื: ืืืจืืื ืคืืฆโื, ืงืื ืคืื ืืืืื ืฆืจืื ื. ืืชืจืืื ืืืื ืืชืืช ืฉื ืืื ืืช
ืืืืืืื ืืืฆืืืช ืืืฉืจืืืืช ืฉืืืืช ืฉืืจืฉืื ืื ืคืจืืืืงื ืืืงืจ ืืืชื ืืื ืื ืืืช ืืื ืฉื ืื ืื ืืฉืืื ืฉื ืืืืช ืืืืืจืื, ื ืจืืืืืื ืืงืฉืืจืื ืืืืงืืช
ืื ืืืืกืืืจืื ืฉื ืืจืฅ ืืืืืชื. ืืจืชื ื ืืฉืชืืฉืช ืืคืืืืจ ืืืืกืืืช ืืืืชืื ืกืืช ืืขืืืืช ืืืจืื ืืื ืืืื ืืืื ืืช ืื ืงืืื ืื ืืชืืืฉ ืื
ืชืืืื ืืฉืืืฃ ืืฉืืืืืจ ืืืฉืืืืจ ืืื ืฉื ืืืื ืืืืื ืืืืืง ืืงืืืงืืื. ืืชืขืจืืื ื ืืกืคืช ืืขืืช ืืืคื ืืงืกืคืจืืื ืืื ืืื ืืืงืืื ืืืง ืืจืืขืื
ืืชืฉืขื ืฆืืืื ืฉืื ืื, ืืฆืื ืื ืืืืื ืืื ืื. ืืืื ืื ืืขืกืงื ืื ืืกืืื ืืกืื ืงืฉืช ืฉื ื ืืฉืืื ืฉืืฉ ืืื ืืืืื ืืื ืจืืืืช ืืืฉืืืช, ืืืืฉืืช ืืื ืืืช
ืืืืืฆืขื ืขืืืื ืืืืืืืื ืืช ืคืขืืืืชื ืืฆืืืื ืืขืืืืื ืืจืืฉืืช ืืจืื; ืืืฆืจืื ืฉื ืืืจื ืืื ืชืืืืืืื ืฉื ืืืจืืขืื ืืืกืืืช ืืงืืืืื ืืจืืื ืืขืืื. ืืืชืจ ืืชืขืจืืื "ืจืื ืจืฆืื", ืืชืืฆืช ืืช ืจืขืืื ืืชืฆืืื ืืฉืจ
ืชืชืงืืื ืโืืืืืืื ืืืืืโ ืืืืื, ืฉืืืืฅ, ืืื ืืืืืฉืื ืืื ืืืืืืกื 2015. ืืืื ืืืืืืจื ืืฉืืืฉืืช ืฉื ืืืืื ืืืื ื ืืื ืืชืื ืืืืืคืืช ืืชืช ืืื
ืืืฉืืื ืืชืืืฉืช ืืืืงืืจืช ืืืืจืชืืช ืื ืืงืืช ืืืืืื ืืืคืืื ืืจืืื ืฉื ืืืจ ืืื ื ืืฆืืืื ืืขืืฉืืืื: ืืืจื ืืฉืื ืืืืืื ืืขืจื ืืกืืืื ืฉื ืืืืืืช
ืืืชืืืื ืขื ืืืกืจ ืืืืืืื ืืจืืืื ืืกืืกืืืื ืื ืคืืฆืื ืืืืฃ ืื ืืืื. ืืืืื ืืื ืื, ืฉืขืืืื ืื ืืื ืฉืืืฉืื, ืืฉืืื ืืืฉืชืืฉ ืืืฉืชืืืืืชื
ืืงืืืฆื ืกืคืฆืืคืืช ืืืืืื ืืืชื ื ืืืกืคืงืืื ืืืืืจืื ืื ืืืื ืืืืฆืขืืช ืขืืืืืช ืฆืืืื ืืืืืื ืืืฉืืจืืช ืชืฉืืื ืืืืืจื ืคืฉืืื ืืืืืืืงืช ืืืื
ืคืจืืืงืก ืืืืืื ืืืืืืื, ืืืืช ืืขืืจ ืืืื ื ืืืื ืืื ืืฉืชืืื. ืืืจืืง ืฉื ืืืงืืื ืืก ืืืืจืืคื, ืืคืขื ืืจืืฉืื ื ืืืจืฆืืช ืืืจืืช, ืืืืืืืื
ืืืืื ืืช ืืช ืืื ืื ื, ืืขืืจ ืฉืืงืืื ืคืืชื ืืช ืฉืขืจืื ืขื ื-4 ืืืืงืืืืจ, ืืชืขืจืืื ืืื ืืืจืคืืช ืืขืืืงื ืืืืืื ืช ืืืืืืช ืืช ืืงืจืืืจื ืฉื ืงืจื
ืฆืืืจ. ืงืจื ื ืืืื ืืืฉืจืื ืืืคืื ืืืืจืืืช ืืขืืื ืืื ืื ืืืข ืืืืฉืจืชื ืืืงืฆืืขืืช, ืืฉืืงืืื ืืื ืชืฆืื ืฉืืื ื ืขืืืืืช ืืืืื ืฉืฆืืืื ืืขืฉืจ
ืืฉื ืื ืืืืจืื ืืช, ืกืืจื ืืืฉื ืฉื ืจืืฉืืืื ืืืฆืืจืืช ืืงืฉืืจืืช ืืืื ืืช ืืคืจืคืืจืื ืก. ืืชืขืจืืื ืฉืืืจืื ื ืขโื โืงืื ืกืืื ืฉืจืืืื ืืืจื, ืงืืคื ืืืโ,
ืืฉืืชืืฃ ืืืืฆืจืช ืฉื ืืกื, ื ืขืื ืืงืืืื, ืงืืืขืช ืืืฆืืช ืืืืืืช ืืืืืืืืช ืฉื ืฆืืืจ ืืืืื ืืขืืืืืชืื ืืงืจืืกืชื ืฉื ืคืจืืช ืงืืืฉืืช. ืืืืืืืืช ืืกืืื
ืืกืื ืื ืจื ืชืืืื, ืื ืืื ืืขืจื ืกืืืืช ืืชืฆืืจืืช ืืงืกืคืจืกืืืืืช ืฉืื ืืช ืืืืคืฉืจ ืืคืืืืืืช ืฉื ืฆืืืจ ืืืชืืื ืชืื ืฉืืืืฉ ืืืืืืง ืืืื ืืืืืกืื
ืืืืฆืขืื ืงืืื ืืขืืื. ืืกืจืืื ืฉืืืคืงื ืืืืืื ืืคืงืืื low-fi ืืฆืืืื ืืืืจืชื ืฉื ืืืื ืืช, ืืืฆืจืื ืืืืืข ืชืืืฉื ืืงืจืืื ืืงืืืฉ, ืืขืื ืืืจืื ืืกืฆื ื ืืชื ืืืื ืกืืคืืจื ืืืื ืืื ืืืืืื, ืกืงืก ืืงื ืื, ืืืฉืชืงืคืื ืืืืคื
ืืืฉืื ืืืืืืจื ืื ืืฉืคืช ืืขืื ืื ื ืืืืืช ืืืืืจื ืืืื ืืงืืช ืืืืืืืช. ืื ื ืืืืืช ืืฉืืงื ืื ืืืคืขืืืืช ืืกืฆื ืืืช ืืืืจืืช ืขื ืขืฆืื ืืืชืืื ืืขืืจืจืืช
ืืืื ืืืื ืืืืกืืืืช ืื ืจืืืืืืืช ืฉื ืืงืืื ืืข ืืืกืืจืชื.
ืืืจืืื ื ืืกืืื ื
ืคืืงืืก ืขื ืืืื ืื ืืื ืฉืืืืืกื ืื ื ืกืืจื
"ืืื ืืขืืืืชื ืืืืกืกืืช ืขื ืืืืืืื ืืืงืื ืืื ืื ืืืขืื ืืืชืจืืืช ืืืฉืจืืื โ ืืฉ ืืื ืืกืคืงืืื ืกืืืืืืืื, ื ืืกืืืืืื ืืืคืืื ืฉืืืงืื ืืขื. ืืืืืื
ืืื ืืชืืืื ืืฉืืื ืขื ืื ืืื ืฉืืืื, ืืื ืืืืื ืื ืืืฉืืืื ืืืืชืจ ืืขืืื ืืืื ืืช ืืืฉืจืืื. ื ืคืืฉื ื ืืชื ืืืื, ืขืืจ ืืืืจืื.
ืขืืืืชื ืืืื ืืชืืช ืงืฉืืจื ืืืืคื ืกืคืฆืืคื ืืืกืืจืช ืืืชืจืืืช ืืืฉืจืืืืช? ืืื ืื ืืืืจ ืืืืข?
ืืื ืืขืืืืืชื ืืืืกืกืืช ืขื ืืืืืืื ืืืงืื ืืื ืื ืืืขืื ืืืชืจืืืช ืืืฉืจืืืืช โ ืืฉ ืืื ืืกืคืงืืื ืกืืืืืืืื, ื ืืกืืืืืื ืืืคืืื ืฉืืืงืื
ืืขื. ืืืจืืช ืฉืืืืืจ ืืืืืืืื, ืื ืืืืืช ืฉืืื ืืืฉืจืื ืืื ืืืชืจ ืืืจืืืืืืช ืืกืืืืืืืช ืืคืืืช ืคืืืืช ืื ืืืฉืืช. ืืขืืืืชื ืื ื ืื ืกื ืืืืืจ
ืืช ืืงืจืื ืืจืืฉืืช, ืืืืื ื ืืืืืืื โ ืืืืข ืคืืื. ืื ืืืืืื ืืืจืืช ืืฉ ืคื ื ืืกืืื ืืืืืจ ืืช ืืืืืื ืืืชืืื ืืกืืืืืื ืื ืืขืืื ืืงืื ืงืจืื.
ืืชืืืื ื ืขืฉื ืืืืฆืขืืช ืืืืจืื ืกืื ืืืืื ืฉืืืืื ืืงืืจ ืืงืืจ, ืฆืืจ ืคืืื ,MDF PVC ืืื ืืคืชืืช ืืช ืืฆืืคื ืืืขืช ืืืืืฉ ืืช ืืืฆืืจื.
ืืืืื ืืื ืื, ืื ืืื ืฉืืื ื ืืืชืจ ืืื ืืืืื, ืืชื ืืชืืืืก ืืื ืืืจืื?
ืงืฉื ืื ืืฆืืื ืืื ืืื ืกืคืฆืืคื. ืืฉื ื ืืื ืืื ืื ืฉืืืจืืื ืื ื ืขืืงื, ืืขืจืื ืืืืฉืคืข ืืืฆืืจืืชืืื โ ืืจืืก ื ืืืื, ืืื ืืงืฉืืืื, ืืื ืืื ืชืื, ืจืื
ืืืืื ืฉืืืื ืืขืื ืืจืื ืืืจืื. ืืืขืชื ืื ืฉืืจืชืง ืืื ืืืจื ืื ืืืฆืืจืืช ืฉืืื ืชืืื ืืืชืจ ืขืืฆืืชืืืช ืืจืื ืืืื. ืืืืช ืืื ืฉืืืืจ ืืืื ืขื ืจืงืข ืชืืืฉื ืฉืืฉ ืฉืืืคืื ืฉื
ืืืืืืื, ืชืขืจืืืืช ืืืฆืืจืืช ืืื ืืช. ืืืขืชื ืืืฉืจืื ืื ืฉืืืช ืืื ืงืฉืืจื ืืขืฆื ืืืืืืืืืช ืืืชืืืฉืช ืื ืืื ืืช ืฉืื ื ืืืื ืืขืืืืืชืืื. ืืืจื ื ืืกืฃ
ืืืฉืื ืืืื, ืืคืืืช ืืืื โ ืืื ืื ืืกืืื...
ืืื ื ืืืจ ืขื "ืืฉืืืืื" ืฉืื, ืื ื ืจืืื ืืืจืืืช ืืืขืืฃ ืฆืืคืืจ, ืื ืืืฉืืื ืืกืืืื, ืืื ืืื ืฉื ืืืืืืื: ืืืช ืจืง ืืกืืฆืืืฆืื ืื ืฉืืื
ืงืืื ืงืืฉืืจ ืชืืืื, ืกืืฆืืืืืื ืืคืืืืื? ืื ื ืืืฉื ืฉืืืกืืฆืืืฆืื ืื ืืฉื ืืืกืืืื ืืืฆืืขืื ืืืืืืจืื ืืื ืฆืื ืืื ืืืืื ื ืืื ื. ืืืขืชื ืืงืืฉืืจ ื ืืืข ืืชืืืื ืืืคืื ืื ืืฃ ืืืืฆืขืืช
ืชืื ืืืช ืืฆืืขืื. ืืกืืื ืืฆืืขื ืืืกืืืื ืืืจืืืื ืืฆืืจืืช ืืืืืืื ืืขืืืื, ื ืืืขืช ืืื ืืกืืื ืืืฆืืจ ืืืืืืื ืฉื ืืืชืืืืืช ืืชืื ืืืืข, ืื ืืคืื
ืืืืืคืืืจืคืื ืืืจื ืฉื ืืฆืืช ืืืืืื ืืืืคืื. ืืืืืจ ืืืืืื ืืงืืื ืืฆืืขื ืืืกืืืื ืืืจื ืืชืืืื ืืขืืืื ืขืฆืื.
ืืื ืืืฉืืืืื, ืฉืืืืื ืืืง ืืืืกืฃ ืืืืืืื ืืฉืจืื, ืืืฆื ืืืจืืื ืืืืื ืืื "ืืจืงืืกืื". ืืื ืืืชืื ืฉืืืฆืืจื ืืฉื ื ืืช ืคื ืื, ืืืืืจ ื ืชืคืกืช
ืืืจื ืฉืื ื ืืืฉืจ ืืื ืืืฆืืช ืืชืื ืืืืืืจืคืื ืืืจืช? ืืขืืืื ืืืืฆืืช ืืืืืืืื ืืฉืจืื ืืืืกืกืช ืขื ืืืืื ืฉื ื ืืื, ืืืฉื ืืขืืง
ืืืจืขืื ืืืงืื ืืืงืื ื ืืชืจืืืช ืืืฉืจืืืืช. ืืื ื ืืืชืืืฉืืืช ืชืืื ื ืข"ื ืืืืจืืื ืจืืฆ'ืจื ืงืืืคืื ื-1922 ืืขืืฆื ืืฆืืจืช ืืขืื. ืืืช ืื ืืกืืื
ืืืขืืจ ืืืืฆื ืืคืืกืื ืงืืจ ืื ืืขืืืื ืขื ืคื ื ืืฉืื-ืจืฆืคื; ืืืืืื ืฉื ื ืืื ืืืืจ ืืืื ืืืืืจ ืืืฆืืคื ืืืื ืืืชื ืืฆืืจื ืืืืช. ืืขืืืช ืื ืขืืืจ
ืืืืื ืืื "ืืจืงืืกืื" ืืฆืจืชื ืืืฉื ืืืฉื. ืืขืฆื ืจืฆืืชื ืืืืืืฉ ืืช ืืืจืืช ืืืืืืืช ืืื ืืขืืืื ืืืงืื ืขืฆืื. ืขื ืืื ืืืชื ืืืชืืืืก ืืฉืืื ืืืืืืช ืฉืชืืืื ืืฆืืจื ืืืืขืช ืืกืคืงืืื ืคืืจืืืืื ื ืืกืคืื ืืชืืืืฉ ืืช ื ืงืืืช
ืืชืฆืคืืช ืฉื ืืืจ. ืขืืืชื ืขื ืืืืืื ืืชืื ืงืฉืจ ืืกืืฆืืืืืื ืืฆืืืจ ืืฆืืข ืืืื ืืงืช ืืืืคืืืฃ ืฉื ื'ืงืกืื ืคืืืืง ืืืชืฆืืจืืช ืืืืจืื ืืืช ืฉืืืื ืืืง
ืืืกืืืื. ืืืจืืช ืฉืืขืืืื ืื ืืื ืขื ืืืืืืื ืืืฉืืื ืฉื ื ืืคืื ืงืืืืื, ืืชืคืชืืชื ืืจืืืช ืื ืืฆืืจื ืืืกืืจืงืืืช. ืืืืฉืื ืืืืืจ ืื ื ืืืื ืืืืจ
ืฉืกืื ืืกืืืื ืฉื ืฆืืขืื ืืืช ืืชืฆืืจืืช ืืืืคืืืจืคืื ืืืงืืืืช ืืฆืืื ืืฆื ืฉืื ื ืืืืืืื ืืื ืฉื ื ืืื ืื ืขืืง ืืืจืขืื โ ืื ืฉืื ื ืืืืื ืืืคืื ืืช ืืืจืื -ืืจืฆืคื ืฉื ืงืคื ืฉืืืจ ืืืฆืืื ืฉืืืช ืืขืื ืขืืืฉ. ืืืืืื ืฉืืื ืื ืงืืืช ืืคืชืืื ืืขืืืื ืืืจืืื, ืืื ืืืื ืืืคืชื ืืืืืืืื ืืืฆืืจืืช ืืืืืช ืฉื
ืขื ืืขื ืงืคื ืฉืืืจ.
ืืืืคืืฉ ืืืจ ืืฆืืจืชืืืช ืื ืืืืื ืืืชื ืืชืืื ืืกืืืื ืืืื. ืืชื ืขืืกืง ืืื ืืืื ื ืืืืฆืืื, ืคืืกืื, ืืืืื,.... ืงืืืืช ืืฉืืืืช ืืืืืื ืื ืืชื
ืืขืื ืืช ืืืฆืืจื? ืื ืฉืืืืืจ ืืขืื ืืื ืืืืืื ืืืจืื ื ืืกืคืื? ืืืืืจื ืืืืืื ืชืืืื ืืจืฆืื ืืืฆืื ืืช ืืืืืื ืืื ืฉืคื ืืื ืืชืืช
ืืืื ืืืืืืฉ ืืช ืืืืฉืื ืฉืื ืืืืฆื ืืื ืืชืืืฉืช ืืขืืืื ืขืฆืื. ืื ืชืืื ืืืืจ ืืชืืื ื. ืืคืขืืื ืงืืจื ืืฉืื ืชืื ืชืืืื ืืจืืฉืื ืื ืืคืืกืื ืืืืื ืื ืืช ืืคืืื ืฆืืื ืืืืื ืืขืืืื ืืืืฆืขืืช ืืืืื ืื ืฆืืืื. ืืื
ืืืคื ืืืฉืจ ืื ื ืืฉืชืืฉ ืืืืืื ืื ืืฆืืืื ืืืืฆืขื ืื ื ื ืืื ืืชืืขืื ืืืืืืื ืื ืื ื ืขืืกืง. ืืื ื ืืขืืืฃ ืืืฆืขื ืื ืื ืืืจ, ืืฉืืื ืื ืื ืืื ืืช
ืืืืืจ. ืื ื ืืชืืืืก ืืื ืืฆืืจื ืืชืืื ื ืฉืืื ืืืืื ืืืชื ืืจื ืืืืืื ืฉืื ืื, ืืืื ืืืืคื ืื ืืื ื ืชืคืฉืช ืข"ื ืืฆืืคื. ืืฉืื ืื ืืจืืืช ืืช ืืืฆืืจื
ืืืืืืช, ืืช ืืืื ื ืืขืงืืืืช ืฉืืืืจืช ืืื ืืขืืืืืช ืืืืืืืจ ืฉืื ืืืฆืจืืช ืืื ืืื. ืืฆืคืืช ืืืฆืืจื ืืืช ืื ืืื ืืืืชืงื ืืืืื ืืืช ืืคืืกืคืก ืืช
ืืฉืืขืืช ืืืฉืคื ืขืฆืื.
ืืื ืืืืจ ืืืจืืื ืืืืชืจ ืืืืื ืืืืื ืืช, ืืื ืืื ืืืืื ืฉืืช ืจืืฆื ืืืืฉืื"?
ืืืืจ ืืืฉืื ืื ืืืืชืจ ืืื ืื ืกืืช ืืืืืฉืื ืืืืืช ืืื ืฉืืืชืจ ืกืงืจื. ืืืื ืืืื ืืืืืืฆืื ืืฉืืื ืืืื ืืืืืชื ืืื ืืฉืื ืื ืื ืกืืช ืืืคืชื ืืช ืื ืืืื
ืืืืงืืจืช ืืขืื ืื ื ืฉืจืื ืืชืื ืชืืืื ืืขืืืื, ืืืืชื ืจืืฆื ืืืืืช ืืืฆื ื ืื ืื ืืืืจื. ืื ื ืืืฉื ืฉืืืืื ืฉืื ืืื ืืคืื ืฉื ืืืชื ืกืืช ื ืืืืืืช ืืื ืฉืืืชืจ ืืืขืช ืืืขืืช ืงืืืืืช ืขื ืืื ืืจืข. ืืจืฆืื ื ืื ืกืืช ืืชืช ืืืื ืืงืืืข ืืช ืืืืืืช ืฉืื ืืืช ืืืขืจืื ืืืคื ืขืืืืืชื. ืืจืืจ ืฉืื ื ืืขืื ืืื
ืืืฆืื ืืช ืืฆืืจืืชื ืืื ืฉืืืชืจ ืืืืืืช ืืืืจื ืขื ืื.
ืืชื ืขืืื ืื ืขื ืืืจืืื ืืืืืืื; ืื ืืขืชื ืขื ืืืื ืืช ืขืืฉืืืืชืืืืืืื?
ืขืืืชื ืืืฉื ืฉืืืฉ ืืืฆื ืฉื ืื ืขื ืืืืจืืื ืฉื ืจืืงืจืื ืงืจืกืคื. ื ืื ืชื ืืขืืื ืืืชื ืืื ืื ืืืื ืขื ืืื ืจื ืืคืขืืืืชื ืืื ืืงืฉืจ ืืื ืืฉื. ืจืื ืืืื ืื
ืืืฆืืืื ืืืืจืื ืืืืขืื ืืืืฅ ืืืืืืื ืืืื ืงืฉื ืื ืืืืืข ืืขื ืขื ืืืื ืืช ืืืืืงืืช ืขืืฉืืืืช. ืืืืคื ืืื ืืืืืืืื ืืคืฉืจ ืืืืจ ืฉืืฉ ืืืืื
ืื, ืืืืื ืฉืื ืืืืืืื ืืื ืืืฉืจืื ืืืื ืืืื ืืชืืช ืขืืืื ืืคืจืืื ืืื"ืืงืืื ืืืื ืืืืื".
TRANSLATIONS 43
ืืืื ืืืืจ ืืืืจื ืืช ืขืื ืืืช ืชืืืขืช ืืืชืืื ื. ืื ืืืืจ ืฉืืชืงืจืืื ืื ืืืื ื, ืื ืืจืืจ ืืืืืืื ืื ืืื ืืืื ืื ืืืื, ืื ืืื ืืืฉ ืืื ืื
ืฉืื ืืฉ ืื ืชืื; ืคื ืื, ืฉืืืื ืืคืฉืจ ืืืกืชืื, ืืืื ืืืืื ืก.ืงืืจืืช ืืฆืืืืื ืืขืืืคืื ืืช ืืืืชื, ื ืฉืขื ืื ืขื ืฉืืืืฉ ืืืืืืืงื ืืืืืืื,
ืืฆืื, ืืืืจ, ืืืฆืืจืช ืกืืืื ืื ืืฉืืช ืืชืืืืกืืช ืืจืืืืช ืืจืืืืช ืื ืืืงืฉืจ ืืคืืืืื ืฉื ืืฆืืื, ืืืงืื ืืื ื ืืืืื ืืขืืืขืื ืืฆื ืืื ืืืกืืื ืืืืจ
ืฉื ืืืื ืืืืฆืขื ืืืืื ืืืืืชืจ ืืืืื ืืฆื ืืืจ, ืืื ืืืงืฉืจ ืืืืจืืืื-ืืืื ืืชื ืฉืืืกืืก ืคืขืืืช ืืืืฆื. ืืืคืื ืืืื ื ืืืขืืคืช ืืฆืืืืื, ืืฉืจ
ืืืื ืืฉืืืฉืื ืืืืืคืื ืจืื ืขื, ืืืฆืจ ืจืฉืช ืืืืจืื ืช ืฉื ืืืจืื, ืืกืื ืคืืื ืฆืืื ืฉื ืืื ื ืืขืืื ืืขืื ืขื ืืฆื ืฉื ืกืื ื, ืืืืขืื ืืช ืืงืฉืจ
ืืชืฆืืื ืืืืืจืืืช ืขืื ืืืืืืจื ืืืืคื, ืืืืชืืช ืืคืืืืืืช. ืกืืืจืช ืืืืชื ืืืืืืื โ ืืืืฆืขืืช ืื ืืื ืฉื ืงืืจืืช ืืืืงืื ืืฉืืคืื,
ืืืขืืืื ืืขืืคืช ืืฆืืืืื โ ืืืืฆืจืช ืืืื ืืื ืืื ืื ืืืืืจืื ืื ืจืืื ืจืง ืืฆืืื ืืคื ืืื ืฉื ืืืื ื. ืืื ืื ืืืื ืืืกืื ืกืืืจืื ืฉืืื ืืืืื ืืืฉื, ืื ืืชื ืืจืืืช ืืื ืืืืื ืื ืืืืื ืืืืืืขื )ืืืืืืฉ: ืขืืืืช ืื( ืืืฉืจืืื ืืืฆืื, ืืื ืฉืืืืคื ืืืกืืืจื ืืื ืืืง ืืืจืื ืืืืืจืื ืื ืืืขื ืืืืกืื
ืืื ืืื ื ืืืฉ ืืงืืืช. ืืืฆืื ืืืืชื, ืืืืืื ืืืื ืืืื ืืื ืืขืื ืืืกื ื ืชืืืขื ืืืืืจืื. ืืฉืืฉืื ืืื ืืขืจืืืืื ืืืชืืช, ืชืจืืกืื, ืกืืจืืื, ืงืจืฉืื, ืงืจืืื ืื ืืืืกืื, ืืืืืืงืืื ืืฆืืืื, ืืืืืืงืืื ื ืืืฉืื, ืขืืืืืช ืืื ืืช,
ืคืจืืื ืจืืืื, ืืืืจืืช ืืืฉืืืช ืืขืื. ื ืืืืืชื ืืขืืื ืขื ืฆืืืจื ืขื ืืื ืขืืืคืืช, ืฉืืืืืื ืืกืชืื ืืืงืฉืจ ืืคืื ืงืฆืืื ืื ืืื ืื ืคืฉื, ืืื ืกืืืชื ืืื ืืงืืืื. ืื ืืชืคืงืืื ืืืื ืืกืื ืฉื ืืฆืจ ืืืืจืืช, ืืืื ืืืฉืื ืืืืืืง,
ืืืืืืฉ, ืฉืคืขื ืืืจ ืคืขื ืฆืฃ ืืขืืื ืืืืฉ. ืื ืื ืืืืื ืืืืกืื, ืืื ืืืช ืืื ืืกื ืืืืชื, ื ืจืื ืงืืจ ืืืืงืื ืืจืื,
ืฉืืืื ืขืฉืื ืืื ื ืื ืืื ืืคืืจืืช ืืืืคืืื ืืืช ืืื ืืื ืืืฉืจืื. ืืงืืจ ืืชืืคืืื ืืืื ืืืช ืืืืืช, ืจืคืืืืืืืช, ืืืืืื ืฉืืื ื ืืกืคืช ืฉื ืชืืืื ืืืคืจืื; ืฉื ืืกืืื. ืืขืืื, ืืืขื ืืงืืจ ืืืื ืืช ืืืื ืืคืื ื ืืืฆืจ ืืืืืจืืช ืฉื
ืฉืื ืืืืชื, ื ืืฉืฃ ืฆืืื ืืคื ืืื ืฉื ืืขืืคืช ืืฆืืืืื ืืกืืืจืช ืขื ืืืื ื ืืืืืฅ. ืืืืคื ืื, ืืืจ ืืจืืข ืืื ืืกื ืืจืืฉืื ื ืืืื, ืคืืืฉ ืืืืฅ ืืชืื
ืืคื ืื, ืืืฉืืืืช ืื ืืชืืง ืืขื-ืืื ืืช, ืฉืืงืืืืื ืืืื ื ืื ืืืืชื ืืืืจืื ืืกืคืง, ืืชืคืจืงืช ืืืืจืืื. ืื ืืกืฃ, ืงืืจ ืืืืื ืืช ืฉืืจืื ื ืืืืช ืืขืื ืืขืืคืช ืืฆืืืืื ืืืืคืืื ืืฃ ืืื ืืชืื ืืช ืืืืจืช, ืฉื ืืื ืืกืืจืืช ืืืชืืช ืฉืืื
ืงืืืขืืช ืืืืืืืช ืืืืื ืืช. ืืืืคื ืื, ืืื ืืืจืื ืืืขืจืื, ืืืื ืืจืืื ื, ืืืจืืืข ืืืกืืืจ ืฉื ืืืืื ืืช ืืื ืืืืืฉ ืขื ืืื ืืืจืื ืืืฉืืืฉ, ืืืขืืื
ืืืืจืืื ืฉื ืืขืืคืช ืืฆืืืืื, ืืื ืืฉืชืืืื ืืืืืืืืช ืื ืืื, ืืืขื ืืืื ืืชืจ.
ืขื ืืืขืืจ ืืืคืืก ืืืื ืืื ืฉื ืืืืชื, ื ืคืจืฉ ืืขืื ื ืืฆืืคื ืงืืจ ืชืจืืกืื ืืืื ืืจืื, ืืืืืกื ืืืื ืืชืจืืกืื ืืืืคืื ืืืืืืืช ืืืืืื, ืฉืขืฉืืืื
ืืืืืจืื ืฉืื ืื ืืืืืืจืื ืื ืืื ืืืืขืฉื ืคืกืืคืก. ืืงืืจ ื ืืื ืืืื ืืืืฆืื ืฉื ืื ืืื ืืจื ืงืืืจืืช,1 ืคืจืืขื, ืืืืคื, ืืืืืืช, ืืืขืืงืจ โ ื ืกืืืชืืช. ืืื
ืืชื ืฉื ืืจืฆืคื ืขื ืชืงืจื, ืืงืืืื ืืืืืจื, ืืืืฉ ืขื ืืืื, ืืืฉืื ืืืืืฉ ืืคืืช ืืงืืจ ืืกืืืื, ืืืืืื ืืืืฆื ืืืืจื ืฉืื ืืืื ืคืืื ืฆืืื ืฉื
ืคืืืฉื, ืฉื ืืืืจื. ืคื ื ืืฉืื ืฉื ืืงืืจ ืืืฆืจืื ืืฉืื ืืืคืืืจืคื ืืจืชืง, ืืืฉืืง ืขื ืชืื ืืช ืืืจืื ืืืฉืื, ืืื ืื ืืืื ื ืืืจืจืืืช, ืชืจืืกืื
ืงืืืืื, ืืฆืืืื, ืืืฉืื, ืืฉื ืื, ืฆืืืขืื, ืืืืคืืื, ืืืื ืืช ืืืืืื, ืืืื ืืชืืืื ืืขืื. ืืชืจืืกืื ืืืชืงื ืื ืื ืฉืืฆืืคื ืจืืื ืืช ืฆืืื ืืืืืฃ,
ืืืืฆืื ื, ืื ืืคืื ื ืืืจื ืืื ืื ืืืจืื ืืฆืืืืจื, ืืืืฆืจืื ืชืขืชืืข ืืื ืฆืืืจ ืืคืืกืื, ืืื ืืืฅ ืืคื ืื, ืืื ืงืืื ืืืืืจื. ื ืืื ืืืฆืื, ืืฉืชืืฉ ืืืืก ืืื ืืืืื ืืื ืืฉืื ืื ืืืจืืืืื ืืช ืืงืืจ ืืืื ืืขืืื ืืงืืืืจื ืืขืืื, ืืื
ืืขืืืื ืืืงืขืช ืขืืฆืื ืืืืืืช ืฉื ืืกืืื. ืืืคืืก ืืขืืืื ืฉื ืืืืชื ื ืชืงื ืืฆืืคื ืืืืฆื ืกืืจืืื ืืืื. ืื ืืืื ืืืืฆืืื
ืืืงืืืื ืฉื ืืืข, ืืื ืืืฆืื ืืกืืจืืื ืืฉืืจืืช ืืจืืืืช ื ืืืืืช ืคืชืื ืืืืื, ืืืืืืื ืจืืงืื, ืงืจืื ืืืืืืืื, ืืื ืืืฆืืื ืืชืืื ืืคืฆืื ืฉืื ืื, ืืื ืืื ืืื ืืืช ืจืืงืืช, ืขืฆืืฆืื, ืืืจืื ืื, ืคืจืืื ืจืืืื ืืฉืืืฉืื, ืืืืืืืืืช
ืืฉื ืืช ืืขืื. ืืฆืื ืื ืืืงื ืืช ืืืืืื ืืคืขืืื ืืืงืืื ืืืจืื ืืืืจืื ื ืืืฉืจืืื, ืฉืื ืืชืคืงืืื ืืกืืจืืื ืืกืื ืฉื ืืจืืื ืืืื, ืืงืกืื ืฆืื ืฉื
ืืคื ืื, ืืืกื ืืจืขื ืฉืื ืืืืืืื ืืืืืืงืืื ื ืืืฆืื ืืืืืชืจืื ืืืคืืคื ืืืช.
ืขืืืืชื ืฉื ืืืข ืืืฉืชืชืช ืขื ืกืืืื ืฉืื ืื ืฉื ืืกืืืืช, ืืฉืจ ืืขืืื ืืืืืืช ืื ืคืขืจืื, ืืืจืื, ืฉืืจืื ืืืื ืืืื ืืืืืจ, ืื ืืืืฃ ืื ืืืื
ืืขืืืจ. ืคืจืืฉืช ืืคืจืืืงื ืืืื ืืืืชื ืืืืฆืจืช ืืขืืจืื ืืืื ืืื ืจืืขืื ืฉื ืืกืืื, ืฉื ืื ื ืืืืช ืืฉื ืกืคืง ืืจืืื ืืืื ืจืืขืื ืืื ืืืืืื ืฉื ืคืืืืืืช,
ืืืฉืจ ืืขืืื ืืช ืืคืืืฉืช ืืืกืืช, ืืืืจืืืช โ ืืืืืืืช. ืืืงืื ืืืฆืื ืืฉืื ืื ืืืื ืืืืฆืจืื ืืขืื ืืืืืขืืช ืฉื ืืื ื ืืคื ื ืืืจืืืช ืืืฆืืคืืช ืืืคื ืื. ืืืืืขืืช ืืื ืืกืคืงืืช ืืคืฉืจืืช ืืืืื ืฉื ืืื ื, ืื ืื ืื ื
ืืืืจ ืืฉืืืื. ืื ืืืฉื, ืงืืจืืช ืืฆืืืืื, ืฉืืื ื ืืืืืื ืืืื ืืคื ื ืืชืงืคื ืืืฉืืช; ืืืื ืืื ืืกื, ืืขืฉืืืื ืืฉืืฉ ืืืงืื ืืืืื ืื ืืกืชืืจ ืืื ื ืืืื; ืกืืจืื ืืืจืคืกืืช, ืืฉืจ ืืืชืงื ืืืืงืื ืืืืฆืจ ืืจืืื ืืืจืื ื ืชืื
ืืืคืฉืจืืช ืฉื ืืื ื ืืืืฆืจืื ืืกืืื ืืืื ืืืืืืื ืืช ืืฉืจ ืืชืืื; ืงืืจ ืืชืจืืกืื, ืฉืืืื ืคืืื ืฆืืื ืฉื ืคืจืืฆื.
ืืืืคืืื, ืืืืืื, ืืืืื, ืืชืจืืก, ืืกืืจื, ืงืืจ ืืืืืงืื โ ืืืื ืืกืื ืื ืืืกืืืื ืืืืงืฉืื ืืืืฆืจ ืืคืจืื ืืื ืคืจืื ืืฆืืืืจื, ืืื ืคื ืื ืืืืฅ, ืืื
ืืืกืื ืืืืืื. ืื ืืืืืื ืืืง ืืืืืื ืืืืฉืืื ืืืืืื ืืื ืืืืืืกืื ืืช ืขืืืืชื ืฉื ืืืข ืืืืจื ืืฉื ืื, ืืื ืฉื ืืืืืชื ืืคืจืืืงื ืืกืคืฆืืคื ืืืืชื
โ ืืืืขืฉื, ืืื ืืืขืืื โ ืืื ืคืจืืื ืืจืืช, ืืคืืจืงืช. ืื ื ืืืืื ืืฉืืจืื ืฉื ืื ืฉืืื ืคืขื, ืื ืืืื ืขืงืจืื ืืช ืืืืืช ืืขืชืื, ืืืช, ืืืื ืื ืืฉืืจื
ืืืช ืงืื ืงืจืื, ืืืฉื. ืืื, ืืืฉื ืืืืช, ืืฉื ืืขืืื ืืขืืืืชื ืฉื ืืืข ืืืืจื ืืฉื ืื, ื ืืชืจ ืืกืืคื ืฉื ืืืจ ืืงืื ืืืืื ืฉื ืืืืื; ืืืื ืืืชื ืืืืืฉ
ืขื ืืืืช ืืืืื ืื ืชืื ื. ืืืข ืืื ืืื ืคืืืืื, ืืืืื ืืขืืืง ืฉื ืืืืฉื, ืืืื ืืคืืืืืืืช ืืขืืืืชื
ืืื ืืื ื ืฆืืจ, ืื ืืฉืฃ ืืืืื ืืืืจื ืืืืืจืืช ืืืฆืคืืื ืืขืืืืืช โ ืืื ืืื ืืืื ืืฆืืคื ืืฉืืจืืช, ืืืืื. ืืฃ ืื ืืืฉืชื ืืืขืฉื ืืืื ืืช ืืืฉืืืช
ืืืกืืื, ืืจื ืืขืืืืืช ืขืฆืื ื ืืฉืืืช ืืืขื ืืงืกืคืจืกืืื ืืคืชืืข ืืืืืฉ, ืืชืืืื ืืขืืืื ืืืื ืืืฉืชืช ืขื ืืฆืืจืช ืืชื ืืืืืงืื ืืื ื ืืืืืื ืืขืืจืื
ืฉื ืฉืืืช ืฉืื ืืคืขืืื ืฉืื ืื; ืขืืจืื ืืืืงืฉ, ืืขืืื, ืืืืืืชืจ ืืืืจืืื, ืจื-ืืฉืืขื, ืจื-ืชืจืืืชื, ืืืชื ืืืืืชื, ืืืืคืฉืจ ืืชืืืืกืืช ืื-ืืื ืืช ืืฉืืืืช .1 ืื ืืื ืืจื ืงืืืจืืช ืืื ืื ืืื ืขืืืืช, ืืื ืชืื ืื ืืืจืืืื, ืืขืืฉื ืฉืืืืฉ ืืืืืจืื ืืงืืืืื ืืืืื ืืืืืืืช ืืกืืจืชืืืช
ืืืงืืช ืื ืืื ืื ืื ืืืื ืืืชืคืชื ืขื ืืืื, ืืืืคื ืืืฉืงืฃ ืกืืืื, ืชืจืืืช ืืืืกืืืจืื.
ืืื ืืชืืืช ืืืฉืืืืช ืคืืืืืืืช ืืชืจืืืชืืืช. ืงืืื ืืขืืืืชื ืืื ืฉื ืืืกืืฃ ืกืืื ืื ืื ืืขืืื, ืื ืืชื ืืฃ ืืืืจ ืื ืืื ืคืืขื ืืชืืื ืฉืืื ืืจืืืืืืืืื,
ืื ืชืจืืคืืืืืื ืืืื ืืช. ืืืื ืืื ืืื ื ืืืกืฃ ืืืืข ืขื ืืืืจ, ืืืจ ืืืืจืืืง. ืืฆืืจืืช ืืืืืืืืงืืื ืื ืืืืื ืืขืืืืชื ืืงืืืื ืืืฆืืืืช ืืืื ืงืจืืื
ืืกืคืฆืืคืืช ืืืื, ืืืขืืืื ืขื ืืื ืงืืกืืจืืคืื ืืืคืื ืื. ืขืืืืชื ืกืคืืื ืืืืจืืืืช ืืืืชื ืืคืฉืจืืช ืฉื ืืงืืื ืืืฉืจืืื ืืืคืืกืืื ื ืืืจืื ื ืชืื, ืจืืืื ืืืืืขืืช ืืืืืช, ืืคืืืืช ืืงืฉื. ืืื ืืืชืจืช ืืคืืจืืง ืืืฉืื ืืืกืื
ืฉื ืืืงืื, ืืชืจืืืช ืืืืืืช ืฉืืืกืืจืชื ืื ื ืืืื ืืคืืขืืื, ืืื ืืืขื ืืฉืืื ืืจืืืฉื ืืื: ืฉืืืช ืืฉืืืืืช ืฉื ืืืงืื ืืชืืฉืืื, ืคืืกืืื ืื
ืืืฉืจืืืื ืืืื.
ืืืงืกื ืืืื ืืืช ืืืก ืืืืจ ืืชืคืจืกื, ืชืืช ืืืืชืจืช "ืืื ืืช ืืจื ืงืืืจืืช", ืืงืืืื ืืชืขืจืืื ืฆืืื ืืืข: ืืจืืืืืืืืื ืฉื ืืืื, ืื ืืชื
moc.avegibist.2015noilivapilearsi ืืืืจืื ืืืชืจ
ืืจืืื ืืื ืืช ืืืฉืจืื: ืขืืื ืชืืกืก ืืืืื ื ืฆืขืืจืืืจืืกืืืื ืงืืืืื ืืจื
ืืฉืจืื, ืืืื ื ืฆืขืืจื ืขื ืืกืืจืช ืขืชืืงื ืฉืืฉื ืื ืืืืจืื ืืช ืขืืชื ืืืจืื ืืืื ืืืื ืืืืืืช ืืืืืช ืืืฆืืืืช ืืืื ืืืช ืืขืืืืช ืืืืชื ืืขืืื
ืืจืขืืื ืืช ืืื ืืชืืื ืืืฆืืจืชืืื; ืืืฉืืช ืืืฆืืืื ืช ืืืืืืช ืืคื ืืช ืืขืืจ ืืขืชืื ืืืืื ืืช ืืืืงืจ ืืืืืืืืื ืขื ืชืืื ืืืืืืฉืื ืืืขืฉืืื ืืชืจืืืชืืช.
ืชื ืืืื ืจืืชื, ืืกืชืื ืช ืืืืคื ืืืขื ืืืจืื ืืืืื ืฉื ืชื ืืขืช ืืืืืฃ ืืชืจืืืชืืช ืืืืืืช ืืืชืจ ืืืื ืืืืืฉืื ืืชืจืื ืืืื ืื: ืืืจืืืช,
ืืืืืืื ืื, ืขืืืชืืช ืืืืกืืืช ืืื ืืืื ืช ืจืืื, ืืฉืืจืืฉ ืืจืฉืืื ืืืคืืข ืืืืืืื ืชื ืืืื ืืืื ืืช. ืืืืกื ื ืื ื ืืฉื ืช 1932 ืืืืืงื ืืืชืืืชื
ืื ืืืืืช ืืฉื ืช 1971; ืื ืจืืืง ืืื ื ื ืืฆื ืื ืืืืืืื ืืื ื ืจืืืื ืฉืืืื ืืืืื ืืช ืขืืฉืืืืช, ืืืืงืืฉ ืืืื ืื ืื ื ืืื ืื ื. ืืืืฃ ืืืจืืื ืืืืฉ, ืื ืืื
ืืจืื ืืคืืื ืืืืจ, ืฉื ืื ื ืืฉื ืช 2011 ืข"ื ืืืืจืืื ืคืจืกืืื ืกืงืื ืืื, ืืืจื ืืืกืฃ ืืฆืืจืืช ืืฉืจืืืืืช ืขืืฉืืืืืช, ืืจืื ืชืฆืืื, ืืืืจ ืฆืืืืืื
ืืกืคืจืืื. ืื- 15 ืืืื ืืขื ื-5 ืืกืคืืืืจ, ืืืืืืืื, ืื ืืืืื ืฉื ืกืืื ืื ืืื, ืืืจื ืืื ืืฉืืจ ืกืืจืช ืืืจืืขืื ืืืชืืื ื ืื ืืงืืฅ ืืงืจืื, ืืื ืื ืชืขืจืืื ืงืืืงืืืืืช ืฉืืื ืืคืกืื ืขืืื, "ืืงืื ืื", ืืืฆืืื ืฉื ืื ืขืฉืจ ืืกืขืืช ืฆืืืื ืืืืจื ืืืื ืช ืืฉืจืื ืืืืื ืืืขืจืืืช ืฉืขืจืื ืืื 2006
ื- 2013 ืคืจืืจืืง ืืจื ืจ ืืขืื ืืื ืขืฉืจ ืฆืืืื ืฉืืืืื ื ืขื ืืื ืืืฉืชืชืฃ ืืคืจืืืืงื: ืืื ืื ืืืืืื, ืืจืืื ืงืืืจ, ืืืืฃ ืงืืืืงื, ืโืื ืโืื ืื, ืโืื ืคืจืก,
ืคืืืื ืฉืืโ, ืกืืืื ืฉืืจ, ืจืืืืื ื ืคืืงืก ืกืืืืืื, ืชืืืก ืฉืืจืื, ืโืฃ ืืื ืื ืืง ืืืคืืื ืืืื. ืชืขืจืืื ืืืฆืืื ืืช ืืืจืืืืชื ืฉื ืืืฆืืืืช ืืืฉืจืืืืช ืืขื ืืืืืช ืืฆืืจืชื ืืืคืงืืช ืฉืจืืื ืงืืืื, ืื ืืืช ืืืืฃ ืืฆืืืื ืฉื ืืืืืืื ืงื ืืจื ืืืก ืื ืโืืก ืืืืื ืืช. ืฆืคืื ื ืืช"ื, ืืืจืืง ืฉื 14 ืง"ื, ืืืืงื
ืืืืืืืื ืืืืื ืืช ืขืืฉืืืืช ืืจืฆืืื, ืืฉืจ ื ืืกื ืืฉื ืช 1965 ืืื ืืืช ืืืชื ืืื ืืืจืื. ืืืืืืืื ืืืงืืฉ ืืืืื ืืช ืืฉืจืืืืช ืืืื ืืืืืืช ืืช ืืื ืื ื ืืืชืืงื ืืืชืืืืกืืช ืจืืื ืื ืืฉืืื ืืืจืชืืื ืืคืืืืืืื. ืืืื ืืืืืืจ ืืช Kunst im Tunnel Exhibition ืชืขืจืืืช ืืงืืฅ "ืืืงืื ืืื ื" ืืฉืืชืืฃSpace di Dรผsseldorf. ืฉืชืขืจื ืืื ืืื ืืขื ืืืืืฉ ืืืืืกื ืืื ืืฆืืื
ืฉื ืื ืขืฉืจ ืืื ืื: ืื ืโืื ืคืื, ืืจืืกืืืฃ ืงื ืื, ืกืืกืืืื ืืืื, ืืื ืก ืคืงื, ืืืื ืืจื ืกืืืื, ืืืืกื ืืจ ืืืื, ืจืคืจื ืืื, ืืืจื ืืจืฉืื ื, ื ืืจ ืืจืื.
ืขืืื ืืฆืืงื, ืืจืง ืจืืืฅ, ืืื ืืคืื. ืืืืื ื ืชื ื ืืืืืื ืืช ืืืืืช ืืืขืืื ืืืฉืื ืืช ืืืื ืืช ืืืืกืืืืจืฃ ืืืชื ืืืื ืืฉื ืื 2012 ื- 2014. ืืืจืื ืืขืืจ ืช"ื, ื ืืฆื ืืืืืืื ืืขืืฆืื ืืืืื ืืืืืงื ืืืจืื ืืืืื ืืช ืืืจืื
ืืืฉืจืืื ืืืื ืืช ืืืืืืืืช, )ืืืงืื ืืชืืจื ืขื ื- 27 ืืืื ื, ืืืื ืืงืื ืืื ืื ืืืืื(, ืืืืืืืื ืืืฉืจืืื ืืงืืืืงืก, ืืืืื ืืืฉืจืืื ืืืื ืืืืืื
ืืืืืืง ืืืืื, ืืืจ ืฉืืืคื ืืช ืืขืืจ ืืชืขืฉืืืชืืช ืฉืืกืคืจ ืชืืฉืืื ืืืืชืืื ืืืฃ ืืืชืจ ืืจืืื ืืืฉืื ืืืคืฆืช ืืชืจืืืช ืืขืืฉืืืืช ืืืจื ืืืื ืืืืคืฉืจืช
ืจืืืืช ืขืืื ืจืืื ืฉืืื ื ืืกืชืคืงืช ืืืชืืืืกืืช ืืืงืืืืช ืืืื. ืืืืืืื ืืขืืจ ืคืชื ืชืงืืื ืืืฆืืื ืืืืจื ืืช"ื, ื ืื ื ืืฉื ืช 1964 ืืื ืืื ืขืืกืง ืืืื ืืช ืืฉืจืืืืช ืืืื ืืืืืืช ืขืืฉืืืืช. ืืืงืื ืขืืจ ืชืืืื ืฉืืคืืฅ, ืืืืกืฃ ืืืื ืืชื ืฉื ืืืืืืืื ืืืจืื ืื ืคืชื ืฉืื ืืงืื ืืฉื ืช 2004 ืืฉืืื ืืงืคืื ืขื ืืืจืืื ืฉื ืืื ืื ืฆืขืืจืื. ืืื ืืชืขืจืืืืช
ืืฆืืข ืืืืื ืฉืื ืฉื ื ืืฉืืื ืืชืืืื ืืชืจืืืช ืืืฉืจืืืืช ืืขื ืืฉืืืืช ืกืืฆืืืืืืช ืืขืืกืงืืช ืื ืืฉืืื ืืืจืชืืื ืืืืืืืื ืื ื ืืื ืื ื. ืืืืืืืื ืืงืื
ืืืฉืืช ืืืฉื ืืืช ืืืฉืชืงืคืืช ืื ืืืจื ืืืฆืืจื, ืืืชื ืืขืืืืช ืื ืืืช ืืืืืืืื, ืืืจืืช ืืืจ ืืจืื.
ืืืจืื ืืฉื ื ืืงืืืื ืืืื ืืช ืืืฉืจืื ืืื ืืืืืืื ืืฉืจืื ืืืจืืฉืืื, ืืืืื ืืฉื ื ืืืืฉืื ืฉื ื ืืืืืืกืื, ืืืืื ืืช ืืืืืืช ืืื ืืฆืืช ืขื
ืชืืื ืืช ืขืฉืืจื ืฉื ืชืขืจืืืืช ืืืืจืืขืื. ืืืื ืืืืืืจ ืืช ืืชืขืจืืื ืืืืื ืกืคืจืืืก, โ1965 ืืืืโ )ืคืชืืื ืขื ื-26 ืืืืืืกื(. ืืืืฆืจืื ืืืจื
ืืคืืืืช, ืืื ืืืจืื, ื ืื ืืืืขืฉ, ืฉืืข ืื ืืจื ืื ืขื ืื, ืืฉืืืจืื ืืช ืืฉื ื ืื ืืืงื ืืืืกื ืืืช ืืงืื ืืงืกื ืืืืจืชื, ืืืืกืืืจื ืืืชืจืืืชื ืื ื ืืฆืื
ืืืืื ื ืืืืชื ืืืื. ืืขืื ืฆืืืื, ืืืืฆืขืืช ืฉืืืืืจ ืืขืืจ, ืืชืื ืขืืื ืโืืื ืืืื ืโ, ืืกืืืื ืืืื ืืชืืช ืืืคืฆื ืืฆืจืืื ืฉื ืื, ืงืคืืฆื ืืชืื
ืกืืืืืฆืื ืืืฉื ืืืืืช ืื ืจืืื ืฉืืคืืื ื ืืช ืืืชื ืืฉื ืื. ืขืื ืืืกืืจืช ืืืืืืช ืืืืื, ืชืืช ืืืืชืจืช โืจืืืจื ืื ืืืืกืืจืื ืืืืจืืฉืืืโ ืืืฆื
ืฆืืืจื ืฉื ืืืื ืืืืื ืื ืืืืืข, โืื ืืื ืืจืืืื ืืืื ืืช ืืืจืื ืืจืืฉืืืโ; ืจืืืจื ืื ืฆืืืจ ืืช ืืชืืื ื ืืฆืขืืจืืชื ืืืื ืชืืืฉืฃ ืืฆืืืืจ ืืฆืืื ืฉื ืืฆืืจื
ื ืืกืคืช ืืืืกืฃ ืืืืืืืื, โืคืืจืืก ืืงืืืฉ ืืืืโ )3 ืืืื ื โ 5 ืืืฆืืืจ(. ืืืืื ืืื ืืืจื ืืืงืกื ืจ ืชืืฆื ืืื ืืจืืฉืื ืืืื ืืขื ื-2 ืืื ืืืจ ืืชืขืจืืื
โืงืืฆืืจ ืชืืืืืช ืืื ืืฉืืชโ. ืืืืฆืจืช ืื ืื ืืื ืขืืืืืื ืืฆืืืช ืืืืคื ืืืคืฉื ืืช ืจื ืืืืจ ืฉื ืืืื ืืจืจื ืืฉืืื ืืฉืืืจืช ืืช ืืกืข ืืื ืืฉืืช
ืืจื ืฉืืื ืืืืืืืฆืื, ืืืชืงืืคื ืืคืจืืกืืืจืืช ืืขื ืืขืช ืืืืืจื ืืช, ืืชืืืืื ืืืืฆืืจ ืืจืืฉืื ืื ืืขื ืืชืืจืช ืืืืกืืช.
ืืืจืืฉืืื ืคืขืื ืืืืืื โืืืช ืืืื ืืโ, ืฉืืืฉืื ืืืชืจ ืืืืกืืืจื ืฉื ืืืงืืืื ืืฆืืื ืืืื ืืช ืืขืืฆืื, ืืฉืจ ื ืืกื ืืฉื ืช 1906 ืขโื ืืืจืืก
ืฉืฅ ืืืืืื ืขื ืืงืืชื ืกืื ืืชืืืืช ืืืืื ืืช ืืืืืจื ืืช ืืืฉืจืื. ืืืจืื ืืืงืืฉ ืืืื ืืืืื ืืช ืขืืฉืืืืช ืืงืืืืช ืืื ืืืฆืืจืืช ืืืืฅ ืืืฉืจืื ืืืืืื ืืงืื ืืคืืฉ ืืืื ืื ืืจืืฉืืช ืืจืื ืืื ืื ืืืื ืฉืืื ืืืืจืช ืืฆืืืืจ. ืืื
ืืืืจืืขืื ืืจืืื ืจืืื ืืฆืืื ืืช ืคืจืก โืืกื ืช ืืืืกโ ืืืื ืื ืฆืขืืจืื. ืืื ืฉื ืชืืื ื ืืชื ืืืงืื ืคืจืก โืืืจืื ืกืืืโ ืืืื ืืช ืืืืืืืืืช ืืืื ืืฉืืฉ
ืืจืื ืืืื ืืื ืืืฉืจืืืืช ืืจืืฉืื, ืคืจืืืืงื ืฉื ืืื ืืฉื ืช 2001 ืืืขืืจืืื ืื ืื ืืืืจืืืช ืืืฆืืืืช ืืืจืื ืืจืืฉืืื.
ืืืื ืื ืืืืืืจ ืืช ืงืืืื ืฉื ืืืกืืืช ืืื ืืช ื ืืกืคืื. ืืืืืืื ืืืคื ืืืืื ืืช ื ืืกื ืืืืช ืืืขืจืื ืืขืชืืงืืช ืืืืชืจ ืืืฉืจืื, ืืงืื ืืืืคื ืืช ืื ืืฉื ืืืื ืชืจืืืชื ืืคืืขื ืืืขืืงืช ืืงืฉืจ ืืื ืืืืืื, ื ืืฆืจืื ืืืืกืืืื. ืื ืืกืฃ ืคืืขืืื ืืืืืืื ืืช ืื, ืืืจืื ืืืื ืืชื ืืื ืืจื ืืืฉืืื ืืืืฉืื
ืืืื ืืช ืขืื ืืจืื.ืื ืืืืกืืืช ืืื ืืืื ืช ืจืืื ืคืืขืืื ืืืืคื ืืื ืื ืืืื ืืืืจื ืืืื ืืชืืช
ืืคื ืืืืช ืืื ืืืืฅ ืืืฉืจืื ืขืฆืื. ืืืื ืคืขืืืืชื ืฉื ืืืจืื ืืืืื ืืช ืขืืฉืืืืช )CCA( ืชื ืืืื, ืฉืืืงื ืืืืจืื ืงืื ืืฉื ืช 1998 ืืืฆืืื
ืืืืื ืืืคืื ืืืืชืืช ืืขืืื ืืืื ืืช ืืขืืฉืืืืช ืืืจืฅ. ืืืื ืืชืคืจืก ืืืจืื ืขื ืคื ื ืื ืืื ืฉืื ืืืืื ืฉืืืฉื ืืจืืื ืชืฆืืื, ืืืืืืืจืืื ืืืืื
ืขืจืืื. ืืืงืื ื ืืฆื ืืจืืืื ืืืืื ืฉืืื ืืช ืคืขืืืชื ื-1960 ืืืืื 3000 ืคืจืืืื ืืืืืืช ืื ืืืืื ืฉื ืกืจืโื ืืืืฉืืืื ืืืจืื ืืคืืง ืชืขืจืืืืช,
ืืืืืื, ืืืฆืืื, ืืจืฆืืืช ืืืืจืืขืื. ืืชื ืืืื ื ืืฆื ืื ืืจืืคืืจื, ืืืขืืื ืืื ืืช ืฆืขืืจื ืืืืฆืขืืช ืืืจืื ืืื ืื ืืืืจืฅ ืืืืโื. ืืืจืืฉืืื ืคืืขืืช ืืืฉื ืกืื ืช ืืืืื ืื ืืจื ืงืืื, ืืฉืจ ืืืื ืืชืืืืช ืงืจื ืืจืืฉืืื. ืืคื ืืจืื ืืืืืืช ืืืฉืจืืืืช ืืฉ ืืฆืืื ืื ืืช ืืืจืืืช ืืื ืื ืคืื, ืืฉืจ
ื ืืกืื ืืฉื ืช 1966 ืืืืจื ืืืฆืืจ ืืจืื ืืื ืืช ืืชืจืืืช ืืืืืฉืื ืืืฃ ืชืืฉืื ืืืืืจ. ืืืืืจ ืืืื ืืืงืืืืช ืื ืืฉืืื ืืืืชืจ ืืืฉืจืื ืืฉืจ
ืชืืฉืืื ืืขืจืืื ืกืืืืื ืืืืื ืืืื ืฉื ืืืืื. ืืขื ืืืช ื ืืชื ืืฆืืื ืื ืืฉื ืื ืืืืจืื ืืช ืืขืืจ ืืื ืื ืคืื ื ืจืฉื ืฉืืคืืจ ืืืืื ืืกืืื ืืืชืืฆืื
ืืืจื ืจืืช ืืจืืืฉืืช ืื ืืฉืืื ืืื ืืืจืืืช ืืืจืชืืช ืืชื ืืื ืืงืืืืืื. ืืช ืืืืจืืืช ืืืืืื ืืงืื ืขื ืขืฆืื ืชืืฉืืื ืืืื ืื ืืงืืืืื ืืืืจื ืืืคืืืฉ
ืืช ืืืืืืืกืื ืขื ืืื ืืช ืืขื ืืืคืฉืจืืช ืืืืืืคื ืชืจืืืช ืืื ืืืืืืกืืืช ืฉืื ืืช. ืืืจืื ืืืื ืชืขืจืืืืช, ืกืืื ืจืืื ืื, ืืจืฆืืืช, ืืืชืืช ืืื โ ืคืขืืืืช
ืฉืืืื ืืชืืืืช ืืฉืจื ืืืื ืื, ืืจืฉืืืืช ืืขืืจืื ืืืช, ืงืจื ืืช ืืชืจืืืืช ืืืืคืื ืคืจืืืื.
ืขืืื ืืืืื ืืช ืืขืืฉืืืืช ืืืฉืจืื ืืงืืืฉ ืืงืื ืืฉืื ืืืื ืืช ืืชืืจืื, ืขื ืื ืืกืคืจืช ืื ื, ืจืื ืืช ืกืืจืง, ืืืืฆืจืช ืฉื ืืืฃ ืืืืคืก ืืืขืืฆืื ืฉื
ืืืืืืื ืืฉืจืื: โืืชืืจืื ืืืื ืืชื ืืืงืืื ืืชืจืื ืืฉื ื ืืจืืืื, โืกืื ืช ืืืืคืก ืืืจืืฉืืืโ ืฉืืืื ืื ืืืืจ ืืจืืขืื ืฉื ืืช ืคืขืืืืช ืืกืื ืช ืืืืคืก
ืฉื ืงืืืืฅ ืืืจื, โืืจืื ืืืกืืื ืืชืืจืืโ ืฉืืืงื ืืฉื ืช 1993. ืฉืชื ืืกืื ืืืช ืื ืืืืืช ืขโื ืฆืืืชืื ืืงืฆืืขืืื ืืืืืฉืจืื ืฉื ืชืืจืืื ืื ืืืืฆืจืื.
ืืกืื ื ืืืืจื ืืชืืงืืช ืืขืืืืช ืืชืืจืื, ืืขืื ืืืจืืฉืืื ืขืืืืื ืื ืืืื ืืงืืช ืืกืจืืืจืคืื ืืืงืกืืืืืจืคืื. ืืืืฆืจืื ืืืืืื ืืช ืคืขืืืืชื ืฉื ืืืื ืื ืืืงืืืืื ืืืืืื ืื ืืืชื ืืืฉืชืชืฃ ืืคืขืืืืช ืืืจืื ืืืืื ืื-
ืืืจืืืโ.ืืืฉืืจื ืืืืจืื ื ื ืืกืืฃ ืื ืืช ืืชืขืจืืื ืืืจื-ืืจื ืืคืชื ืชืงืืื, ืขื
"ืืงืืืืช ืขืืฉืืืืช ืืืื ืืช ืืืฉืจืืืืช" ืฉืืืชื ืืืฆืจืช ืืื ืชืืืจ. ืชืฉืขื ืขืฉืจ ืืื ืื ืืืื ืื: ืืืืื ืืืข, ืื ืืืื ืฉืืืื ืืืืืืช ืืืจ ืืืงืจืื ืืช
ืืืชืืก ืืืงืืืืช ืืืฉืจืืืืช ืืืคืจืืกืคืงืืืื ืฉื 2000 ืฉื ืืช ืืืกืืืจืื, ืฉืื ืืืื ืืืชืคืชืืืช.
ืืืืืืื ืืขืืฆืื ืืืืื, ืคืจืืืืงื ืืืฉืื ืจืืืื'ืืืื ืฆืคื
ืืืืืืื ืฉืืื ืืืง ืืื ืืืจืื ืืืขืืจ, ืืืืจ ืืืฉืืจื ืืจืืฉืื ื ืืืืฆืขื ืืืืืื ืืืืคื ืืชืื ืื ื ืืืืื ืฉื ืืืืื ื. ืืงืื ืคืชืื ืืืืืื ืืช
ืืืฆืืืืช, ืื ืืชื ืืืืจ, ืื ืืืงืืืื, ืงืฉืื ืืืขืืืชืืืช ืืืืืืืฉืื ืืืคืืืื ืจืื ืืืื ืืชืืื ืืขืืฆืื, ืื ืืจืื ืืืื ืืืืืืช. ืืืืืื ืฉืืืชืจ ืืขืืฆืื
ืืฉืจ ื ืื ื ืืืฉืจืื ืฆืขื ืืืจ ืฆืขื ืืชืื ืืจืื ืืืืฆืข ืืืืืืืื ื ืืืืื, ื ืืฉื ืืช ืฉืื ืฉื ืืขืืจ ืืืืื. ืืฉื ืช 2010 ื ืื ื ืืขืืจ, ืื ืืฆืืช ืืืจืื
ืืชื ืืืื, โืืืืืืื ืืขืืฆืืโ , ืืืงืื ืืจืืฉืื ืืืจืฅ ืืืืงืืฉ ืืืื ืืฉืืืช ืืขืืฆืื ืืืฉืจ ืืคื ืืืขื ืืืื ืืืจืื ืฉื ืืืื ืืคืจื ืืจื ื ืืฉืื.
ืืืืคื ืืืขื ืืืืืืืื ืืืื ืืืชืขื ืืื ืืช ืจืื ืืฆื ืงืืืืืืช ืืชืขืฉืืื ืืคืื ื ืืืืืื ืืฆืืจืชื ืืืจืืจ ืืื ืฉืืืืื ืชื ืจืง ืืืจืืื ืืช ืชืืืืื, ืืชืืื
ืืคืืืจืืืื ืืื ืืคื ืืช ืืฆืืืืจ ืืื ืฉืืืชืจ ืืืื.ืืืฉืจืื ืื ืืกืจ ืืื ืืืกื ืืืืืืื ื ืืงืฉืืจ ืืชืื ืื ืืขืืฆืื. ืืืจืืฉืืื, ืืฉื ืช 1973, ืืืืืงื ืืขืืฆืื ืืืืืจืืืืืช ืฉื ืืืืืืื ืืฉืจืื, ื ืืืื ืคืขืืืืช ืืชืืฉืืช ืืชืืื ืืขืืฆืื, ืชืื ืืืกืืก ืืืกืฃ ืืฉืื ืฉื ืขืืืืืช
ืืื ืืช ืืืืื ืืขืฉืจืื ืฉืืื ืคืจืืืื ืืชืืืื ืืจืืืื ืืืืจืืืื, ืืงืจืืืงื ืืขื ืืืืื ืืจืคืืงื ืืื ืื ืชืื ืคืืชืื ืืืงืจ ืืืืงืืฉ ืืืื
ืืืืืช ืืืงืืืืช ืืื ืื ืคืชืื ืื ืืืืืช ืื ืืฉืืื ืืขืืชืืื ืืืจืขืืื ืืช ืฉืืืืื ื ืงืื ื ืื ืงืืกืืืคืืืืืืช ืืื ืืฉืจืื, ืืฉืชืืืื ืืืืคื ืืืขื.
ืฆืขื ืืืื ื ืงื ืขืฉืจืื ืฉื ื ืืืืืจ ืืืชืจ ืืืืืืื ืชื ืืืื ืืืื ืืช ืืฉืืืื ืขื ืืืืืงื ืืขืืฆืื ืืืืืจืืืืืช, ืืจืื ืืืืงืจ ืืืชืืื ืืฆืืื ืืืืืืื
ืืืืืืืื, ืืขืืชืื ืงืจืืืืช ืืืื ืืืืฆืื ืืช ืืืืจื ืืช ืืื ืื ื ืืื ืจืืื ืืืฉืจ ืงืฉืืจืื ืืืืงืืช ืืืื ืืช ืืขืืฆืื.
ืืื ืืืคื, ืืขืืืื ืฉืืืฉืจืื ืืกืจื ื ืืืืืช ืฉื ืืืฃ ืขืฆืืื, ืฉืืื ื ืชืืื ืืืจืืื ืืืืืื ืื ืฉืืชื ืืื ืืื ืฉื ื ืืืืืืืื ืื ืืืืชืืงืื, ืืืืขื ืืืืจื ืืืื ืืืืื. ืืืื ืืขื ืืืงืืช ืืืกื ืกืคืฆืืคื, ืงืฆืจื ืืืจื. ืชื ืื ืืืจืื ืืื ืชืืืื ืืกืคืืช ืฉื ืจืฉืืช ืขืืจืื ืืช โ ืืืงืจื ืฉืืคื ืื ื, ืขืืจืืืช ืืืืื
โ ืืฉืืชืืฃ ืขื ืืืจืื ืืืฉืจืืื ืืืื ืืช ืืืืืืืืช, ืืฉืจ ืืื ืคืืืคืืจืื ืชืจืืืชืืช ืฉืืชืืงืื ืืืืืืช ืืืื ืืช ืืขืืฉืืืืช.
ืืืชืจ ืืืฉืจ ืืืืืืื ืขื ืขืืฆืื, ืืืจืื ืืืืืื ืขืืกืง ืืขืืฆืื: ืืื ืืงืืืื ืืืืฆืื ื, ืืขืื ืืขืืฃ ืืืงืื ื ืืขืฉืื ืืจืฆืืขืืช ืืชืขืงืืืช ืืืื ื ืืืื ืชืืื
ืืช ืืืื ื, ืฉืขืืื ืืชืื ืจืื ืืจื, ืืขืฆื ืืฉืจืืื ืืคืืจืกื, ืฉืืงืื ืืืฉืื ืืืื ืืื. ืืกืืืื ืืขืืฆืืื ืืืืื ืืืืืืช, ืืืื ืงืจืื ืืืื ืืชืฆืืจืืช ืืกืื ืื ืืืช ืฉื ืืื ืืขืืืืืชืื ืืืืืขืืช ืืืืชืจ ืฉื ืืจื. )ืืืกืืืช ืฉืขืืฆื ืขืืืจ ืืืจืืื ืืืืฃ ืืกืคืจืื โืชืืืขืช ืกืคืจืืโ ืขืืืจ ืงืจืื(. ืืืจืืืืงืืืจื
ืฉื ืืืืืืืื ืืชืคืจืฉืช ืขื ืคื ื ืฉืื ืฉื 3200 ืโืจ.ืืืืฉืช ืืฉื ืื ืืืืจืื ืืช ืื ืืืช ืืช ืืืืืืืื ืืืืช ืืืื, ืืืืช ืืจืืืืช
TRANSLATIONS44
. ืืืืื ืืื ืืจืืฉ ืืืจืืฉืื ื ืืืืื ืฉืืชืืคืืช ืืืจืื ืืื ืื ืืชืืืืกื ืืืกืคืงื ืืืืืื ืืื. ืืืฉื ืคืืืงืก ืืื ืืืืก-ืืืจืก. ืืืื ืืงืืื ื ืฉืืช
ืืคื ื ืืขืฉืจืื ืฉื ื, ืขืจื ืืืงืจ ืขื ืืืืฉื ืืืืืืงืื, ืคืจืื-ืฆืืืืจื, ืื ืืืข ืืฉืืจืืช ืืฆืืคื. ืืืืฆืืื ืฉืื ืื ืืืื ืขืจื ืืคื ื ืืืืงืจืื ืขืจืืืช ืฉื
Untitled, Placebo, 1991; Untitled, .ืกืืืจืืืช, ืฉืืงืืื, ืืกืืืงืื Placebo - Landscape - for Roni, 1993
ืืืื "ืืฆืืข" ืืช ืืฆืืจืชื ืืงืื ืืืืื ื ืฉืืชืืคื ืฉื ืื ืื ืืืืืฉืช Esthรฉtique relationelle,[ ืืืืจืืชื, ืืืจืื ืฉืืืืืจ ื ืืงืืืืก ืืืจืืืื
1998[. ืืืืืจ ืืืขืืืช ืขื ืืืืืจ ืืชืืื ืืจื ืืงืฉืจ ืขื ืืงืื, ืืืฆืืืข ืขื ืงืืืื ืืืืฆืขืืช ืืชืืืื ืขืฆืื. ืืืคืืื ืืงืฉืจืื ืืืื ืืืฉืืื ืืขืืืืช
ืืืื ืืช ื ืืฆื ืื ืืืฆืืจืช ืืืื ืืืจืื ืืื ืื, ืจืืจืงืจืื ืืืจืืืื ืื'ื, ืืืืืืจ ืืช ืืืืฆืืื ืฉืื ื"ืคืืืคืืจืืืช ืืืฉืชืชืคืืช", ืคืจืคืืืื ืก ืืื ืืืื ืืืฉื ืืืืืง ืงืขืจืืช ืืจืง ืฉืืืฉื ืืืืืืืื ืื ืืืืจืืืช ืืื ืืขืืื
ืขื ืืฆืืคืื. ืืฆื ืืืืืืงืื ืืืจืืืื ืฆโืื ืฆโืืื ื ืืืืื ืืืคื ืืืงืื ืฉื ืืื ืืช ืืืขืืื ืืืืืื: ืืืฉืืื, ืืืืืคืื ืืชืืื ืื, ืฉืืืจืื ืืช ืืงืจื
ืืืชืืืืื ืืืืจ ืขื ื"ืืืจ". ืืงืื ืืงืกื ืืื ืืืื ืืืืืืจ ืืช ืืืืฆื ืฉืืื ืขืจืื ืืฉื ืช 2009 ืืืงืืืื ืืืืจืืงืืืช ืืจืืื ืืฉืื: "ืคืขื
ื ืคืืฉื ืคืืจืืืื ื, ืจืืืื ืืืืจืืงืื., ืืฉืืืฉื ืืืจ ืืฉื ืืื ืืืืจืื: ืืืืจ ืื ืื ืืชื ืืืฉื ืืืืืจ ืื ืื ืืชื!". ืขืื ืืชืืื ืืืืืืืช ืืืืืื,
ืืืื ืืืืืืจ ืืช ืืคืจืคืืจืื ืก ืืืืกืืืจื ืฉื ืคืืืจื ืื ืฆืื ื, "ืฆืจืืืช ืืื ืืช" ืื-12 ืืืื ื 1960 ืฉืื ืื ืฆืื ื ืืชื ืืืืืืื ืขื ืืืฆืื ืงืฉืืช ืืื"ื
ืืฆืืข ืืืชื ืืืืื ืื ืืืืื. ืืืงื ืฉื ืืืืืื ืืฆืจ ืืช ืืกืื ืืื ืืืฆืื ืืืช ืืืืื ืืงืื ืฆืคืืืืื ืืื ืืฆืืคื ืืขืืืืช ืืืื ืืช. ืืกืงืืจื ืืงืฆืจื
ืืืืช ืขื ืืืื ืืช ืืืืื ืื ืืคืฉืจ ืฉืื ืืืืืืจ ืืช ืืคืืค-ืืจื ืฉื ืฉื ืืช ืืฉืืฉืื, ืชื ืืขื ืฉืืฆืืืื ืืืกืื ืืช ืืืืื ืืชืคืงืืื ืืจืืฉืื ื
ืืืืคืื ืืืชื ืืืืื ื ืืกืืจื ืืกืื ืืชืจืืืช ืืฆืจืืื: ืื ืื ืืืจืืื ืืคืืืืช ืืืจืง ืืืืงืื ืืืช, Campbell Soup ืืืืืืช, ื ืงื ืืงืืืช ืืขืืืืช
ืืคืืกืื ืืืื ืืื ืืื ืฉื ืงืืืก ืืืืื ืืืจื - ืกืืืื ืืืจืื ืืื ืฉื ืืืืจื ืืืืจืืงืืืช ืืกืืืืช ืืชืืื ืช ืืชืจ. ืืืืชื ืืชืงืืคื, 1968, ืืืืกืืืืจืฃ,
ื ืคืชืื ืืืกืขืื ืฉื ืื ืืื ืกืคืืืจื ืืฉืื Eat Art ืืืืืื ื ืชืืืกืฃ ืืืงืื ืื ืืืืืืืงื ืืื ืืชื.
ืืื ืืืืข ืืื ืฉืืืื ืืืื ืืืคืื ืืืืื ื ืืืืกืกืืื ืืืืืฃ ืฉืืขืื ืืืชื, ืืืืคื ืืืื ืื ืจืขืืชื ื, ืืฉืืฉ ืื ืืื ืืช ืืกืืืืืงื ืืืืืืืงื, ืืื ืืืืื
ืืงืกืคืจืกืืื ืืืืืชื ืืืืื ืื ืืืฆื ื ืงืืืืืช ืฉื ืืฆืื ืกืื. ืืจืื ื ืืืจืืืืืฅ' ืืืืืืื, "ืืืฆื", 1995, ืืืกืจืื ืืฉืืื ืืืืืช ืืจืขืืชื ืืช ืืฆื ื ืข, ืกืื ืืืื ืืืกืื ืฉืืืืื. ืืืฆืืจื ืืจืืฉืื ื ืฉื ืื ืกื ืืงืจืืคื,
ืืืช ืืืืืืืืช ืืืจืืืืืช ืฉื ืืืืชื ืืืืืืงื ืฉืขื ืืฆืืจืชื ืืืคืงื, ืืื ืฆโื ืฆื ืืจืืื ื, ืืืคืืขื ืชืืช ืืืืชืจืช: "ืกืคืจ ืืืืื". ืืืื ืืช ืจืฉืื ืืืืคื
ืืืืกืกืืื ืืืฉื ืฉืืื ื ืฉื ืื, ื- 1985 ืืขื 1993, ืืช ืื ืืืจืืืืช ืฉืืื ืืืื. ืขืฉืจ ืฉื ืื ืืืืจ ืืื ืืงืจืืคื ืืคืืงื ืืืฆืืื ืืืืืืืื
ืืืืื ืืช ืขืืฉืืืืช ืืขืืจ ืจืืืืื, ืืืืืื, ืืืฆื ืืืืจื ืฉื ืฉืืข ืฉืขืืช ืืขืืกืง.(VB52( ืืคืืืฉืืื ืืืืืคื ืช ืืืืื
ืืืืื ืืืช ืืคืืื ืฆืื ื ืช ืืื ืืชืงืช ืืืฉืืืช ืขื ืื ื ืฉืื ืืืืืืืช ืืืืขืื ืืืจืืกืืืงืจืื ืฉื ืืืืจื ืืคืืืืื ืืืืช. ืื ืฉืื ืืืฉืืคืืช ืืืืฆื ืืกืืืืช ืกืืื ืืฉืืืื ืขืฉืื ืืืฉืื ืืืืื ืืืฉืชืชืคืืช ืืืฉืชื ืืืืืจืื ืืืชืื
ืืฆืืข ืืื ืืช ืืืืืฉืืช ืื. ืืืืื ืืืคื ืืืืืืืงื ืืกืจ ืืืขื ืืืืฉืชื, ืื ืืื ืช ืืจื ืืฆืืขืื ืืืช ืืืืืืจืช ืืืื ืฉื ืืื ืืช, ืืฉืืจืช ืคืืืกืืืืช
ืืืืืืืชืืืช, ืืืืืื ืืคืจืคืืจืื ืก ืืืื ืืืืจ ืืืคื ืืืคืืื. ืืฉืืืืจืื ืืืืื ืืื, ืืฉ ืืืืืืจ ืืช ืืคืจืืืืงื ืฉื ืืืื ืืืืืืงื
ืืืืืืื ืโืื ืคืืกืืืืื, "ืืืื-ืฉืื ืื-ืชื ืืขืช ืืื ืืช", ืฉืืืฆื ืืืืืืจื ื-51 ืฉื ืืืืื ืืื ืืืื ืฆืื, ืืืกืืจืช "ืคืืืืืืงื ืืื ืชืืืืืช ืืืชืืืื ืืช": ืืืืื ืืืขื ืืืืื, ืืืขื ืืืคืืื ื ืืืืื ืืช ืืืืจื ืืชืืืื ืืืืืงื; ืืชืืื
ืืืฉื ื ืืงืื ืืฆืืจื ืืคื ืขืืงืจืื ืฉื ืืืข ืืืคืฉื, ืคืจืกืื ืืฉืืืืฉ ืืืคืฉื ืืืืข ืืขืืื ืืืืื. ืืืืก ืืื ืืื ืืช ืืืืื ืืืืจืืืฆืืืช ืืฉืื ืืช: ืขืืฆืื, ืืืคื ื,
ืงืืื ืืข ืืขืื, ืืืืข ืืืื ืืืืื ืืกืื ืืืจืืื ืื ืฉื ืืืืื ื, ืืชืขืจืืื ืฉื ืืฆืจื ืข"ื ืโืจืื ื ืฆ'ืืื ื, ืืืจืืข ืืงืกืคื ืจืืฉืื ืฉื ืคืชื ืืงืื ืืืคืจืื ืืฉื ื. Arts&foods. ืืชืขืจืืื ืืขืฆืืื ืฉืขืืฆืื ืข"ื ืืกืืืืื ืฉื ืืืืื ืจืืื, ืืชืคืจืกืช ืขื ืคื ื ืฉืื ืฉื 7.000 ื"ืจ ืืื ืืืฆืืื ืืืคื
ืคืจืืื ืืื ืืช, ื"ืืืืืืืืช" ืฉื ืืจืกื ืืืฉืื ืืขื ื"ืืืื" ืฉื ืืืื ืืขื, ืคืจื ืง ืืจื. ืืืืื ืืช ืืืฆืืช ืืืคื ืืืืืจ ืฆืืจืืช ืืืืฉืืช ืืื ืืชืืืช ืฉืื ืืช
ืืงืฉืืจืืช ืื ืืฉื ืืืืื ืืืืืฆืืช ืืฉื ืืื ืฉื ืืืื ืืชืฉืข ืขืฉืจื ืืขื ืืืื. ืืขืื, ืืชืขืจืืื ืืืืฉืืช ืฉื ืโืืืคื ืกืืืคืื ื, ืืืืฆืืช ืืืืจืื
Emigration Made. ืคืจืืืชืืืกโ ืฉื ืืืื ืคืืืื ื ืขื ืืืืืฉ ืืื ืโPavilion 148ยฐ. ืืืืงืืืื ืืืืืข ืืืงืกืคื, ื ืืฉืืช ืืช ืืืกืคืจ
ืืกืืืืจื ืืื ืืจืืขืื ืืฉืืื ื ืฉื ืืชืฆืืื. ืืฆืืืจ ืฉืฉืืจืื ืืขื โืืืงโ, ืกืืืคืื ื ืืืืง, ืืกืื ืื ืืืืจืื ื ืืืืคืืื ื ืื, ืืช ืืฆืื ืฉื ืโืืจโ. ืขืืืื
ืืืืืืจื ืืช ืืคืืคืื ืฉื ืโืืฆโืื ืื ืืื ืืืื ื ืฉืื ืืืคืืขื ืืืื ืืขืืช ืขืื ืืื ืคืงืืืืช ืืจืืืื ืืืืืืช ืืืื ืืืืจ ืืื. ืชืืช ืืฆืืืจ ืืืคืืข ืืฉืคืืช ืฉืื ืืช ืืืฉืคื: "ืื ืชืงืื ืืช ืืืื ืืืืื ืืืคืืขืืื ืฉืื ื. ืงื ื ืืืฆืจืื
ืืืืืงืืื". ืกืืืคืื ื ืืฉืืคื ืืช ืืืจืื ืืฉืคืืช ืฉืื ืืช ืืืฉื ื ืืคืขื ืืคืขื ืืช ืชืืื ืืคื ืื ืฉื ืืืืื ืืคื ืืืืื ื ืืืชื ืืื ืืืืฆืืช.
ืืฆืืจืืช ืกืืืืืช ืืื ืืขืืืืช ืืช ืจืขืืื ืืกืืจืืืืืช ืืืืืืืืืฆืื ืฉื ืืืกืืจ ืืื ืืช ืืืื ืฉื ืืงืจืื - ืืื ื ืขื ืืฉืืง - ืฉืืืคืืื ื ืืช ืืืฉืืจ
ืืคืฉืืกืื ืืืืืืื ืืืืคืืขืื ืื ืืืื ืืืืืจืช ืืืืืืืช ืืกืืฆืืืคืืืืืืื ืืืืชืืืืืืช ืืจืืืช ืฉื ืืขืจืืช ืืฉืืืื ืืืืืืช ืืฆืืื ืืื. ืืืื
ืืืืคื ืืืืคื ืฉืื ื ืืืืืืื ืข"ื ืืืื ืืืฉืจืืื ืฉืืจ ืืจืงืืก ืฉืืืชื ื ืกืืื ืืช ืืฆืืช ืื ืืฉื. "ืืื ืืขืืืื" ืืืืืืื ืขืืื ืื ืืืื ืืืืฆืง, ืืืืจืื ืืชืืืื ืืืืืฆืืื ืืืืคื ืกืืืื ืืช ืืืขื ืฉื ืืืื ืืช ืืฉื ืืืืื ืืืืืืื
ืืืคืืืจื ืืฆืจืืื ืืจืืฉืื ืืื ืฉื ืืืื. ืืขืื ืื ื ืืฆืคืื ืืคืืืฉ ืืช ืืจืงืืก ืืืืชื ืืืฉืจืืื ืืืืฆื ืฉื ืืืคื ืืืืจืืช ืืื ืฉืืื ืืืงื ืืชืขืจืืื ืืืืืฉ ืกืคืืืืจ, ื ืขืฆืืจ ืืจืืข ืืื
ืืืชืืื ื ืืืืืื "ืกืืื", ืกืื ืืื ืืืจืื ืืช ืฉื ืชืจืืืช ืืืืฉืื ืืืฉืจืืืืช. ืืืืืื ืืชืขื ืืจืงืืก ืืช ืืื ืช ืืืฆืง ืืืืคืืกื ืืกืืจืื ืคืื ืืฉืจืืื
ืืขื ืืื ืืืฆืง ืืืืื ืืืฉืืื ืขื ืคื ื ืืจืฆืคื, ืืื ืืืฆืข ืกืืจืช ืคืขืืืืช ืื ืืกื ืืืงืฉื ืคืืื ืืื ื ืฉื ืโืงืกืื ืคืืืืง. ืืจืืืื ืืืืคืืคืื ืืืืืคืื
ืืช ืงืืคืกืืืช ืืฆืืข ืืืชืืืื ืืืงืกืคืจืกืืื ืืกืื ืืืืคืฉื ืืืคื ืืฉืคื "ืืงืืืืช" ืืืืืืื ืคืืื. ืื ืืืขืื ืฉื ืืืืืจ, ืืกืื ืืจืงืืก ืืช ืืชืืืืช
ืืืกืืจืชืืช ืฉื ืืืื ืืืฆืืจื ืืืกืืจืืืช ืืืืืืื ืืืฉืืฉ ืืช ืืืืื ืืื ืืชืืืื ืืืฆืืจืชื ืืืืืืื ืืืื ืืืืืช. ืื ืืืฉืื ื ืฉื ืืจืงืืก :" ืืืืื
ืืืคืฉืจ ืื ืืืคืื ืืช ืืืืืจ ืืืชืืื ืืืื ืืช ืืช ืืืืืืช" .
ืืืืื ืื ื-65 ืืื ืฆืื. ืชืขืจืืื ืืื ืืืืืืช ืืืืื ืืช ืืชืื ืืืืืืช ืืจืื ืืืืชื ืืืฉืจืืื
ืืืจืืืืืืืื ืฉื ืืืืื: ืฆืืื ืืืขืโืืจืโืื ืงืืื
ืืืืขื ื ืขื ืื ืืงืืฅ ืฉืขืืจ ืืืืฉืืช ืืจืืจืืืืื, ืืื ืืืจื ืฉืฆืืื ืืืข ืืื ื ืืืืฆื ืืช ืืฉืจืื ืืืืื ืื ืืืืื ืืช 2015. ืืืจืื ืืขื ืืื ืช ืืืืื ืฉืืคื ื ืฉื ืื, ื 1993, ืืืื, ืืืืื ืืืข, ืืื ื ืืืืชื ืชืคืงืื ืืืืจืื ืืืืชื
ืืืฉืจืืื. ืืงืจื ืืืื ืืกืืื ืืืืกืืืจืื ืฉื ืืืืื ืืื ืฉื ืื ืฆืื: ืฉื ื ืืืื ืฉืืืจืืง ืฉื ืขืฉืจืื ืฉื ื ืื ืืื, ื ืชืืงืฉื ืืืืฆื ืืช ืืืื ืชื. ืฉืืืชืื ื
ืืืคื ืช ืื ืฆืืื...ืืชื ืืื ืจืืืื ื ืืจืื ืืฆืืจืืชืื ืืชืืืืืช ืืฆืืืจ ืืื ืืชื ืื ืืืฆืจ ืืืฆืืื
ืืื ืืื ืืืืื, ืืืืืื ืืคืืกืื. ืื ืืืืืช ืืืฆืื ืืืืื ืืื ืืืืืื ืืืคื ืืืจืช ืืืืฆื ืืช ืืฉืจืื?
ืืจืขืืื ื ืืื ืืืขื ืืื ืฉืื ื ืืืื ืืืคืฆืื ืืืื ืืืืฆืืืช ืืคืฆืื ืืคืจื. ืืฉืืชื ืฉื ืืื ืืืืื ืืืงืื ืชืขืจืืื ืฉืื ืืืืกืกืช ืจืง ืขื ืฆืืืจืื, ืืืจ
ืฉืืืขืชื ืื ืืชืืื ืืืืชื. ืืฉืื ืืจืืฉืื ืขืืืชื ืืื ืืฆืืจื ืืืชืืืื ืขื ืืืืจืืืืืช ืืืืืจื ืืกืืืช, ืืืืื ืืืจืื ืื ืืื ืื ืืืฉืจืื ืฉื ืฉื ืืช
ืืืืืฉืื. ืืืืื ืืกืืืืืช ืืืชืืจ ืืจืืฉืื ื ืืชื ืืืืืจื ืื ืืกืืื ืืืืื ืื ืืืคืฉืจืืชื ืืขืฉืืช ืืงืื ืงืกื ืืื, ืืืฉืืชื ืืืืง ืืช ืืคืืื ืฆืืื ืฉื ืืืืชื
ืืื ืืืชืืืื ืืืฆื ืืืืฉ. ืืืืืชื ืืืฆืืจ ืฆืจืืฃ ืืื ืคืืกืื, ืฆืืืจ ืืืจืืืืงืืืจื ืืืื ืืช ืงืฉืจ ืฉื ืืืกืืืช ืืื ืคื ืื ืืืืชื ืืืื ืืืืฆื ืืืืฆืื ื ืืขื ืง ืืืืืื ืืืืคื ืืืืืื ืืช ืืืื ื, ืืฉืจ ืืขืฆืื ืืชืืืืก ืืืฉืคืืข ืขื
ืืืจืื ืืคื ืืื.ืืงืืจ ืืจืขืืื ืื ืกืืื ืืช ืืขืืจ ืืื ืืืคืฉืชื ืืช ืืืืืืืช ืขื ืืืืจืืืืืช
ืืืงืืืืช, ืืืืืืช ืฉื ืืืืชื ืืืจืืฉืืื, ืืืืคื, ืืืจืืื ืืื ืื ืืืจืง. ืืื ืืื ืื ืืคืขื ืืจืืฉืื ื ืฉืื ื ืืงืื ืืืฆื ืืืจืื ืืืืื ืืชืจ ืฉืื, ืคื ืืื ืืื ืืืฆืื ื, ืืืืจื ืืืงืื ืืขืื ืืจืืืืจืื ืืืื ืช, ืืฉืื ืืืืื ืืืงืื. ื ืืื
ืืืืจ ืฉืืืืืจ ืืืจืื ืืืคืืกืืช ืืฉืจืืืืช, ืืืืืคืืื ืช ืืจืฆืื ืืืชืืืื.
ืืฉ ืื ืืขืื ืืจืืฉื ืฉืืืจืช ืฉืื ืืืชืืืจ ืขื ืืืืชื? ื ืืื ืื ืฉืขืืืช ืขื ืืืจืืื ืืืืฉ ืฉื ืืืื ืชืื ืืกืืจืืงืืืจืฆืื ืฉื ืืืืืจืื ืืฉื ืืชืฆืืจืืช?
ืื, ืืืคื, ืืฆืจืชื ืื ืฉืื ืขื ืืื ืืื ืืฉืื ืืชื ืืช ืืจืืื ืชืื ืืฆืืจืช ืืื ืืืฉ, ืืืกืื ืืื ืืื ืฉื ืงืืจืืช ืืืฉืื, ืืขืื ืืจืืืืงืืืจื ืืืฉื. ืื
ืืืืืจืื ืืงืืจื ืืืฉืจืื: ืืื ืื, ืืืืงืื ืืืืคืื ืืื ืืื ืื ืืืงืืืืช, ืฉืื ืฆืืขืชื ืืื ืืืื ืื ืืฉื ืืช ืืืจ. ืืฆืืจื ืืื ืืฆืจืชื ืืชืื ืืืื ื ืืื ืงืืืื
ืืจืืืข ืืืืืืื, ืืฆื ืืืืืื ืขืืืจ ืืืืฆืืื ืฉืืจืฆืื ื ืืืงื.
ืืจืื ืืืืชื ืืืืืง ืืืืฆืขืืช ืืื ืืื ืฆืืืจ ืืคืืจืืื ืืืื ืืืฉืืฉืื ืืืงืืื ืืืืฆืื ืงืืจ ืืขืื ืืืืืื ืืื ืืื ืืืืืื. ืืืคืฆืื ืื ืืืืืืจืื
ืืืืืชืืื, ืื ื ืืกืคื ืืืืจืื ื ืืกืืจ ืืืืืจื ืืืืื, ืื ืืืขืฉื, ืืืืจ ืืืื ืืืืฉื ืืื ืืกืคืจืื ืืช ืืืืกืืืจืื ืฉื ืืฉืจืื, ืฆืืจืช ืืืืื ืื
โืืืื ืืื โืืืโ ืืืกืื ืื ืกืืคืืจ ืืฉืืชืฃ. ืืื ืืงืฉืจ ืืื ืืื ืืืืฆืืืืืืช ืฉืื ืืืืฆืืื?
ืืฆืจืชื ืืขืื ืืืกื, ืืื ืืืคืฆืื ืืกืืคืื. ืื ืื ืืืืื ืืืชื ื ืืงืื ืฆืคื ืืืื ืืฉืจืืื, ืื ืชืชืืืื ืืจืืืืืช ืชื ืืืื, ืชืฉืืื ืื ืฉืืฉ ืืจืื ืืืื
ืื ืืกืืช, ืืืชืืช, ืกืืจืืื ืฉืืืืืจืืื ื ืืกืคืื ืืคืฆืื. ืืขืืชืื ืงืจืืืืช ืืืืกื ืื ืืืื ืืฆืืืื ืืืงืืืืช ืืืืืื, ืืชืืช ืืืืืช ืืงืืจืืื ืืื
ืืืืืขื, ืืื ื ืฉืืคื ืืขืชื ืืืืข ืืืืืืฉ. ืคื ืืืืชื, ืืฆืจืชื ืืฉ ืืืื, ืืขืื ืืืืืขื ืืฉืจืืื; ืื ืืืคืฆืื ืืืืคืกื ืื ืืงืืื ืืชืืชืื ื ืืืจื ืืืืืืืช ื ืืชื
ืืฆืคืืช ืืชืืืื. ืื ืื ื ืืช ื"ืืืืืขื" ืืืืคื ืืืืื ืื ืืืืชืจ, ืืื ืฉืืืชืจ ืงืจืื ืืืฆืืืืช.
ืืชืขืจืืื ืืื ืืืงืก ืฉื ืืจืื ืืืจืื, ืืฉืชืืฉืชื ืืืืืจืื ืฉืงืืื ื ืืฉืื ืืืื ืืืืืกืืื, ืืื ืืกืืืืช ืฉืืืฆืื ืืืืืืืื "ืืงืจื" ืืจืืื ืืืืื ืืืชื
ืืืืืืืงืืื ืืืืื ืืืคืฆืื, ืืื ืืืกืืฃ ืืืืจืื ืฉืืื ืืื ืฉืืืืฉ.ืืืง ืืืืื ืืขืืฆื ืืืืฆืขืืช 64 ืืืื ืืช, ืืฉืืืฉืื ืื ืื ืฉื ืืื,
ืฉื ืืฆืื ืื ืงื ื ืืืงืืืืช ืฉืื ืื. ืืืจ ื ืืกืฃ ืืืืคืืื ืืช ืืืจืืืืงืืืจื ืฉื ืชื ืืืื ืืืฉืจืื. ืืื ืื ืืืื ืืช ืืืคืืกืืื ืืคืืกืืืง ืื ืืืืืืื ืืื,
ืคืฉืืืื, ืฉืืืืฉืืื ืืืืื ืื ืืืื ืืืื ืืื ืืืืืจืื ืืืืคื ืืืฉืื ืืช ืื ืฉืงืจืื "ืืจืืืืงืืืจื ืกืคืื ืื ืืช ืืืืืจืช ืืฉืคืช ืืืงืื". ืืืจืืืืืช ืฉืืื ื
ืคืจื ืืืฉืืชื ืฉื ืื ืฉื ืืงืฆืืข ืื ืืื ืฉื ืขืฉืืช ืข"ื ืื ืฉืื ืฉืืืฆืืื ืืคืฆืื, ืืฉืชืืฉืื ืืื ืืืืืืจืื ืืืชื.
ืื ืืืงืจื ืืื ืื ืืชื ืืช ืืื ืืขืฆืื, ืชืืืื ืืกืืืืื ืฉืื ืืืคื. ืขืืืื ืฉื ืืฉืื ืฉืืืฉื ืืืืฉืื ืืื ืืื ืขืื ืืืืื ืื ืืืง ืื ืคืจื ืืืืืืืฃ ืืช ืืกืืจ ืฉืืื ืืื, ืืื ืืืชืืฉื ืืงืืจืืช ืืืืชื. ืืืืื ืื ืืื ืืฆืืืจ ืฉืืืฆืื
ืืชืขืจืืื ืืฉืชืืฉืื ืืืืื ื ืืฉืคื ืืืงืืืืช. ืื ืฆืืืจ ืขืฉืื ืืืืงืื ืฉืื ืื ืฉื ืืฆืจื ืืืงืืจืืช ืืืืื ืื ืฉืื ืื ืืืื ืืืืืจ ืืืชืจ ืืงืืืคืืืืฆืื
ืืืฉื.
ืืืขืชื ืืืื ืืขื ืืื ืฉืืืคืฆืื ื ืืฆืืื ืืชืื ืกืืืืช ืกืืจืืื ืืขืืืช ืชืฆืืจืืช ืฉืื ืืช ืฉืืขืืจ ืืื ืืื ืชืคืงืื ืืขืชื ืื ืจืืงืื. ืืกืืจืืื ืืืคืืขืื ืืจืื
ืืขืืืืืชืื, ืืฆืืืจืื ืืื ืืืฆืืจื ืชืืช ืืืืืืช. ืืื ืกืื ืืจืืื ืืืืคืืฉ ืืืฆืืจืชืืช ืืืืืจื ืืกืืืช ืืชืืื ืืืื'ืืื ืืจื, ืืคื ืฉืืชืื ืจืืืืื ื ืงืจืืืก
ืืืืืจ ืืืืข ืฉืืชืคืจืกื ืืฉื ืช 1978. ืื ืืืืฆื ืืืืื ืืกืืจื?ืืกืืื ืืื ืื "ืชืื ืืช" ืืืจืช, ืืื ืฆืืจื ืฉืืืืกืกืช ืขื ืืืืงื ืืืจืืื;
ืืจืื ืจืืง )HORROR VAQUI (, ืืงืืืข ืืจื ืืืืงื ืืื ืืจืืช. ืืื ืืืืฆืืช ืืช ืืขืจื ืืืืืจื ืืกืื ืฉื ืืืฉืืื ืืืืขื ื ืื ืืคืจืกืคืงืืืื
ืืืืื ืืขืืืง. ืื ื ืืฉืชืืฉ ืืกืืื ืืืืืืืืงืืื ืืืจืื ืืื ืืืืฆื ืืช ืจืขืืื ืืืจืืืืจืื, ืืืืืจ ืืฉืืืืช ืคืจืืืืืืืืช ืืืืืืืืืืืืช, ืืฉืจ
ืืืืฆืขืืชื ื ืืชื ืืงืืื ืืจืื ืืกืืื, ืืคื ืฉืจืืืื ืืืืืื "ืกืืจืืื". ืืืืื ืื ืืขืืืื ืฉืื ืืชืืืืกืช ืืกืืจืืื ืืื ืฉืืื ืืืืจืื ืช ืืช ืืืกืืจืช ืืืืคืฉืืช; ืื ื ืจืืื ืืื ืื ืืื ืืช ืื ืืช ืืืฉืืขืืช ืืคืืืืืืช: ืืืจ, ืืฉืืื, ืืขืฆืจ; ืฆืืจืืช ืืืืืฆืืืช ืืืืื ืืื ืืช ืืืกืจ ืืืืืืช ืื ืืข ืื
ืืืชืื ืืจืื ืกืคืฆืืคื.
ืกืคืจ ืื ืงืฆืช ืืืชืจ ืขื ืืืคืฆืื. ืืืจืช ืื ืฉืื ืืืืืจืื ืืืืขืื ืืืฉืจืื.
ืืฉ ืืื ืกืืื ืืืืืืช? ืืจื ื ืืชื ืืื ืืืฆืื ืืช ืืืชื ืืืืจืื ืืืืืืื...ืืฉืื ืืืื ืฉืืืงืืจ ืืื ืืงืืื ืืืืื ืฉืืืืืจ ืืื ืืืืืืช ืืฉืจืืืืช
ืืืืืงืช. ืื ืืกืฃ ืื ื ืืืืืฉ ืืืืคื ืืืคืืจื ืืช ืืืืฃ ืืฉืืืจ ืขื ืืื, ืืืืื ืฉืืื ืจืืข ืฉืื ืืื ืื ื ืืืืช ืืขื, ืืืื ืืคืืื ืืืื, ืืืืื ืฉืืืชืจ ืืื
ืื ืืืจืืง ืฉืื ืืืจ ืืขืืืฃ ืืืขืช ืฉืืืืืฉืื ืืงืื ืืืืจืื ืงืืืืื. ืื ืฉืขืฉืืชื ืืื ืืงืืช ืืช ืืืคืฆืื ืืื ืฉืืืืฉ ืฉืืฆืืชื, ืืืชื ืืืจืื
ืฉืืื ื ื ืืขืื ืืื ืื ืืจืืืช ืืืชืจ, ืืืื ืฉืื ืื ื ืืฉืืืจืื ืืืืืจืื ื ืื ืืคืืื ืืชืขืืืื ืืื. ืืื ืืคืืชื ืืืชื ืืืืจ ืืืจ, "ืืืฆืืชื ืืืชื ืืืืจ", ืืื
ืคื ื ืืงืื.ืืืืื ืื ืืืฆืืจื ืฉืื ืืื ืืจืืืืืืืื ืฉื ืืืืื, ืฉื ืื ืฉืืฉ ืขืืฉืื, ืื
ืฉื ืืฆื ืืฉืืืืฉ ืืื ืืืื ืืืืื ืืื ืืงืื.
ืืจื ืืื, ืืฉื ืฉื ืืืืชื ืืขื ืืื ืืืื: โืืจืืืืืืืื ืฉื ืืืืืโ, ื ืืื All the Worldโs ืฉืืฉ ืขื ืืื ืืืฆืื ืืช ืื ืืฉื ืฉืืืชื ืืืจ ืืืงืื ืื ืืืืืจ
Futures ืืื ืืขืืจ ืืืืืื, ืชืื ืจืืืื ืืืืืืืช ืืขืืจ ืืขืชืื. ืื ืืขืชื ืขื ืื?
โืืจืืืืืืืื ืฉื ืืืืืโ ืืืช ืืืืื ืืืชืจืช ืคืจืืืงืกืืืช, ืืืงืกืืืืจืื. ืืืจืืืืืืืื ืืื ืืขืืจ, ืืื ืืืงืจื ืฉืืคื ืื ื ืืฉื ืืจืื ืขื ืืกืคืงื
ืืืจืก ืื ืืจื ืื ืืชื ืื ืืืืื ืืืฉืจ ืืื ื ืืชื ืืืฉืืืช ืืืชื ืืชื ืืจืืืืืืื. ืืืืชืจืช ืืจืืืช ืื ืขื ืชืคืืกื ืื ืชืจืืคืืืืืืช ืืืืช ืืฉืื
ืฉืืืคืฆืื ืืืืฆืืื ืชืงืืคื ืฉืืื, ืืฆื ืคืืืืื ืืืืจืชื. ืืคืจืืืืงื ืฉืื ืื ืื ืืฉืชื ืืกืืืืช ืฉืื ืืข ืฉืื ืืช: ืืื ืงืืื ืื ืืกืืื ืืืฆืืจ ืกืืจ, ืืืืื ืื ื ืืืืืฉ
ืืช ืืืขืจืืืืช, ืืืจืกืื ืืืืชืคืืจืจืืช ืฉื ืืืื ืื ืืฉื ืืืืื ืืื ืืืชืืืืื ืืื ืืื ืืืืืจื ื ืขืืืื.
ืืคืจืืืืงื ืืื ืงืืืืื ื ืืฉืืื ืืื ืืชื ืขืืกืง ืืฉื ืื, ืืื ืืืฉื ืืืืืืื
ืืื ืืฉืจืืืื ืืคืืกืืื ืืื ืืืืืืช ืืชืจืืืชืืช?ืื ื ืืืฉื ืฉืืืืจืื ืืืื ืงืืืืื ืืฆืืจื ืืืฉืื. ื ืืชื ืืืฆืื ืืคืฆืื
ืืืคืืกืืื ืืืืจื ืืคืืกืืื ืืืช, ืืฉื ื ืืื ืขืืืืืช ืืื ืืฉ ืืื ืืื ืืืืืื ืืขืจืืืช. ืืื ืขืืืื ืืืื ืืืง ืืืืง ืืื ื ืืืจืื ืืืืฆื, ืืฉืชืืฉืชื
ืืืืืงืื, ืฉืืจื ืขืฅ, ืืคืฆืื ืืืืืืจืื, ืืืชืจืชื ืืชืื ืืืื ื ืืืฆืื ืชืืืฉืช ืืจืขืืืช ืืืจืื ืืืืคืืื ืืื ืืืื ืืืื ืืื ืฉืื ื. ืื ืื ืืืฉืฃ ืืฆืืจื ืืกืืืืืช
ืืช ืืืฆื ืืืืจื ืืชืืืื.
ืืื ืืื ืฉื ืื ืืืืชื ืืืฉืจืืื ืืืืื ืืื ืืืืฆื ืชืืืคืืช ืขโื ืืื ื ืืืืื, ืื ื ืืืฉืืช ืืืฉื ืขื ืืืื ืจืืื ืจ, ืืื ืื-ื ืจ ืืกืืืืืช ืื ืืื ืืืชืขืจืืื
ืืืืจืื ื ืืฆืื ืืืขื ืจืืื. ืืืืข ืืืขืชื ืืฉื ื ื ืืืจ ืฆืืืจ?ืื, ืื ืชืืื ืืื ืืื ื ืืืืื, ืืืจืืช ืฉืขืืฉืื ืืชืืื ืืืื ืืืืคื ื,
ืืืืืื ืืืฉืจืื. ืื ื ืืืื ืืืืจ ืื ืฉืืฉื ื ืืืืืจื ื ืขืฉืชื ืข"ื ืืขืื ืืช ืืืืฉื ืืืจืื, ืืื ืื ืืืืฆืจืื. ืืคื ืฉืืช ืืืืืื ืืืืขืช ืื ืฉื ื ืืฉืชื ืื
ืงืจืืืจืืื ืื ืืืืืื ื ืืืฉืื. ืืคืขื ืคืจืกืื ืืืืขื ืืขื ืืคื ืืชื ืขืช ืืื ืืชื ืืืืื ืืืืืื ืืื ืืงืืช ืืืง ืืืืจื. ื ืืื ืื ืฉืืืืขื 68 ืืฆืขืืช. ืืืืื,
ืื ื ืฉืื ืฉืื ื ืคื. ืืื ืืืคื, ืื ืื ื ืืฆืื ืืืืื, "ืกืืจืืื" ืืืื ืืืง ืื ืืืจืืื ืืืืืฆื ืืืฉืชืื ืื ืืืคืืื. ืืช ืืืืืื ืฆืืืื ื ืืฉื ืช 2003
ืืืจืื ืืคื, ืืืจืคืกืช ืื ืืื ืื ืฉืื ื ืืืืจืื ืื ืืฆืืชื ืื ืืจืืืื ืื ืืช ืืื ืืืื ืืื ืืืืืจ ืฉืื ืืืื ืืืืืื ืืขืจืืื.
ื ืืื ืืขืืฉืื ืืฉ ืื ืืืจืืืช ืืืช?ืื, ืื ื ืื ืขืืื ืขื ืืืจืื ืืกืืืืืช, ืืืื ืืืืจื ืฉืื ืืืืื ืฉืื ื ืืขืืืฃ
ืืืืืช ืืืืฉ ืืื ืืืฆืื ืืช ืขืฆืื ืืกืืืืืฆืืืช ืืกืืจืืืช. ืื ื ืืืืช ืจืืฆื ืืืืืช ืืืืจื ืืืคืฉื. ืืืฉื 15 ืฉื ื ืขืืืชื ืขื ืื ืื ื ื ืืืื, ืืื ืืื ืกืืจื ืืช ืืืืจืื ืื ืฉืืจื ื ืืืจืื ืืืื ืืืืื. ืื ื ืืขืืืฃ ืืขืืื ืขื ืืืืืืื ืื,
ืืืืืื ืืืืจ ืืชืขืจืืื ืืืืฉืืช ืฉื ืขืจืื ืืืืืืืื ืชื ืืืื ื- 2008 ืืืชืขืจืืืืช ืฉืืื ืืืืฉื ืืืืืืืื ืืฉืืื, ืืืืืืืื ืืืื ืืืจืกืืืื
ืืืฉืื ืืืื, ืืงืจื ืืจืืื ืืืืืื. ืืฆืืชื ืืืจืื ืืืื ืืืืืืื ืื ืืืจืืืื ืืืืจื ืืืืืื. ืืืื ืืืจื ืฉืื ืืืืืช ืขืฆืืื. ืขืื ืืืืืืช ืฉืืืืืื ืืืฉืจืื
ืื ื ืืืื ืืขืืื ืขื ืืืจืืืช, ืืื ืืฉืื ืื ืืืื ืืฉื ืืช ืืงืื ืืืืืื ืืืฆืืื ืื ืืืงืืืืช ืืกืืืืืื ืืื ืืืืืช ืื ืืื ืขโื ืืงืื ืฆืคื ืืืกืืจื.
ืืจืฆืื ื ืื ืืืืกืืฃ ืืื ืืืจืื ืขื ืื ืฉืงืืจื ืืืื ืืฉืืง ืืืื ืืช: ืื ื ืจืืื ืืฆื ืืืื ืืขืืืชื ืืืืขืชื ืืืืจ ืจืง ืืืื ืืืืืืจ. ืงืืื ืืฆื ืฉืื ืืฉืืง
ืืคืงื ืขื ืืืื ืืช, ืืืืื ืืคืืื ืืืชืจ ืืื, ืืื ืืคืงื ืขื ืขืฆื ืืืืชื. ืืืืืจ ืืืืืื ืืืื ืื ืฆืขืืจืื ืืคืื ืื ืืืืืื ืืื ืืชื ืืกืืืื ืืฉืจ ืืืืืจ
ืืืฆืืืื ืืจืืฉ ืขื ืืื ืขืืื ืืืกืืจ ืืืขืืื ื ืื ืชืืคืขื ืืืืจื ืืืืชืจ.
ืฆืืื ืืืขืืจืืืืืืืืื ืฉื ืืืื
ืืืืชื ืืืฉืจืืื, ืืืืื ืื ืึพ56 ืืืื ืืช ืืืื ืฆืื, 2015
ืืืฆืจืช: ืืืก ืืืืจ
ืืจืืืืืืืืื ืฉื ืืืื, ืืคืจืืืงื ืฉื ืฆืืื ืืืข ืืืืชื ืืืฉืจืืื ืืืืื ืื ื-56 ืืืื ืฆืื, ืืื ืืืฆื ืืืฉ ืืกืคืฆืืคื ืืืชืจ ืืืงืคื ืืชืืื ืืช
ืืืืคืืื ืื ืืชืืืืืื ืืืฆืืจื ืืื ืืฉืื ืื ืฉื ืขืืืืชื ืฉื ืืืข ืืืืจื ืืฉื ืื. ืืคืจืืืงื ืืชืคืจืฉ ืขื ืฆืืื ืืืืฆืื ื ืฉื ืืืืชื ืืื ืื ืืชืืื, ืชืื ืขืจืขืืจ
ืืืื ืืช ืืืืจืืช ืืื ืคื ืื ืืืืฅ, ืคืื ืงืฆืืื ืื ืืืืฆืืื, ืืืื ืื ืืื, ืืฆืื, ื ืืืฉ ืืืืืคื. ืืื ืืขืื ืฉืืืืช ืืคืืกืืืืืืืืืช ืคื ืื-ืืื ืืชืืืช, ืืื ืื
ืฉืืืืช ืคืืืืืืืช ืืชืจืืืชืืืช ืื ืืืขืืช ืืืงืืืืืช ืืืืืืจื, ืืืืืช ืืืืจืืืืช ืืืืจืื ืงืืืืืช, ืืืืืื ืฉื ืืจืขืืืช ืืืืชืงืืืืืช ืืขืืื ืฉื ืืืกืจ ืืฆืืืืช.
ืืืื ืืจืืงืฆืื ืฉื ืืฆืืคื ืขื ืืคืจืืืงื ืืชืืืื ืืืจ ืขื ืืืชืงืจืืืช ืืืืชื, ืืืืืกื ืืืื ืืืขืืคืช ืืืืจืืช ืืขืฉืืื ืืืืช ืฆืืืื ืืืื ืฉืืืจืื,
ืืงืฉืืจืื ืืืืืงื ืื ืืื ืืืืืงืื ืื ืืชืืืื ืืืืืืื ืืืฆืขื ืงืฉืืจื ืืืืืชืจืื ืืืจืื, ืืืืฆืจืื ืืขืื ืืขืืคืช ืืื ื. ืืขืืคืช ืกืืคืืช, ืื ืื
ืืจืชืืขื, ืงืืฆื ืืช ืืืืงืจืช. ืืืื ืื ืืฆืจ ืืงืืจืืช ืืฆืืืืื ืืจืฆื, ืืืืจื ืื-ืืฉืขื ืฉืืื ืืกืจ ืืืืื ื ืืืื ืืืคื ืืืืจืืข ืคืืกืืื ืืืจืื, ืืืืจื ืืงื ื
TRANSLATIONS 45
ืืกืคืง ืืช ืฆืืจืื ืืืืืืืกืื ืืืงืืืืช, ืื ืืื ื ืืืืื ืืขืืื ืืืฆืื ื ืจืื ืืืโื. ืืขืืืช ืืืช, ืืฉ ืืืืืืชื ื ืืืืฆื ืจืขืืื ืืช ืืืืืืฉืื. ืืืฆืจ ืืืฆืื
ืืืฉืจืืื ืืื ืฉืืจืืชืื ืืืฉื ืืื ืฉืืื ื ืชืืืืื ืืืืืื ืฉื ืืืืื ื, ืืืืงืฃ ืืืืืืกืืืชื ืื ืืืงืืจืืช ืืืื ืฉืื, ืืื ืงืฉืืจืื ืืืืืืืช ืืืขืจืืื ืฉื
ืชืืฉืื ืืืืื ื, ืืืืืืืช ืฉืฉืืจืฉืื ืืขืืจ ืืจืืืง ืฉื ืขื ืืฉืจืื. ืืกืคืจ ืื ืกืืคืืจ.
ื ืชืืงืฉืชื ืืืขื ืืง ืืืืฆืขืืช ืืืืชื ืชืืืืช ืฉื ืืืื ืฆืขืืจื ืืืืื ืช ืืฉืจืื. ืืจืขืืื ืืชืงืื ืขื ืืขืชื, ืื ืื ืืจื ืื ืื ื ืืืืช ืืกืืืืืช. ืืื ืงืฆืจ
ืืืจ ืื ื ืืืื ืื ืืจืืืช ืฆืขืืจ ืขื ืืืืช ืืชืคืืืื ืืฉืขืช ืชืคืืื ืืืืชื ืืืขืจืื ืืืจืืจืชื ืืขืฆืื: โืืืืืจ ืืฆืขืืจ ืืื 28 ืฉืขืืื ืชืฉืืืฉื ืงืืืฉ
ืื ื ืืืชืจ ืืฉืืืฉืช ืืืคืื ืฉื ืโ. ืืืืืชื ืจืืข ืืื ืชื ืฉืืื ืืืืืง ืืจืขืืื ืืืืืื ืฉืืืืฆืขืืชื ืืจืฆืื ื ืืืืืืจ ืืช ืืืืช ืืืืชื ืืืช ืืืื ืืื ืืข ืืช
ืืืื ืช ืืฉืจืื: ืืืื ืฆืขืืจื ืฉืื ืืืืื ืืืืื ืื ืืขืชืื ืืื ืืงืฉืจ ืืืืืฅ ืฉืื ืขื ืืขืืจ ืืขื ืืืืกืืืจืื ืฉืื.
ืืืจื ืืื ืืืืจ ืืฉืืจืืช ืืฆืืื, ืืฆืขืืจืื ืืืฉืจืืืืื ืืืฆืืื ืืืืื ืืขืืื ืืืชื ืกืื ืืืืืืืช ืฉืื ืืช. ืืขืืื ืืืื, ืืืืืื ืืืื ื ืคืชืืื ืืคื ืืื, ืืื ืืืื ืื ืืงืืื ืืืืืืืข ืืืืืฉืื, ืื ืืืืืจืืื ืงืืื ืขืืจ ืขืฉืืจ ืืืืจืื
ืืืืกืืืจืื, ืืืืื ืืขืจืืื.ืืืื ืื ื ืืืืจ ืืฉืืืชื ืืงืืืืช, ืื ืืฉื โืฉืืืช ืืขืชืืโ ืืื ืคืื ื ืื
ืืืืจ, ืื ืืืจืชื ื ืืื ืืืจืืืช ืืืืฆืขืืช ืืืืชื ืื ืืชื ืืขื ืงืืืื ืืื ื ืืชืืืื ืขืืฉืื, ืืืืื, ืืื ืืคื ื 3000 ืฉื ื! ืืื ืืจืขืืื ืฉืื ื ืืืื
ืืขืชืื, ืฉืืจื ืืืืกืืืจืื ืืื ืืืจื ืืืจืื ืืื ืืืช ืืืืจ.ืืืืชื ืฉืชืืื ื ืขื ืืื ืืืจืืื ืืื ืงื ืคื ื ืื ื ืขื ืฉืื ืฉื 2400 ืโืจ, ืืื
ืืชืืื ืืช ืืืืืืช ืฉื ืืืื ื?ืืฆืืจื ืืืจืืื ืืืฆืจื ืฉื ืืืื ื ืืฉืงืคืช ืืช ืืืืคืืืจืคืื ืฉื ืืืื ืช
ืืฉืจืื. ืงื ืคื ืืื ืืช ืืจืขืืื ืืืฆืืจ ืฉืื ื ืืื ืืืฉืชืจืข ืืืืจื 60 ืืืจ ืืืืื ืืืขื ืืช ืื ืฉืื ืืืืชื ืฉืืืจืื 100 ืืืจ. ืืืจืื ืืืื ืืคืจืืืืืจ ืืืืื ืืชืืจ ืืจืืืืงืืื ื, ืื ืืกืื ื ืืืชืืืื ืขื ืืืขืื ืืชืื ืืฉืืื ืืืจืื
ืืืจืฅ: ืฉืื ืืฆืืืฆื ืฉืื ืืฉ ืืืงื ืชืืืจืืช, ืืจืืืืงืืืจื, ืืงืืืืช ืืขืื, ืืืืืืง ืืฆืืจื ืื ื ืืื ืืืืชื. ืืื ืฆืืื ืืืคื ืืขืื ืืขืื ืืืื ืืื ืืืชืืจ
ืืงืื ืืืคืฉื ืืืจืืื ืคืขืืืืช ืฉืื ืื, ืืืืฉืืืื ืืืืืงืื ืืฉืืืฉื ืืืืืืช ืืขืืืืื ืืจืฉืืช ืืืืงืจืื. ืืฆืืจื ืื ื ืืฆืื ื ืืช ืืืจืื ืืืื ืืื
ืจืง ืืช ืืฉืื ืขืืื ืขืืื ืืืืชื. ืืืื ืืกืจืื ืืืืื ืืืื ืจืืฆื ืืืขืืืจ ืืืืชื? ืืคื ืืขืชื ืืืจืืข ืืืงืกืคื ืืืื ืืฉื ืืช ืืช ืืขืช ืืงืื ืืืื ืืฉืจืื? ืืชื ืขืฆืื ืืืจืช ืืคื ื ืืื
ืืืืฉืื ืืขืช ืืฆืืช ืืืืชื, ืฉโืืฉืืืคื ืืื ืืืจืืืช ืืช ืคื ืื ืืืืืชืืื ืฉื ืืฉืจืื, ืืฉืื ืื ืืืืจื ืื ืืื ืืืฆืืช ืืขื ืืคื ืืขืืชืื ืืโ.
ืืืช ืืกืืืืช, ืืฉืจ ืืืืืื ืืืฉืงืขื ืืกืคืืช ืื ืืืืืืช ืืืฉืชืชืคืืชื ื ืืืืจืืข ืืืงืกืคื, ืืื ืืืฆืื ืืช ืืืืืืื ืืฉืื ืื ืฉื ืืฉืจืื. ืื ื ืืืืื
ืืขืื ืืื ืื ืืฉื ืืช ืืช ืืืฉืช ืืงืื ืืืืื ื. ืืืจื ืืื ืืืฉืจ ืืืืจืื ืขื ืืฉืจืื, ืืืืืขืืช ืืจืืฉืื ืืช ืืืืคืืขืืช ืขื ืืคื ืืขืืชืื ืื ืืืืืืืจืืช
ืืืืฉืืช ืืืืืืืืื ืื ืืช ืืคืืืืืืงื, ืืืกืคืงืืื ืืฉืืืืืื ืฉืื. ืจืง ืืืจ ืื ืืืคืืขืืช ืืืืฉืืช ืืืืืืืืช ืืชืืื ืืชืจืืืช, ืืืื ืืืืืื, ืืชืืืจืืช ืืืโ.
ืืืื, ืื ืื ื ืืขืื ืืื ืื ืืืคืื ืืช ืกืืจ ืืืืจืื ืืืืืืืฉ ืืช ืืืืืืืืช ืืื ืืฆืืืื ืช ืืฉืจืื. ืืืจืชื ื ืืืฆืื ืืช ืืจืืืื ืืืช ืฉื ืืฉืจืื, ืืืื ื
ืฉืืฉืืฉืช ืืืช ืืฆืขืืจืื ืืื ืืขืืื ืืืืืคืืื ืช ืืืืืืืกืื ืืืจืืื ืืช ืืืืจืืืช ืืขืืืช ืืืชืืช ืฉืื ืืช ืืืืืช ืืืื ืืฉืืื. ืืฉื ื ืืืฆืื ืจืืกืื,
ืืืืืื, ืืชืืืคืื, ืืืกืืืื, ื ืืฆืจืื, ืืืืื ืขืืื ื ืืืืืืฉ ืืช ืืฆื ืืงืืกืืืคืืืืื ืืืฆืืขืื ื ืฉื ืืืจืฅ.
ืื ืืืืื ืืืืื ืืืืฉ: ืืฆืืขืื ืฉื ืืืจื ืืฆืืื ืื ืืช ืืืืืืื ืืื ืืฉืจืื ืืฉืืจ ืืขืืื. ืืืืื ื ืืื ื ืืืืืืช, ืืื ืืืืื ืืืง ืืฉืื ืืืืืืช
ืืขืืื, ืืจืืื ืืืงืฉืื ืืฉืชืฃ ืขืื ืคืขืืื ืืชืืืืื ืฉืื ืื ืืืื ืืงืืืืช, ืืงืืืื, ืืืขืื ืืขืกืงืื.
ืืืฉืจืืืื ื ืืกืขืื ืืื ืืงืื, ืืื ืฉืื ืืจืืื ืืขืืื ืืืงืจืื ืืืฉืจืื, ืืืื ืื ืืืืจืืช ืฉืงืืขื ื: ืืืจืืืช ืืฉืจืื ืคืชืืื ืืขืืื, ืจืืช ืคื ืื
ืืืกืืืจืช ืคื ืื, ืืืืจืืืช, ืืชืงืืืช ืืืื ืืืขืืช ืืืกืืืจืื ืขืชืืงื. ืื ืืืืืจ ืืืื ืงืจ ืืืืฆืข ืืืืืจ ืฉืืื ื ืืืืื ืื ืงื ื ืชืืชื ืืขืืจ ืืืืื,
ืืืจืืช ืฉืืฆืขืจื ื ืืจื ืืฉ ืื ืฉืืฆืืืจ ืืืชื ื ืื. ืืืืชื, ืืืฅ ืืืืืฉ ืขื ืืงื-ืืง, ืืงืืืืช ืืงืืืืืช, ืืืง ืืืืจืื ืืืงืืฉ
ืืืืื, ืืืชืื ืืืืื ืฉื ืชืขืจืืืช ืืืงืกืคื. ืืืืชื ืชืืฆื ืชืขืจืืืช ืฆืืืื ืฉื ืื ืื COLORFOOD. ืืื ืชืจืฆื ืืกืคืจ ืื ื ืขืืื?
ืืืืคื ืืืื ืืจืฆืื ื ื ืืืจืืืช ืฉืื ื ืืฉื ืืืืื ืืืฉืจืื ืืืื ืืงืืืื ืจื. ืืื ืืืชืืืืกืืช ืืืื ืืื ืืืจื ืืื ืืื ืืืืื ืืกืืจืชื, ืืืืฉืจ ืืืืืจ ืืืืื, ื ืืื ืืืฉืื ืขื ืืืืฉืื ืฉื ืืืืืืช ืืืกืืชืืช. ืื ื ืืฉ ืืืื
ืืืืจืื ืืืจืื โืืืืืชโ ืโืกืืชืืชโ. ืืืืขืืื ืืืืขืื ืืกืืจืื, ืืืืืื, ืืจืืงื, ืืจืฆืืช ืืืจืืช ืืืโ. ืืชืขืจืืื ืฉื ืื ืื ืืคืจืฉืช ืืช ืืืืืืื
ืืงืืืืื ืืชืื ืืืืื ืืืฉืจืืื ืืืืคื ืืืื ืืืืืืื: ืืืืฆืขืืช ืืฆืืข. ืืืืฉืื ืืืจืืงืื ืืืืคืืื ืืฆืืื, ืืืืฉืื ืืืืืืงื โ ืืืืื, ืืืืืื
ืืกืืจื โ ืืื ืจืืืื ื, ืืื ืื ืฉืืจ ืืืืืืื. ืืขืืฉืจ ืืฆืืขืื ื ืืื ืืืืจื ืืืืืื ืืืืจืช ืืกืืจืืช ืืืืฉืื ืืฉืื ืืช ืฉื ืืืืื ืืืฉืจืืื.
ืืืืชื ืืืฉืจืืื ืืืืงื ืขื ืื ืืื ืืื ืืืืืืงื, ืืืช ืืืืจื ืฉืืื ืื ืฉืื ืืงืจื? ืืื ืืืืกืื ืฉืืื ืขื ืืืืืื?
ืืืืื ืืื ืื ื ืืืืืช ืืืืงืืื ืื ืงืืื ืื ืื ืืจืืืืช, ืขื ืื ืืืืชื ืืืืืืงื. ืืืื ืืืื, ืืืืืื ืื ืืืจืืืช ืจืื. ืืฉืื ืื ืื ื ืืขืื ืืื ืื
ืืืงืื ืืืชื ืืขื ืชืื ืื ืืขืืืืื ืืจืื ืืืชืืงืฉืช ืืืืืงืื ืืืกืืจืืื, ืื ืงืืื ืฉืืืืจ ืืืฆื ืื ืื ืืขืื ื ืฉืื ืื ื ืืืืืืงืื. ืืงืืจืื ืืื ืฉื ื
ืืืืชื ืื ืืืืฆืืช ืืืืคื ื ืื ืืช ืืืืืืืช ืืื ืืืืืื ืืืฉืจืื, ืืื ืจืง ืืจืืช ืืืืฉื. ืืืืกืื ืืื ืฉืชื ืืืืื ืืช ืืืจืืื ืืืจืื ืืืงืฉืจ ืืจืฉืื
ืืืืื ืืืกืื, ืืืืืืจ ืืฉืชื ืืืืืืช ืฉืืงืฉืจ ืืื ืืื ื ืืืข ืืชืืืืื ืจืืื: ืืื ืืืจืกืืืืืช, ืชืืืจืืช, ืงืฉืจื ืืืข ืืื ืคืืืืืืงื. ืืชืื ื ืขื ืืกืื ืืฉืื
ืืืื ืืคื ื 14 ืฉื ื, ืืื ืื ื ืคืขืืืื ืืืื ืืชืืืืื ืฉืื ืื. ืืืืื ืฉืืกืืืืืช ืืื ืฉื ื ืืืืชื ืื ืืฉืงืคืช ืืช ืืงืืจืื ืืื ืฉืชื ืืืืื ืืช
ืืืืืืืช.ืืฉื ืฉื ืืชื ืืืงืกืคื ืืื โืืืืื ืืช ืืืืจ ืืืจืฅ, ืืื ืจืืื ืฉื ืืืืืโ. ืฉื ืฉืืชืืื ืืืคืืื ืืืฉืืื ืืฉืจ ื ืืฆืืช ืืคื ื ืืฉืจืื ืืื ืืืชืืื: ืืืคืจืื
ืืืื ืืฉืจ ืืืืขื ืืื ื ืขืฉืืจื ืืืฉืืืื. ืื ืืชื ืืฆืคื ืืืืืื ืืช ืืืืจืืช ืืืฉืชืชืคืืช ืืชืขืจืืื?
ืืืขืชื, ืื ืืืื ื ืืคืจืฉืช ืืช ืื ืืฉื ืืืืื ืืืชืื ืืชืืื ืืชืื ืืกืคืฆืืคืืืช. ืื ื ืืืื ืืืืืื ืฉืืืื ื ืืขืืช ืฉืื ืขื ืง ืืื ืงื ืื ืื
ืืืงืจืืื ื, ืืืืืืืืช ืืช ืืขืืื ืืืืืืืืื, ืฉืื ืืช ืืืชื ื. ืขืงื ืืืืื ืืืืืกืืจ ืืืื, ื ืืืฆื ืืฉืจืื ืืืชืืืื ืขื ืฆืืจืืื ืืขืืจืช ืืื ืืืืืื. ืื
ืืขื ืงื ื ืืฉืืืืช ืจืืฉืื ืืช ืืืฉืืืื ืืืืขืืื ืืชืื ืืืืจื ืืืชืืื ืืฉืืืจื, ืืืืื ืขืืงื ืืขืืื ืืชืฉืืืช ืื ืจืื ืืืจ ืกืื ืื ืฉื ืชืืืืืื.
ืืื ื ืืฉืื ืืืืืื ืขื ื ืืฆืื ืืืื: ืืืื ืืืื ืืืืจืื ืขื ืฉืืืืฉ ืืืืงืจ ืืืื ืืขื ืืฆืืช ืืงืืจืืชืืื. ืื ื ืืฉื ืื ืื ื ืขืืกืงืื ืืื ืืื ืจื.
ืืงืกืคื 2015 ืืงืืื ืื ืืืืจืืขื ืืืืื ืื ืฉื ืื ืฆืื, ืืืคื ืฉืืชื ืืืืข ืฆืืื ืืืข ื ืืืจ ืืืืฆื ืืช ืืืืชื ืืืฉืจืืื. ืืืืจ ืฉื ืื ืฉื ืชืขืจืืืืช
ืฉืืืงืืฉื ืืืืื ื ืืืืื, ืืืืจ ืืืจืื ืืชืืื ื ืฆืืืจ ืืคืกื, ืืืืืจ ืืื ืืช ืืืืื ื ืืืืืจื ืืกืืจืชืืช. ืื ืืขืชื ืื ืืฉื?
ืืคื ืฉืืฆืื ืืืช ืืฆืืืจืื ืฆืืื ืืืข, ืื ื ืืืื ืฉื ืืชื ืืืฆืืจ ืืืืืื ืืื ืืืืืื ืืคืืกืืื ืืื. ืขืืืืืชืื ืืฉืงืคืืช ืืช ืืืฆืืืืช ืืืฉืจืืืืช ืืืฆื ืฉื ืฉืืื.
ืืื ืื ืฉืืจืฆืื ื ื ืืืฆืื ืืืืชื, ืืช ืืืฆืืืืช ืืืฉืจืืืืช ืืืืืื ืืจืื ืฉืื ืืืืช.
ืืืืืืืื ืฉืืืื ืืช ืืืชืืจ ืฉืืคื ืื ื?ืืจืืขืื ืืชืฉืขื ืืื ืืคื ื ืืื ืืืืคืืจืื, ืื ืื ื, ืืืืืืื ืืกืคืจืืื,
ืืชืคืืืื ืืฉืขืืช ืืืืื ืืขื ืขืืืช ืืฉืืจ, ืืืืืืช ืืชืคืืื ืื: โ ืืืืื ื ืฉืืฉืืื ืชื ืฉืืื ืืืจืฅ:ืชื ืฉืืข ืืขืืืโ.
ืืืืื ืืืจืื ืฉืื ื ืืขืืื ืืืื.
ืืชืื ืืืืืืช ืื ืืฉื ืืืืชื ืืืฉืจืืื FOODCOLOR ืื ืื
ืืืช ืโืืจืโืื ืงืืืFOODCOLOR ืืื ืคืจืืืืงื ืืื ืืชื ืฉื ืืื ืขโื ืฆืื ืืืืื ืื ืื ื
- Creativity Lab ICPO ืืืืืื ืขืืืจ ืืืืชื ืืืฉืจืืื ืืืงืกืคื ืืืืื ื 2015. ืืชืขืจืืื ืืืจืืืช ื- 34 ืืืืืช ืฉื ืฆืืืืืื, ืืฉืจ ืื ืืื ืืื
ืื ืฆืื ืื ื ืฉืืืฉืื ืขโื ืฉืฃ ืืืืข, ืืคืจืืืืงื ืืืจื 17 ืืืืื ืืืืืงืื ื-17 ืืืืื ืืฉืจืืืืื ืืื ืืื ืืื ื ืชืืงืฉ ืืืืื ืืฆืืจืช ืืื ืืช
ืงืืืื ืจืืช ืฉื ืืืขืช ืืืืืโ ืืกืืืื ืืืืฉืคืขืช ืืฆืืข ืกืคืฆืืคื. ืืจืฆืฃ ืืฆืืืืืื ืฉื ืขืจื ืขื ืืฉืคืื ืืืชื ืื ืืืืืืื ืืืืฉืจืื ืืืืจืืข ืืคื ืื ืืืืชื, ืื ืื ืืฉืืจ ืืช ืืงืื ืฆืคื ืฉื ืืืฉืื ืืืชืืื ืืืืื ืืืื ืืชื, ืชืื ืืืืื ืืฉืืื
ืืืฉืื ื ืฉืืื ืืชืจืืืช ืืืืกืืจืช ืฉื ืฉืชื ืืืืื ืืช ืืืืช ืืืื ืืืื ืื ืืฃ ืฉืื ืืฉืืื ืืืื ื, ืืืื ื ืืืฉืจืื ืืืืฆืืจืชืืืช. โ ืืขื ืืื ืืจื ืื ืขืฉื .- mise en place-ืืชืืื, ืืืืื, ืืืขืืืืช ืืืกืชืืื ืืืฆืืจืช ืืื ื, ื
ืขืจืื ื ืจืืืื ืขื ืื ืื ืืืฆืื ื ืื ืืื ืฉืืืืช ืืืื ืืชืืืื ืฉืืืืื ืืืืฉืื ืืคืจืืืืงื ืืฉืจ ืืืืืฉื ื ืืฉื ืืืชืจ ืืฉื ื ืฉืืื.
ืืืจ ืืคืืืืจืืกืืื, ืืื ืฉืจ CULINARIA FUTURISTA ืฉืคืจืกืื MANIFESTO DELLA ,1930 ืืฉื ืช 1920 ืืืื ืืคืกื ื ืืกืฃ ืืฉื ืชCUCINA FUTURISTA, ืืืืกื ืืฉืืืืช ืจืื ืืฆืืจื ืืืฆืืขืื ืืืช ืฉื
ืืื ื ืืืืืฉืช ืืฉืืืื.
ืขืืืจ ืขืืื ืืืืื ืืจืืื ืืืืืืงื ืืื ืืช ืืฉืื ืืช ืืืืืจืืช ืโืืืืื ืคืืกืื ืขืฉืืจ ืืขื ืืฉืจ ืืืจืืื ืื ืืจืืฉืื ืืช ืฉืื, ืืขืฉืืื ืืฆืืจื ืืฆืืข, ืืืื ื
ืืช ืืขืื ืืื ืืืืจื ืืช ืืืืืื ืขืื ืืคื ื ืฉืืคืืชืื ืคืืขื ืขื ืืฉืคืชืืืโ.ืืฉืืืฉืืื ืขื ืื, ืืื ื ืืืฆื ืฉืืขืืืื ืฉืื ืืื ืืขืฆื ืงืื ืฆืคืืืืืืืช
ืคืืืืจืืกืืืช?ืืชืืืืกืืช ืืืืขืช ืืืืื ืืืืื ืืช โืืจื ืืืืฉืืโ. ืืืืฉ ืืจืืฉืื, ืืจืืืื ืฉืื ืืชื ืจืืื ืืช ืืืืื ืืขืืื ืื, ืงืืื ืืช ืืฆืืขืื ืืืืจืงื. ืืืื ืืืจ
ืื ืืืขืจืืช ืืืืฉืืช ืืืืืื ืืืชื ื ืื ืชืืืฉืช ืืจืื ืืจืง ืืกืืฃ ืืืคืขื ืืืฉ ืืืขื. ื- COLORFOOD ืืฆืืคื ืื ื ืืฆื ืืื ืฆืืืช ืืืื ืืื ืืื
ืืฆืืจืช ืืื ืืช. ืืืื ืืื ืขื ืืชืืืื ืฉื ืืฉืจืื ืืืฆืืจืชืืืช ืืืืฆื ืืืฆืืขืื ืืืช ืืืืืืืโ ืืืกืคืจ ืกืืคืืจ ืืืืจื ืืืืืข ืืชืืื ื ืืืจืช.
ื-COLORFOOD ืจืฆืืชื ืืฉืื ืืช ืืืืฉ ืขื ืโืฉืฃโ ืื ืงืืืช ืืื ืืกืืืืืช. ืฆืืืื ืื ืืื ืืืืจืื ืืืืืื ืืช ืืืืืชื ืืืฆืืจืชืืช ืืืืฅ
ืืืืืืืช ืืื ื ืืืืืฉืช ืืกืืขื, ืืืฉืืขืืช ืืงืื ืืื ืฆืืื ืืืช ืฉื ืืคืขืืื ืขืฆืื. ืื ืื ืฉืจ ืืืืื ืืคืืืืจืืกืื ืืชืืืื ืืืืืืฉ ืืช ืืชืืืื ืืื...ืื ืืชืฉืืื ืืืืืืช. ืืขืืืื ืฉืื ืืื ืงืื ืฆืคืืืืืืช ืืืื ืงืจืืื ืืชื ืืขืช
ืืคืืืืจืืื.ืืงืฉืจ ืืื ืืื ืืช ืืืืื ืืื ื ืืฉื ืขืชืืง ืื ืื ื ืืคืืืืกืืคืื ืืื ืืคืืืื. ืืืื ื ืืฉื ืื ืื ืืืืขื ืืืชืจ ืืื ืคืขื ืืฉื ืืืืื ืืช ืืืืืืช ืืืฆืืจืชืืช
ืฉื ืืืืืื ืืืืืืื. ืฉืืืืช ืจืืืช ืืืคื ืืช ืื ืืฉื ืืืกืืชืืงื ืฉื ืืื ืืช ืืืืืฉืืช ืืฉืืืื ืืื ืขืฆื ืืขืื ืืืื ืืช ืืชืงืืคื ืฉืื ืืื ืืืืฆืจ ืืืืฆืขืื ืืื ืืืืืืื. ืืคื ืืขืชื ืืืืฉืื ืืื ืืื ืืื ืืืืื ืืื ืืชื?
ืืคื ืฉืืืจ ืืืืจืชื ืงืืื, ืจืขืืื ื- COLORFOOD ืืื ืืืืืื ืืช ืืืืื ืื ืืืงืื ืื ืืืื ืืืืฉืื ืืช ืขืฆืื ืืืื ืืช, ืืืืืจ ืืืืฅ FOOD -ืืืืืืืช ืืฆืืืช. ืืืืืื ืื ื ืื ืืชืืืืก ืืื ืืื ืืช ืPORN , ืืฆืื ืืืืืืืืช ืฉืืืื ืืืฆื ื ืืืืืจ ืฉื ืืืืื ืืืืืื.
COLORFOOD ืืฆืื ืืช ืืฉืคืื ืขื ืืื ืืืคืืจืืช ืืืืคืฉืจ ืืื ืืืื ืืช ืืืืืืช ืืืฆืืจืชืืช ืืืื ืื, ืืื )ืจืง( ืืืืืื. ืืื ืืืคืชื ืื ืืื
ืืืงืฉืจ ืืืืืจ ืืื ืืืืื ืืืื ืืช ืืชืขืจืืืช COLORFOOD: ืืืืืจ ืืืฆืืจื ืืื ืืฉืฃ.
ืืฆืืืืืื ืืจืืฉืื ืื ื ืขืจืื ืืืืืฉ ืืื 2012. ืื ื ืฉืืจ ืืื ืืฉืชื ื ?COLORFOOD ืืืืื ืืขืืืื ืืืืก ืืจืขืืื ืืจืืฉืื ื ืฉื
ืืืืื ืช ืืืืฉื ืืคืจืืืืงื ืืืจ ืื ืืฉืชื ื ืืื ืจืฆืฃ ืืฆืืืืืื ืืจืืฉืื ืขืืืจ COLORFOOD. ืืืื ื ืื ืฉืืจื ื ื ืืื ืื ืืจืขืืื ืืืชืืืชื. ืืืื
ืืืืืช ืืฉืคืื ืฉืฉืืชืคื ืืืชื ื ืคืขืืื ืืชืื ืชืืืฉืช ืืขืืจืืืช, ืืื ื ืืืชืืืืืช, ืืืชืืฆืื COLORFOOD ืืชืขืฉืจ ืืืชืคืชื. ืื
ืืืฉืชืชืคืื ืืืฆื ืืช ืืืืืื ืืช ืืืืฉ ืืฆืืจื ืืืคืฉืืช ืืืืืื ืืกืืื, ืืืกืืืืช ืืคืชืื ืืืื - ื ืืชื ืืืืจ ืืื ืืืื โ ืืคืื ื ืืขืืืื ืืืืฉื, ืืื
ืจืง ืืชืืื ืืืืื.ืื ืชืืื ื ืืขืืื ืขื ืืชืืืืกืืช ืืืฉืืช ืื ืจืขืืื ืืืืคื ืฉื ืื ืฉืฃ ืฉืืืชื
GUALTIERO ืื ืฆืืช ืืื ืฆืืืื ืืฆืืืื. ืืฉืฃ ืืืคืืจืกืMARCHESI , ืื ืืฉื ืืืืืกื ืืืกืืืื ืืืืฉื ืฉื ืืืืื ืืืืืืงื
ืืฆืืืจ ืฉโืืืคื ืืื ืื ืืืโ. ืืื ืืชื ืืกืืื ืืืชื? ืืืฉืื ืืืื ืืืืืคื ืืื ื ืืืืฉืืื ืืืืื ืืื ืืืืืืจืื ื ืืื ื ืืช
COLORFOOD . ืื ืื ื ืืฆืืืื ืืจืืื ืงืฆืช ืืืชืจ ืขืืืง. ืื ืื ื ืืืืจืื ืขื ืืฉืจืื, ืืฆืืจืชืืืช, ืืืืื, ืืืื, ืขืืื ืคื ืืื, ืืืื ืืืืจืื ืืช.
ืืืื ืืืืชื ืืช ืืจืขืืื ืฉืืืืืจื ืื ืื ื ืืฆืืื โืชืืื ืโ ืืฉืจ ืืื ื ืฉืื ืืืื ืืช ืืฉืจืืชื. ืขืืื ืืืขืชื โืืจ ืืขืฉโ ืฉื ืืื ืื ืืืืืืื,
โืืื ืืืชโ ืฉื ืืื ืฉืืืื ืืฅ, ืืืืืงื ืฉื ืงืืื ืืืก ืืฉื ืืคืจืช ืื ืื, ืืืื ืจืง ืืื ืืืืืืืืืช. ืืืื ื ืืืขืช ืืืฉืจืื?
ืืจืืฉ ืืืจืืฉืื ื ืืืฉืจืื ื ืืืขืช ืืขืืืื ืืคื ืืื ืฉื ืื ืฉืฃ. ืืืงืืจ ืืืื ืืืืืช ืืืืจืื, ืืจืื ื ืืฃ, ืืฆืืจืช ืืืื ืืช, ืืืจืื ืืงืฉืืจืื ืืืื ืืืื ืืื ืื
ืืืื ืืืืืจืื ืืขืืจ. ืืืกืจ ืืืื ืืกืื ืงืฉืจ ืื ืืืโื ืื ืืคืืืืืืช ืืืืืชื ืืืืื ืืืชืืืืก ืืขืืื ืืืืื ืื ืืืืืื. ืื ืืืืืง ืืจืขืืื
ืืืจืืื. ืืฉืื ืื ืืืฆืื ืืฆืืืืจ ืืช ืืชืืืื ืืืฆืืจืชื ืฉืืงืืื ืืืืืื ืืช ืืืฆืืจื ืืืืืืจืช. ืืืืื ืื, ืืืืืโ, ืืงืืจ ืืืฉืจืื, ืืฉืื ืื ืื ืคืืืช
ืืืฆืืืื ืฉื ืืืฆืืจื ืืกืืคืืช โ ืืืืื, ืืืืื ืฉืฉื ื ืืืืจืื ืื ืฉื ื ืงืืืื ืฉื ืืืชื ืชืืืื ืืฆืืจืชื.
ืืืืื ืืืฉืจืืื ืฉืื ื ืืืื ืืืืืืืงื, ืืืืืกืก ืขื ืืกืืจืืช ืฉื ืืืืจืื ืฉืื ืื, ืืขืื ืืืืื ืืืฉืจืืื ืืืื ืืืจืืื ื, ืขืฉืืจ ืืืฉืคืขืืช ืฉืืงืืจื
ืืืจืืข ืื ืคืืช ืชืื. ืืชืืื ืืช ืฉืฆืืืืช ืืชืืืืกืชื ืืืืืืื ืืชืจืืืชืืื? ืืืช ืฉืืื ืืืื ืืืื ืืืขื ืืื ืช. ืื ื ืืืื ืฉืืงืื ืฉืืจืื ืืช ืืฆืืืืืื ืืชืงืฉื ืืืืืช ืืช ืืฉืชืืืืืช ืืืืืืืช ืฉื ืฉืฃ ืื ืื ืืืจ. ืืื ืื ื ืกืื
ืืช ืชืฉืืืช ืืื ืืืืืโ ืฉืืืจ ืื ืฉืฃ ืืืงืืจ ืืฉืจืื... ืื ืื ืงืืื ืืืืช ืืืืืืื ืืชืจืืืชืืื ืืืืืื ืืืื.
ืืขืื ื ืืขืืื ืืจืื ื ืืชื ืืกืื ืืช ืืืืืช ืืชืจืืืชืืช ืืืืืืงืืช ืืืื ืืื: ืืื ืืช, ืขืืฆืื, ืืืคื ื, ืืืืื. ืืืขืชื ืืืืื ืืืืื ืืคืฉืจ ืืชืืจ ืืช
ืืกืคืฆืืคืืืช ืฉื ืืชืจืืืช ืืืฉืจืืืืช?ืขืืฉืื, ืืฉืืช ืฉืืืืช ืืืชื, ืื ื ืืืื ืฉืืื ืืืืืืจ ืืช ืืชืจืืืช ืืืฉืจืืืืช
ืืฉืชืืฉ ืืืื ืืื ืืื ืฉืขืฉืืืื ืืืชืืื ืื ืืขืืื ืืงืืืื ืืจื ืืืฉืจืืื: โืืกืืืจืืโ, โืืืืืชโ, โืฉืืจืฉืืโ, ืืืื ืกืคืง ืืฉืื ืืืืกืืฃ, โืื-ืืงโ. ืื
ืืืืืื ืืื ืชืืืจืช ืืช ืืืืืช ืืชืจืืืชืืช ืืืืืืงืืช ืืืืื ืืชืืืืืช ืืืืืจืช ืืืืืช ืืืฉืจืืืืช, ืืืื ืื ืืงืจื ืฉืืชืืืืื ืืื ืฉืชื ืืืืื ืืช
ืืฉืชืคืืช ืคืขืืื ืืืฆืืื ืจืื. ืื ื ืืืืขืช ืฉืืื ืคืขื ืืชื ืืืคื ืืช ืืกืืืืื ืฉืื ืืชื ืืืื ืืืกืขืืช-
ืืืช ืืื ืืืจืื ืืจืืืืช ืคืจืืืืช ืืืื ืืืืื ืืกืืคืจ ืืชืืื ืืช. ืจืขืืื ืืืื โืกืืฉืืืโ ืฉืืฆืืจื ืืกืืืืืช ืืชืงืฉืจ ืืืืคื ื ืืืืจืื ื ืืืืืื ื, ืฉืืืื
ืขื ืืืืจืืกืืืช ืจืืกื ื ืฆ'ืืงื. ืจืืกื ื ืืืืื ื ืื ืฉืื ืืจื ืืืืืจื ื ืืืฉืชืชืฃ ืืืจืืื ืื ืืืื ืืืืฉืื ืืืื, )ืืฉืื ืคืขื ืืฆืืข ืืฉืืฉ ืื ืืฉื
ืืจืืื(. ืืชื ืืืืจ ืืช ืืืจื ื ืืื ืฉื ืืจืืืืช ืืืจืื ืืืช? ืื ื ืืืืจ ืืช ืืืคื ืืช ืโืกืืฉืืืโ ืืื ื ืืืฉื ืฉืืกืืคื ืฉื ืืืจ ืื ืฉืืืจื
ืืื ืฉืื ืืืืืช ืืืื ืืืกืืื ืืืฆืืืช ืืืืจืืข, ืื ืืืืื. ืืื ืฉืืืคืืฉืื ืืืื ืืืคืื ืืืฉืื ืืืืช ืืืืื, ืื ืืกืคืืงื ืืืกืืจืช ืืืกืืชืืช ืื
ืืืื ืืืจืืืืจืคืื ืืืืืื.ืื ืืกืืื ืฉืื ืืขืืจ ืืฆืืืจ ืขืืื ืืขื ืฆืื ืืืคื ื. ืืชื ืืืฆื ืืืืืื ืื ืืืื, ืืืจืื, ืืืื ืืื ืืืืืืื ืืขืืืจืื ืืื ืฆืืืื ืืืคื ืช ืฆืืจืช ืืฆืืืื
ืืกืืจืื ืืื?ืืืืื ืืืืื ืืื ืฆืืืืื ืืืื ืืฆืืืื ืืกืืจืื ืืื ืืื ืฉืืจืืฉืื
โืืืืืื ืืืชโ ืืื ื ืืืืืืช, ืืขืื ืืฉื ื, ืืืฉื ืืฆืืืื ืื ืืืงืฉ ืืคืกืงืช ืฉืืจืืชืื ืื ืืืฉ ืืงืืช.
ืืืื ืืชืืืืกืื ืืืืื ืืืืืืชื ืืื ืืืง ืืืื ืืช ืืขืืฆืื, ืืชืืืคืืช ืืคื ืฉืืืืจืชื ืื ืืชื, ืืืืฉืื ืฉืืืจ ืขื ืืืื ืืช ืงืฉืจืื ืืื ืืืื ืขื ืืกืืช ืืืกืื ืื ืจืง ืืฆืืจืชืืื ืืื ืื ืชืงืฉืืจืชืืื ืืืืฉืืื. ืืคื ืืขืชื, ืืขืชืื,
ื-FOOD DESIGN ืืขืื ืืืจืืช ืฉืคื ืืื ืืชืืช ืืืืจืช, ืืื ืืฆืืืื, ืืืืืื ืืจื ืืืืืฆื?
ืืืขืชื COLORFOOD ืืฉื ืข ืฉืคื ืืื ืืืจืกืืืืช ืืืฉื ืืขืืกืงืช ืืืืื ืืืื ืืช. ืืฉืื ืื, ืืืจ ืกืืื ืืชืขืจืืื ืืืื โื - ืืืงืกืคื, ืื ืื ื
ื ืขืืืจ ืืืืื ื ืืืืื ื ืื ืืฉืื ืืฉืืชืืฃ ืืคืขืืื ืขื ืฉืคืื ืืื ืืขืืื. ืืืื ืืืชืจ ืืืืชืจ ืงืฉื ืืืืืช ืืงืืจืืื ืืืืื ืฉื ืืื ืฉืืื ืืืจ ืืืืฆื ืืืืืืฉ.
ืืื ืื ืืืงืืื ืืืจ ืงืืื ืืืฉืืืื ืื ืืืื ืืื ืืืฉืื ืืืฉื ืื ืืช FOOD -ืืคืจืกืงืืืื, ืืคืฉืจ ืขืืืื ืืืฆืืจ ืืืจ ืืืฉ ืืจืขื ื. ืืื ื
DESIGN ืืืคืื ืืฉืคืช ืืื ืืช ืืืฉื? ืืื ืชืืื ืืืงืืจืืืช ืืืืืืืช ืืืฆืืจืชืืช ืฉื ืืืื ืื ืืืขืฆื.
ืืื ืืช ืืืืื: ืกืืคืืจ ืืืืืโืืจืโืื ืงืืื
"ืืจืฅ ืืืช ืืื ืืืืฉ", ืื ืืชืืืจืช ืืฉืจืื ืืชื "ื ืืืื ืื ืจืง ืฉืืื ืฉื ืคืจืฉื ืืช ืื ืืืืื ืกืคืจืืชื. ืืช ืืืืจืื ืืืืจ ืืืงืจ ืืืื ืืืจืกืืืช ืืจืืฉืืื ืฉืืฉืฃ ืืจืืฉืื ื ืืืคืืจืืช ืืจืืืืืืืืืช ืฉื ืขืจืื ืืืืืจืื ื, ืืืืจืืช ืขืชืืงืืช
ืืชืงืืคืช ืืืงืจื. ืืคืกืืง ืืืืชืืืื ืืฉืื ืืืื ืืขื ืืื ืื ื ืืืขืืจืชื ื ืืชื ืืืืื ืขื ืืื ืืืืื ืืืืื ืืืง ืืืืืจืื ืืืืื ืฉืืืกืืจืช ืืืืกืืืจืืช
ืฉืื ืงืฉืืจื ืืฉืืืจืช ืืืฆืืืช ืืืืง ื ืืื ืืืืืืืช ืืืืืฉ ืืช ืืฉืืืืช ืืืืื ืืช ืืฉืื ืื ืืื ืืื, )ืืฆืืช( ืืืื. ืืขืืจ ืืฉืืืจืช ืืืฆืืืช ืืื ืืขืืช
ืืืง ืืืื ืืืขืืื ืืืืืื, ืืฉืจืื ืืฆืืืืจืช ืืืงืื ืฉืื ืชืืืฉืช ืืขืืฉืืืืืช ืืฉืืืช ืื ืืช ืืืืืขืืช ืืืกืืจืช, ืืืจืืจ ืฉืืืืื ืืืืื ืืืง ื ืืื ืืื.
ืืืื ื ืงืืืช ืืืืฆื ืฉืืื ื ื ืืื ืืฆืืื ืืื ืืชืืื ืืืขืืื ืืจืื ืืื ืืฉืชืืืื ืืื ืืช ืืืืื. ื ืขืฉื ืืืช ืขื ืืื ืื ืฉืืฉืชืืฉื ืืืืื ืืฆืืจื
ืฉืื ื ืืืืงืืื ืืืชืืฆืื ืืื ืฉืืืื ืืืืงืจืื ืงืฉื ืืืชืื ืงืื ืืคืจืื ืืื ืืชืืืืื ืืฉืื ืื. ืื ืืืงืจื ืืืืจืื ืืฉื ืื ืืืืจืื ืืช ืขื food design ืืืฉืคืื ื ืืฉืืื ืืืื ืื ืืื ืืืจ, ืืคื ืฉืืืืืื
ืกืืจืช ืฆืืืืืื ืฉื ืืฉืฃ ืืืืืืงื ืงืจืื ืงืจืงื, ืฉื ืขืจืื ืืืกืืจืช ืืืจืืขืื ืฉืื ืื ืฉืืืงืืฉื ืืงืฉืจ ืฉืืื ืขืืฆืื ืืืืื ืืืืืืื ืืืืฉืจืื.
#ITALY#FOOD#DESIGN, Tel Aviv-Holon marzo 2015. ืืขื ืืื ืืืืืืจ ืื ืืฉื ืื ืื ืืช ืืกืคืจืื, ืคืจืื ืืืจืื, ืฉืืฉื ืช 2007 ืืื ืืฉืฃ ืืจืืฉืื ืฉืืืืื ืืืฉืชืชืฃ ืืืืจืืข ืืืืื ืืชื "ืืืงืืื ืื 21" ืืืืืื
ืืชืื ืฉืืืืฉ ืืืฆืืจืชื ืืื, ืืืฆืื ืืืืื ืืขืชืืื ื, ืืืืฉื ืืืืืืืกืืฆืืืฆืืืช ืื"ืื ืืคืกืื" ืืคืืืืจืืกืื ืฉืืชืคืจืกื ื- 1930
TRANSLATIONS46
ืจืคืื ืืืื
ืื ื ืฉืื ืืืื ืืืฆืื ืืช ืืืืื ืืขืืชืื ืื ืืืืฉ, ืืฉืจ ืืฆืืื ืฆืขื ื ืืกืฃ ืืฉืืชืืฃ ืืคืขืืื ืืื ืืฉืจืื ืืืืืืื: ARTRIBUNE, ืืชื ืขืช ืืืืืงื
ืืืืข ืืืืคืฅ ืืื ื, ืืืืงืืฉ ืืืืื ืืช ืขืืฉืืืืช ืขื ืื ืืืื ืื โืืืืื ืืช ืคืืืืจืืืืืช ืืขื ืืขืืฆืื; ืืืืจืืืืืช ืืขื ืืงืืื ืืข; ืืืืคื ื ืืชืืื ืืืืื,
ืืฉืืง ืืืื ืืช ืืคืจืืืืงื ืืืืฉื ื ืืืืืืืฆืืืื ืฉืืคื ืื ื. ืืืืืจ ืืืืจืกื ืืขืืจืืช ืฉื ืืืืืื, ืืฉืจ ืืืคืฅ ืืืฉืจืื ืืืืชื ืคืืจืื
ืืขื ืืืชื ืืชืื ืื ืฉื ืืขืืชืื ืืฉืคื ืืืืืืงืืช, ืชืื ืืชืืืืกืืช ืืืืืืช ืืกืฆืื ื ืืืืื ืืชืืช ืืืืฆืืจืชืืช ืืืฉืจืื. โืืจืืจืืืืื ืืฉืจืืโ ืืื ืขืืชืื ืืืื ืืช ืืชืจืืืช ืขืืฉืืืืช ืืืืืื ืขื ืืขืืื ืืชืืกืก ืฉื ืืืืื ืืช ืืืจืฅ,
ืืืชืืืืก ืื ืขืฉื ืืืจืฅ, ืืื ืืืืจืืขืื ืืืืืืืื ืืช ืืืฆืืจื ืืืฉืจืืืืช ืืจืืื ืืขืืื.
ืืืื ืืืืื ืืช ืืืื ืืืชืจ ืืืฆืืช ืืืืืืจื ืืจืืฉืื ื ืฉื ืืืืืื, ืืืฉืจ ืืืื ืืื ืืื ืืชืงืืืืื ืฉื ื ืืืจืืขืื ืืื ืืืืืืื ืืขืื ืืฉืืืืช ืจืืฉืื ื
ืืืขืื, ืืื ืื ืืืงืกืคื ืืืืืื ื ืืืืืื ืื ืืืื ืฆืื, ืืืืจืืื ืฉื ืืื ืืืชื ืื ืืฉืจืืืืื.
ืืืื ืืืืื ืืช ืืืืืืช ืืืฆืืจ ืฉืืชืืฃ ืคืขืืื ืืื ืืืืื ืืืชืืื ืืืฉืงื ืื ืืื ืืช ืฉื ืืชื ืืขืช ืืืื ืื, ืืจืืจืืืืื, ืืืืืืื ืืืืฉืจืื, ืืชืื ืชืงืืื ืฉืืคืจืกืื ืืืืื ื ืืื ืืฉืื ืืืืจืช ืืืื ืืืืช ืืชืจืืืชืืช ืืืืคืืื ืช ืืช
ืืฉืจืื ืืืื.ืืฉืจื ืืืืฅ ืืืฉืจืืื, ืืฉืจ ืชืื ืืคืจืืืืงื ืืชืืืืชื, ืืืื ืืฆืืื
ืืืืืืฉ ืืืฉืืื ืืืืืื ืืคืจืืืืงื ืืืืฆืขืื.
ืืืืจ ืืขืจืืช โ ืืืขืืจ ืืื
ืืืืชื ืืืฉืจืืื ืืฉืื ืืื ืืืืืืช ืืืชืงืืืืช, ืืกืืจืช ืืขืืช ืืืคื ืฉื ืื ืืืืืชื ืืืื ืื ืืช ืจืื ืืกืงืจื ืืช ืืืืืคืืฉ ืืืืคืืื ืช ืจืืื ืืืฉืจืื.
ืืืืื ืฉื ืืืืชื ื ืืชื ืืืฉืจืืช ืคืกืืงืื ืขื ืฉืืื ืืฆืืง ืืืืคืืขืื ืืฉืืจืช ืืื, ืกืคืจ ืชืืืืื, ืคืจืง ืค"ื, ืคืกืืง ื"ื. ืืืืฆืขืืช ืืืืืื ืืจืคืืช ืฉื ืืืืื
ืืืช. ืืืืื ืืฉืงืฃ ืืืฉืืื ืืจืืืืื, ืฆืืขืื ืืื ืจืืื ืืฆืืจืชืืช ืฉื ืืืืืฉืืฉืืืื ืืืคืื ืืช ืืืืืจ ืืฉืื ืคืืจื.
ืืืช, ืืืจืฅ ืชืฆืื; ืืฆืืง, ืืฉืืื ื ืฉืงืฃ ืื-ืืืื, ืืชื ืืืื; ืืืจืฆื ื, ืชืชื ืืืืื
ืจืง ืื ืฉืืืคืฉ ืืืคืืฅ ืืช ืืืืช ืืืื ืืจืืืช ืืช ืคืจื ืขืืื. ื ืืฉื ืืืคืืฉ ืืฆืืง ืืืฉืจืฉ ืืืื ืืชืจืืืช ืืืืืืืช ืืืื ืื ืืืื ืืืืื ืืืืืื ืืชืื
ืืชืืจื. ืืืืจื ืืืฉืจืืืืช ืืฆืขืืจื ืืฉืืืื ืืขืืื ืืืื, ืื ืกื ืฉืืืืช ืืืื ืืืฆืืืืช ืืืฉื ืื ืืข ืืขืืจ ืืืืืืฉืื ืืืงืืื, ืืืช ืื ืืืืืช ืืขืจืืื,
ืืืจื ืืื ืื ืืฉืืืืช ืืืืื ืืืืงืืจืืช ืืืืืืืื. ืืืจื ืื ืืชืืื ืืกืืืจื-ืืค โืืืืโ. ืืืืื ืืืช.
ืื ืืฉืืื ืืื ืืชืืงืืช ืชืขืจืืืช ืืืงืกืคื ืืฉืชืืืื ืืืคืืื ืืืืฉืืื ืืืืื ืืืืืกืืืจืื ืืืืืืืช. ืืคื ืืืงื ืืืฉื ื ืืื ืฉื ื ืฉืืืขืืช, ืฉื ืช
ืืฉืืืื, ืืฉ ืืืคืฉืจ ืืช ืื ืืืช ืืฉืื: ืืื ืืฉืชืื, ืืืื, ืืงืฆืืจ ืื ืืืกืืฃ ืืช ืคืจื ืืืืื ืืช ืืขื ืืืืข ืืฉืื ืืืืืืจื ืืืืขื. ืืื ื ืืฉืืืื, ืฉื ืช ืืฉืืชืื ืืืื ืขื ืืืืืช ืืฉืจืื ื ืืคืืช ืืืืืง ืืฉื ื ืื ืืืืืช ืืืื ื ืืืืื ืืขื ืืื ืช ืืืืฆื ืืื ืืืชืืื ืืชืจืืืช ืืืืืืืช ืืืชื ืงืฉืืื ืืฆืจืื ืืืงืืืืช ืืืืขืืช. ืงืืืืช ืกืืืืืช ืืขืืืื ืฉืฉื ืช ืืฉืืืื ืืื 2015
ืืืื ื ืืฆืืช ืืงืืจืืฆืื ืขื ืืืกืจ ืืืจืืื ืฉื ืชืขืจืืืช ืืืงืกืคื. ืืืกืืจืช ืืืงืืืืช ืืืืืืืช ืงืืื ืื ืื ืืืงืืืฉ ืืช ืฉืืื ืืฉืื ืืขื ืืื, ืจืขืืื
ืืฆืืงื ืงืฉืืจ ืืืืงืืช ืืืืฉื ืืฆืืง ืืืฉืคืื; ืฆืืง ืืืชืืืืก ืืืืืื ืืืืืจื ืืขืืืจืช ืืืืืช ืืคืชืืื ืืขืืื ืืืืฆืื ื.
ืืืจืื ืื ืฉื ืฉืืชืืฃ, ืฆืืง ืืืืช, ืืฉืจื ืืืืฅ ืืืืฉืืช ืืฉืจืื ืืืงืฉืื ืืืขืืื ืืจืฉืืช ืืื ืืช ืคืืจืืช ืืืืข ืฉื ืืกืคื ืืืจืฅ ืืชืืืื ืืืื ืืืืืื ืืืืืข, ืืืื ืืืคืฉืจ ืืช ืคืจืืืช ืฉืืืช ืืขืชืื ืืืืืืื ืืืืื ืขืชืื ืืื
ืืืชืจ.ืืืจืฅ ืืฉืจืื ืืืื ืืื ืืฉืืช.
ืืืขืืจ ืืื ื ืฆืื ืืืืชื ืืืฉืจืืืืืงืกืคื 2015 ืืืืื ื
ืืก"ืARTRIBUNE ISRAEL
ืโืืจืโืื ืงืืืืืืืืื ืืืืื ืื ื ืืฆืืื ืืคื ืืื ืืช ืืคืจืืืืงื ืืขืืชืื ืื ืืืืฉ, ืื ืืฉื
ืืช ืืฉื โืืจืืจืืืืืโ. ืขืืืื ืฉื ืืจืฉื ืื ืืืืฉื ืืืจืืื ืืจืืืื ืืืืืฆืื ืจืืื, ืืื ืื ืืืืืจ ืฉืืืคืืฉ ืืจืืฉืื ืืื ื ืืืื ืืขืืจื ืืืกืืืืืืื ื ืืื ืื
ืืืืืจ ืืืชื ื ืืฉื ืช 2012. ืืื ืืืชื ืคืืืฉื ืขืืจื ืฉืืืฉ ืฉื ืื, ืืืื ืื ืืืฅ ืืื ืืชืื ื ืืืืคื ืื ืืื ืืืืชืจ ืืชื ืขืช ืฉืืืจืชื ืืืื ืืืืื ื ืื ืืืจืืืช, ืืืืคืืื ืื ืืจื ืชืจืืืชืืื ืืืจืืืื ืืชืืืืื ืฉืื. โืืจืืจืืืืื
ืืฉืจืืโ ืืืฆื ืืืืจ ืืชืื ืืืื ื ืืืชืืื ื ืืืืคื ืืงืืฃ ืืืขืืืง ืืืฆืืจื ืืคืืจืืช ืืืฉืจืื ืืื ืฉื ืื. ื ืืื ืืืืื, ืฉื ื ืืืืชื ืื ืืืฉืจืืืืื ืืืงืกืคื
ืืืืืื ืื ืฉื ืื ืฆืื, ืืืืืื ืืคืจืกื ืืืงืจื ืฉื ืื ืฉื ืชืจืืืช ืืฉืจืืืืื ืืชืืืืื ืฉืื ืื ืืืื ืกืคืจืืช ืืงืืื ืืข, ืชืขืจืืืืช ืืืืจืืขืื ืืืืืื ืฉืืชื ืืื ืืืจืฆืืช ืืขืืื, ืืืืคืฉืจื ืืงืื ืืืืืจ ืืืื ืื ืืืืกืคืื ืืืืืืื ืฉืืืขืืจื
ืืืืืืืื ืื ืืฉืืืื ืืืฉืจืื, ืขืืจืจื ืจืืช ืฆืืคืืืช ืืืืื, ืืืืขืชื ื ืื ืืืืืื ืจืง ืืืคื ืืื ืืื ืืฉืืื ืืงืืืืื. ืืขืืชืื ืขืืกืง ืื ืืื ืฉืงืืจื
ืืฉืื: ืืืฉืจืื ืืชืจืืฉืื ืืื ืืืื ืืช ืชืืกืกืื ืืื ืืขืืจืืื ืืืืืืื ืื, ืืืจืืืช, ืืจืืื ืชืฆืืื ืืื ืืืจืช ืจืืื ืืืืกืืืช ืืงืืืืื. ืืื ืืฉืชืื
ืืืื ืืขืจืืช ืชืจืืืชืืช ืืขืืช ืืืืืช ืืืืฆื ืืช ืืืฆืืจืชืืืช ืืืฉืจืืืืช, ืขื ืื ืฆืืจืืชืื ืืืืื ืื.
ืืื ืื ืืขืืชืื ืืื ืืงืืชื, ืืืืจื ืืขืืืืช ืืคื ื โืืจืืจืืืืื ืืฉืจืืโ ืืื ืืฉืืฉ ืืืฆืขื ืืืจืืช ืืืื ืืช ืืืืื, ืืืกืืื ืืืืืื ืืช ืืงืืจื ืืืชืืืืข
ืืชืืืืื ืืฆืืจืชืืื ืืชืจืืืชืืื ืืืื ืืืื, ืืืฉืืฉ ืื ืขืื ืืื ืืื ืฉืืืื ืืืืืจ ืืฆืืืืืืช ืืืฉืืช ืืฉืื ืืช.
ืืช ืืืืืืจื ืืจืืฉืื ื ืคืืชื ืืืืจ ืขื ืืืืชื ืืืฉืจืืื ืืืงืกืคื, ืืืืื ื 2015. ืืชืขืจืืื ืืืื ืืืืืืช, โืืงืื ืืืืจืช ืืกืืืจืืชโ ืืคื ืฉืืืืืจ
ืืืช ืืืืืจ ืื ืืืื, ืืืืจืช ืืืืืืื, ืืืชืจ ืืืื ืฉื ืื ืืืืจ ืฉืืชืงืืืื ืืืืืื ื ื-1906, ืขื ื ืืฉื ืืื ืืืจืกืื ืืืืืง: ืืืฆืืจ ืืืื ืืงืืืืืช. ืืื
ืืืืื ืืื ืืืชืจ ืืช ืืคืจืืืืงืืื ืืืฆืืคืืืช ืืืืืชื ืืืฉืจืืื, ืืชืคืจืกื ืืืืจื ืืคืชืืื ืจืืืื ืขื ื ืืฆื ืืืืชื, ืืืขืืจ ืืื. ืจืืืื ืืืืื ื ืืกืฃ ืขื
ืฆืืื ืืืข, ืืืคืฉืจ ืืืืื ืืช ืืจื ืืืฉืืชื ืฉื ืโืฉืืงื ืื ืืจืืฉืืืโ ืืืืื ืฉื ืืืืชื ืืืืื ืื ืืืื ืฆืื, ืืืืืจืื ืืชืื ื ืืกืคืช, ืคืจื ืขืื ืฉื
ืืืก ืืืืจ ืืืฆืจืช ืืืืชื ืืืืื ืื.ืจืืืื ืืช ืืื, ืืื ืกืงืืจืืช ื ืืกืคืืช, ืืชืืืื ืื ืืืฆืืจ ืชืืื ืช ืคืืจืืจื ืฉื ืืฆื ืืืืจืื ืืืฉืจืื, ืชืื ืืชืืืืกืืช
ืืืืืืช ืืจืืืื ืืืืช ืฉื ืืคื ืืืืกืืืจื ืืืงืฉืจืื ืืืกืื ืื ืืช ืืื-ืฉืื ืขื ืชืืืื ืืืืื ืืืขืจืืืื. ืื ืืฉื ืื ืจืืื ืืฆืืื ืืช ืคืขืืืืชื ืฉื ืืงืจื
ืฉืืืงืื ืื ืืืืจ, ืืงืจื ืืชืจืืืช ืืืืืื ืืืืช ืืืืืื โ ืืฉืจืื, ืืชืืืืช ืฉืชื ืืืืฉืืืช, ืฉืืืจืชื ืืขืืื ืืืืืคื ืชืจืืืืืช ืืขืืืช ืืฆืืืื ืืช
ืืฆืืจืชืืช. ืืืืชืจ ืืฆืืื ืืช ืขืืืืชื ืฉื ืืืืงืช ืืชืจืืืช ืืฉืืจืืจืืช ืืฉืจืื ืืืืืืื, ืืฉืจ ืืื ืืืชืืื ืืืฉืืชืฃ ืขื ืืฉืจื ืืืืฅ ืืืฉืจืืื, ื ืชื ื
ืืช ืืืื ื ืืคืจืืืืงื, ืืืฉืืฉืช ืืื ืืืชืืื ืืืจื ืืจืืื ืืงืืืื ืืืืืืื ืืชืจืืืชื ืขื ืื ืืืคืฉืจืืืืช ืืืืื ืืช ืื. ืชืคืงืื ืืื ืืืืื ืฉืืจืืจืืช
ืืืืืื ืืืฉืจืื, ืืฉืจ ืืืืฆืขืืช ืืืืื ืืชืจืืืช ืืืืืื ืืฆืืืื ืืืืื ืืชื ืืืื ืืืืจืืฉืืื ืืช ืืืืื ืฉืืชืจืืืช ืืจืฆื ืฉื ืื ืื ืืืืืืจื.
ืืืื ืฉืืืืกืื ืืื ืืืืืื ืืืฉืจืื ืื ืืขืื ืืืคื ืืชืืฉื ืืืฆืื ืืืืจืชื ืืืขืฆืื ืืช ืืืืืคื ืืชืจืืืช ืืื ืฉืชื ืืืืื ืืช, ืืฉืจ ืืงืจืื ืืื ืืื ืืื ื
ืืืืืืช ืืชืืื ืืืืืืืจืคื ืืืื. โืืจืืจืืืืื ืืฉืจืืโ, ืืืืืจ, ืืืืงื ืืชืื ืืจืื ืืืืืชื ืืืื ืืืืื ืืืกืืื ืืืืืืฉ ืืืงืื ืืช ืขืจืื ืฉื ืืืืื ืืช
ืืืฉืจืืืืช ืืขืืฉืืืืช.
ืืืืจ ืืขืจืืชืืกืืืืืืื ื ืืื ืื
ืื ืืืจื ืืืืืื ืืื ืืช ืืชืจืืืช, ืืื ืฉืืืืื ืืกืืืืืช ื ืืชื ืืืืืืจื ืืกืืืจื ืืค, ืืืจืืื ืืช ืืืคืง ืคืขืืืืชื ืืขืืจ ืืืืืืืช ืืืืื ื ืื ืืื
ืืชืคืจืกื, ืืืืืจ ืืืืืื, ืืืืชืืงื ืืืฉืจืื?ืืขืืชืื ืืฆื ืืืืจ ืืคืขื ืืจืืฉืื ื ืืืคืจืื 2012 ืืชืื ืืจืืข ืฉื ืื ืืืกืก
ืืช ืืขืืื ืืืืืืื ืืืื ืืกืืคืืจ ืืโืืืช ืืืฆื ืืืคื. ืืฆืืื ืื ืืืขืช ืืืืืืืช ืืืืืื ืฉื ืืชืื ืื, ืืจืืืงืื ืืืืืืช ืงืื ืื ืฆืืื ืืืื, ืืื ืืืืืช
ืืืฉืงื ืืื ืืืืืจ ืืืชืคืจืกื ืืชืืืืื ืจืืื ืืืจืื. ื-48 ืืืืืฉืื ืืื ืืชืคืจืกื ืืืจืืจืืืืื ืืคืื ื ืโืกืคืงื ืชืืืโ ืืืืกืืืช ืฆืืืืจืืื, ืืื
ืืืฉื ืจืฉืืช ืจืืื ืจืืชื, ืืฆืจื ื ืืคืืืงืฆืืืช ืืกืืืจืืคืื ืืืกืืช ืืืคืื ืืืกืงืืืจ ืืคืจืื ืืื ืืืคืืืงืฆืื - Street Art Roma ืฉืชืืื ื ื
ืืืกืืช ืืืจืช ืืืืื ืืืช ืืืืืื. ืืืฉืงื ื ืคืืืคืืจืื ืืื ืืืืืืช ืืืืคืืฉ GTECH- ืื ืื ื ืืืคืฆื ื ืขืืืจ ,)jobs.artribune.com( ืืืฆืืืช ืขืืืื
Lottomatica, ืืืจื ืืกืืจ ืืืื ืืื ืืืืื, ืชืื ืื ืชืจืืืช ืืืืื ืื ืืื ืืกืฃ ื ืืืื ื ืืขืืฆืื ื ืืช ืืชืจ ืืืจืช ืืืืืืืืื SKY Arte. ืืืืืจ ืื ืฉืขืืื ื
ืขื ืืืจืืื ืื ืืจืืืืื ืขื ืืืฆืื ืืืืจ ืฉื ืืืืืจืืช ืืืืืืืช ืืืคืงืช ืคืจืืืืงืืื ืกืคืฆืืคืืื ืืชืืื ืืขืืชืื ืืืช. ืืืืื ื ืืช ืืืืืชืื ื ืื ืจืง ืืชืืื
ืืืงืฆืืขื ืืืืืืง ืืืฃ ืืืกืคื ื ืขื ืื ืืกืืื ืฉืืชืืฃ ืขื ืคืจืื ืจืื ืืขืืื ืืชืงืฉืืจืช ืืจืืื ืขืืื. ืืื ืื ืืขืื ืืืืืืื ืฉืืจืจ ืืื ืืื ืฉื ืื ืืฆื
ืฉื ืืฉืืจ ืืืืื ืขืืืง ืืืืชืจ. ืืืืืงื ืืืฆืืืืช ืืื, ืื ื ืืจืฉ ืืืืฅ ืืืฆืืืช ืคืชืจืื ืืช ืืืขืืืช ืืคื ืืืืืช,
ืืฉื ื ืืืื ืขื ืืืชืืื ืืฆืืจื ืืืชืจืื ืืืืืืื ืืช ืื ืืกืื ืฉืื ื ืื ืืขืืจ ืืืืืืืช ืืืืืื. ืืืืข ืื ืื ืืฉืจืื? ืืืื ืืืฉืืืืช ืืขืืืืช
ืืืืืจื ืืืืืื? ืืืืืจื ืืจืืฉืื ื ืืฆืืื ืช ืืช ืโืืจืโืื ืงืืื. ืื ืื ื ืคื ืืืืืช ืืืื ืืืืืฆืื ืฉืื ืืืืืงืืช ืืจืขืืื ืฉื ืืื ืื ืืืจ ืืคื ื ืฉื ืชืืื.
ืืืืจื ืฉื ืืื ื ืืืขืช ืืืคืขื ืืืืืืื, โืืจืืจืืืืโ ืืืืฉืืืคื ืืืจืืื ืืช ืคืขืืืืชืื ื ืืืืืจืื ื ืืกืคืื, ืืืืคื ืืืฉื ื ืืืืืืื ืืฉืื ื ืืืืคืืก ืื ืืื
ืืฆื ืืชืื ืขืช ืืืจืื ืืขืืกืงืื ืืืื ืืช. ืืื ืื ื ืืืืจืื ืืืื ืืื, ื ืื ืืืจืง ืื ืืจืืื. ืืืจืื, ืืืืื ื ืืืจ ืืืชืืื ืืคื ืืช ืืืขืืื ืื ืืื ืื ืืืื
ืชืืื ืืช ืืจืืืืืช: ืคืจืืืืงืืืืืืช ืืืืื ืืคืขืืืืช ืืฆืืจืชืืช ืืืื ืืชืืช ืขื ืคื; ืขืืื ืขืชืื ืื ืืฆืืืื; ืงืืจืื ืืืกืืช ืืืืืืื; ืืืฆื ืฉื ืฆืืืื ืืืืืืช.
ืืกืืืื ืื ืชืื ืื ืืืื ื ืฆืืืืจื ืืฉืจืื ืืืขื ืืืขืืฃ ืื ืืกืืช ืืืจื ื โืืืจืืืืโ,ืืืืืจ ืืงืื ืืื ืืคืืชืื ืืืืืช ืืชืจืืืช. ืืืืืจ ืืืืืฉ ืืชืืื
ืฉื ืืืืืืจื ืืจืืฉืื ื, ืืืืืจื 0 โ ืืขืื โืงืื ืงืืจืโ ืื ืื ืืืขืืจืืื ืืชืืืื ืืืฆืืจ ืืืืืืื ืืืฉืจืื. ื ืคืื ืืืืืชื ื ืืืคืฉืจืืช
ืืกืคืจ ืขื ืืืื ื ืืฉืจ ืขืืฉืจื ืืืฆืืจืชื, ืืืขื ืืืื ืืืื ืื ืืืืจืืคื ืืืืืจื ืืชืืืื. ืืืื ืืืืื ืืืืื ืชืื ื ืืืจืฆืื ืื ื ืืืืฉืื ืืืคืจืกื ืืงืืืขืืช
ืืืืืจืืช ื ืืกืคืืช; ืืืืฆืื ืืืืจ ืืช โืืจืืจืืืื ืืฉืจืืโ- ืขืฉืืื ืฉืชืืื ืืืืืช ืงืื ืืงืืจืืื.
ืืืืื ืืืืื : ืืงืกืคื 2015ืฉืืืช ืืืืจ
ืื ืืื ืจืืืื ืืืกืืจ ืืืื ืืืืืฆืจืืช ืืืข, ืืืื ืืืืจืืช, ืืื, ืืื ืจืง ืืื
ืืืืืฉืืืื ืฉืืืชื ืืชืืืืื ืืขืืืื ืืชืืืืืื ืืงืืืื ืืืืขื ืื ืืฉืจืืืืื. ืืขื ืืืช ืืงืฉืืื ืืคืื ืืชืืจืืฅ ืืืฆืืืช ืชืฉืืืืช, ืืืืืืช
Fieldsืืืืื ืื ืืขืชืื, ืืื ืืช ืืช ืืงืืื ืืืืืฉ ืืช โืฉืืืช ืืืืจโ, of Tomorrow .ืืคื ืฉืขืืื ืืืฉื ืืงืืืข ืฉื ืืชื ืืืืชื ืืืฉืจืืื ,
ืืฉืจืื ืืืื ื ืืืืืื ืืืงืกืคื 2015 ืืืืืฉื, ืืืืืจ ืฉื ืื ืืื ืจืืืื.ืืืืื ืืืจืื ืชืคืจื... ืืืืจ ืืฉืขืืื ืื ืืืืชื. ืืืืื ืืืขืืืช ืืืกืืืืช
ืืช ืืืืืฅ ืืืืืืืฆืื ืฉืืืคืื ืืืงืืืื ืืืฉืจืืืื ืืืฉื ืขืฉืจืืช ืฉื ืื: ืืืฆืืจ ืืืื ืืืจืฅ ืืฉืจืื ืื ืืืืชื ืืืงืืืืช ืืฉืจ ืชื ืื ืืืงืืื
ืืื ืื ืขื ืืจืืื ืืืืืืช ืืืงืื. ืืืกืืจ ืืืื ืืืืฉืืืื ืืืขืืื, ืืืื ืืืืจืืช ืืืื, ืื ืจืง ืืื ืืืืืฉืืืื ืฉืืืชื ืืชืืืืื ืืขืืืื
ืืชืืืืืื ืืงืืืื ืืืืขื ืื ืืฉืจืืืืื. ืืขื ืืืช ืืงืฉืืื ืืคืื ืืชืืจืืฅ ืืืฆืืืช ืชืฉืืืืช, ืืืืืืช ืืืืื ืื ืืขืชืื, ืืื ืืช ืืช ืืงืืื ืืืืืฉ
ืืช โืฉืืืช ืืืืจโ, Fields of Tomorrow ืืคื ืฉืขืืื ืืืฉื ืืงืืืข ืฉื ืืชื ืืืืชื ืืืฉืจืืื. 2015, ืืฉืจืื ืืืื ื ืืืืืื ืืืงืกืคื, ืื ืืืืืช
ืืืืืืช ืืืชืืืช ืฉืืืืื ืืืฉืื ืืชืืื ืืืงืืืืช, ืืืฆืืข ืืืืืฉืื
ืืื ืืืืืืื ืืืืชืืื ืืืืงืจ ืืืืขื. ืืืจืื ืืื ืขืืืืื ืืืจืื ืืืืชื ืืืฉืจืืื: ืืจืื ืฉื 2400 ืืืจ ืฉืชืืื ื ืขโื ืืืืจืืื ืืื ืงื ืคื ืื ืื ื ืขโื
Avs, ืืืืื ืืืืืืช ืืืฉืจืืืืช ืืืืืื ืืชืืื ืืืื ืืืืืืืช ืืืงืืืืืช, ืืืืืืื ืืจื ืงืืืื ืืืืกืืื ืืืงืืจืืช ืืื. ืืืืจื ืืืขืืจ ืืื, ื ืฆืื ืืืืชื, โืื ืืืืืช ืืืฉืจืืืืช ืืืงืกืคื ืืืฆืืช ืืจืขืืื ืืืืคื ืืคืจืืืงืืืจื ืฉื ืืขื ืืืฉืจืืื, ืฉืืขืืื ืื ืืคืฃ ืจืืฉื ืืื ืืืฆืืืืช ืืืืฉืื ืืืชืืื ืื ืืกืืื ืืืืื ืืฉืื ืืืโ. ืืืืืื ืืจืืฉืื ื ืืื ืืื ื ืืืืชื โ ืฉืืืงืืชื ืชืื ืืงืืื ืืฉืจื ืืืืฅ ืืืฉืจืืื ืืืืืืื ื ืืฉืชืชืคื ืืงืจื ืืงืืืืช ืืืฉืจืื โ ืืืจืื ืืชื ืฉื ืโืฉืื ืืืจืืืงืืโ ืฉืจืืืื ืฉืืขืื ืืืจ ืืืืืื ืฉื ืื
ืขืฉืจ: ืฉืื ืจืื ืืืืื ืืืืชืืจ ืจืืฉื ืืืืืืื ืืจืฉืื, ืืขืืื ืฆืืืืื ืืจืงืืช ืืขืฉืื ืชืืืื. ืืืฉื ืืืฉื ืืชืฆืืื ืืคื ืืืืืคื ืืขืื ืืช, ืืฉืื ืืฉื ื ืฆืืจื
ืืฆืืข, ืืื ืืืชืื ืืชืงืืคื. ืืฉืื ืืืืจืืืงืื, ืืกืืืจ ืงื ืคื โืืืจืื ืืืืืืืช ืืืืืืจืืืช ืืงืืืืืช, ืืืืืจ ืืฉืืืื ืื ืืชื ืื ืืืืืืโ. ืื
ืืืืื ืืืืืช ืืขืจืืช ืืฉืงืื ืืืืืฉืืช )ืืคืืืฃ( ืืื ืฆืืช ืืืืคื ืืืจืื ืืช ืชืืืื ืืืืืื ืฉื ืืืื, ืืืจื ืืชืืจืก, ืื ืืืืืื ืืืจืืช ืืงืืจืืช ืืชืืื ื ืืืจืืืืื ืืืงืืจ ืฆืืื. ืืื ืื ืืื ืืืืืื ืขื ืืื ืืงืืจ ืืืจืืง
ืืฉืื ืืืฆืจืื ืคืกืืคืก ืฉื ืฆืืข, ืจืื ืืืจืงืโ. ืื ืืืืืจ ืจืง ืืจืขืืื ืืจืชืง ืืืืื ื ืืกืืชืืช, ืืคืจืืืืงื ืืฆืื ืืืคืชื ืืขืื ื ืืืืงืจ ืืช ืืชืคืืฉื ืฉื
โ ืฉืชืืื ืืืืืโ, ืฉืชืืคืกืช ืขืืฆืื ืืจืืื ืืขืืื ืื ืืชืงืฉื ืืืืืช ืฉืืจืฉืื ืืืืืจ ืืืืจื ืืชืืืื. ืืืืืจ ืืฉืืืช ืืืืื ืืืืคืฉืจืช ืืืกืื
ืืื ืฆื ืืฆืืจื ืืืคืืืืืืช ืงืจืงืข ืืืื. โืชืืืืื ื ืขืชืื ืืื ื ืืชื ืืืื ืืืื ืขื ืืงืืจืืช ืืืืฆืื ืืื ืฉื ืืืชืื โ ืืืจืื ืงื ืคื ืืจืืืื ืฉืขืจื ืื ืืืื
ืขืืืจ archipianich.com โ ืืืื ืืืืืื ืฉื ืืืจืืืงื ืคืื ืื ื ืชืืคืฉืจ ืืืจืืืืงืืืจื ืืืคืื ืืืืง ืืื ืืืจืื ืืชืืืื ืฉื ืืคืงืช ืืื ืจืืื ืืืื ืืคืืจืื )ืชืืฆืจ ืฉื ืฉืืืืฉ ืืืชื ืืืืืข ืืืืืื, ืืงืืืช, ืืืื ืช ืืืืกื
ืืื'(, ื"ืืจืืง" ืืืืจ ืืช ืืืืืจืื ืืืืืืื ืืื ืืื ืื ืืื ื ืืขืชืื ืืืื ื ืืขืืงืจ ืืืืืจืื ืืืืืืจืื. ืืื ืขืืจ ืืจื ืงืืืื ืืขืืืื ืืช ืืืืืืืกืื ืืืืฆืจ
ืืืืืืช ืขืฆืื ืืช ืืืื ื ืืืืื ืืจืงืืช ืืขืฉืื ืชืืืื ืืชืืื ืืืืืื ืืืืฉื ืฉื ืื ืืืโ. ืืฉืื ืืืืจืืืงืื ืฉื ืืืืชื ืืืฉืจืืื ืืฉืงืฃ ื ืืื ื ืืช
ืืงืื ืกืคื ืฉืืื ื ืืืกืืก ืชืขืจืืืช ืืืงืกืคื: โืืืืื ืืช ืืืืจ ืืืจืฅ, ืื ืจืืื ืืืขื ืืืืืโ, ืืฉ ืืื ื ืืกืื ืืืืืฉ ืฉื ืืืจืืื ืืื ืืชื ืื ืืืฆืืจ ืืืืื ืฉืืืืื ื ืืื ืืืคืฉืจ ืืชืืืื ืืืื ืืืืืช ืคืื ืงืฆืืื ืื ืขืืืจ ืืื ืืฉืืช ืืืจ
ืงืืืื ืืืื ืชื ืื ืืืืจ ืืืจืฅ.
ืืืืื ืืืืจื ืืืืชื ืฉืืืืงื ืืื ืืชืื ืืืงืกืคื, ืืืฆืืืืืช ืืื ืืงืจืื ืืืจื ืืืงืืื ืืก โ ืขืืจืงื ืชื ืืขื ืืจืืืืื ืฉื ืืชืขืจืืื ืืืื ืืืืืืช -, ืืืืืืืื ืื ืืืงืื ืื ื ืืฆื ืืืืชื ืืืืืืงื, ื ืงืืื ืื ืืคืกื ืื ืืื
ืืืืกืงืื ื, ืืขืืจืช ืืืจืช ืกืืื ืก, ืืขืืื ืืช ืืจืืขื ืคืกืืื ืืขืฉืืืื, ืื ืืื ืืื, ืืขื ืคื ืขืฅ ืืืชืคืชื ืืืืื )ืืืืจ ืืื ืืืื ืื โืฉืขืจื ืืืงืกืคืโ ืื โืืืื ืืช ืืืงืกืคืโ(. ืโืืืชโ ืืืฉืจืืื ื ืืฆื ืื ืื ืืืงืื ืืกืืจืืื ืืืืฉื ืืืื ืขื ืืื ืจื; ืืืืืง ืืืจืืขื ืืืืจืื: ืืืืื ืืจืืฉืื, ืืืื ืืื ืืกื, ืื ืืืืงืจืื ืืืืื ืืฆืคืืช ืืชืขืจืืืืช ืืขืืกืงืืช
ืืืื ืืืืืื, ืืืชื ืืื ื ืืืขืืจ ืืื, โืคืืื 2.0โ. ืืืฆืืื ืืื ืืจืืงืืืืืื ืืขื ืืื ืืืืื ืืืืงืจื ืื ืขื ืืงืืจืืช ืืืืฆืจืื ืืื ืืจืืงืฆืื ืขื ืืืืงืจ. ืืืืฉื, ืืืืง ืืจืืฉืื ืฉื ืืชืขืจืืื, ืืืฆื ืกืืคืืจ ืืืืื ืฉื ืฉืืืฉื
ืืืจืืช ืฉื ืืืืจืื. ืกืืคืืจ ืืืชื ืื ืืืืจื ืงืื ืืื ืืกืืืจื ืืืจืื ืืืฆื ืืชืงืืคื ืื ืงืฆืจื, ืืื ืฉืืืฉื ืืืจืืช, ืืฆืืืื ืืืฉืคืืืช ืืืืฉืื ืืช
ืืืืื ืฉื ืืื ืื ืืืจืืื ืืืืคืจืื ืืช ืฉืืืช ืื ืื ืืืืกื ืืืืฆืืช ืืฉืืื ืฉื ืืืื ืช ืืฉืจืื. ืืฉืืื ืืคืฉืจืืช ืื ืืืืืช ืืกืงืืืจ ืืจืืฉืื ื
ืืืฉืจืืื ืฉื ืืฆื ืืืชืคืชืืืช ืืชืืืช, ืืืืืื ืืชืืื ืืื-ืืง ืืืืฉื ืืืื ืฆืขืืจืื ืจืืื, ืืคื ืฉืืกืืืจ ืื ื ืืืจื ืงืคืืื ืืง, ืื ืื ืืืจืื ืืืืืงืื ื,
ืืื ืืืจืืื ืืืืงืจ ืืืฆืืืื ืื ืืืฉืจืื.ืืืืจ ืืืืจ, ื ืืืจ ืืืืื, ืืื ืื ืืืืกืืืจืื ืืงืจืืื ืื ื ืืืกืจ ืืืฉืื
ืืขืืืจ ืืื ืืื ืืืืจื ืืืคืฉืจ ื ืืฆืื ืืืืื ืืื ืฉื ืืขื ืืืงืืจืืช ืืืฆืืืื ืืืื ืืฉืจืื. ืืงืืืื ืืฉืืืื ืืืฆืืจ ืืืข know-how ืืื ืื
ืฉืืคื ืืืชื ืืืฆืืื ืืช ืืืืืื ืืชืืื ืืืฉืงืืื ืืฉืืืช ืืืคืืคืืช ืืืืืชื ืืืฆื ืืืืงืจ ืืืืคื ืืคืืจื ืืช ืกืืคืืจ ืืืฆืืื ืืืื ืืืืื. ืืืืงืืจ ื ืืฉื
ืื ืขืืื ืื ื ืืชื ืืฆืคืืช ืืกืจื ืืืชืืจ ืชืืืื ืฉื ืืืขืืจ, ืืืชืืฆืข ืขโื ืงืงโื, ืืจืืื ืกืืืืชื ืฉืืืงื ืืืฉืจืื ืฉื ืชืงืืคืช ืืื ืื ืืืจืืื. ืขื ืืืื
ืงืงโื ืจืฉืื ืืืืืชื ืืช ืฉืชืืืชื ืฉื 240 ืืืืื ืขืฆืื ืืจืืื ืืืืื ื. โืงืงโื โ ืืืืจ ืจืืโืจื ืืืื, ืจืืฉ ืืขืืช ืืืงืกืคื ืฉื ืขืืจืืืช ืืืืื ื โ ืืืื ื ืืืฆืืช ืืืืฆืืืช ืืืืชื ืืืฉืจืืื ืืืช ืืืงืืจื ืฉื 300 ื ืฆืืืื
ืฉืืืืขื ืืืื ืืืงืืืืช ืฉืื ืื ืืขืืืโ.ืืืืง ืืฉืืืฉื ืฉื ืืืืชื, ืืืื ืืืื ืืืฉืื ืืื ื ื ืืจืง ืืืจ ืื ืืจืงืืข ืืขื ืืฉืื ืืืืจืืืืื ืืืงืจื ืื ืกืจืืื ืืืืงืืฉืื ืืืจืืข ืคืจืืืืงืืื ืขืชืืื ืืื, ืืคืืืงืฆืื ืฉื ืืื ืืืืืืืช ืืืืืืืืืช ืืืืืืื ืืืช ืืืกืืืืืช ืืคืงื ืขื ืคืขืืืืช
ืืงืืืืช, ืืื ืคืจืืืืงื ืืฉืงืืื ืืืฉื ื ืืืคืจืืงื.ืืืืฆืจืืช ืืืืื ืืืงืืฉ ืืืจืื ืืืืจืื, ืืกืขืื ืฉืื ื ืืชื ืืืขืื
ืืืืืฉืื ืืืฉืจืืื ืืืืจืืื ื, ืชืืฆืจ ืฉื ืชืจืืืืืช ืืืกืืจืืช ืฉืื ืืช ืฉืืืืขื ืืืจืฅ ืขื ืืขืืืืช ืืจืืืช, )ืืืชืจ ื-120 ืืืื ืืช ืืืฆื(. ืืืจืืงื ืืขื
ืจืืกืื, ืืคืืืื ืืขื ืืืจื, ืื ืืฉืืงื ืื ืืจืืฉืืื ืื ืืขืื ืืืืื, ืืื ืืืืื ืืื ืฉื ืืืืื ืืืืืืงื ืืืืืื. ืืืืชื ืืืฉืจืืื ืืฆืื ืืืืื
ืืืืืืช ืืช ืื ืืืืฉืื, ืืืจืืืื ืืขื ืืืืฉ ืืืขื, ืืจืื ืืืืชืืจ ืืช ืืืืฉืื ืืืขืืื ืืฆืืจื ืืืฉืงืขื ืโืฉืืืช ืืืืจโ.
ืจืืืื ืืืืื ืืงืกืคื ืืืืื ื โ โืฉืืืช ืืืืจโ
ืจืืืื ืขื ืืืขืืจ ืืื, ื ืฆืื ืืืืชื ืืืฉืจืืื
ืืืืชื ืืืฉืจืืื ื ืงืจื Fields of Tomorrow โ โืฉืืืช ืืืืจโ. ืืืืข ื ืืืจ ืฉื ืื?
ืืฉื ื ืืืจ ืขโื ืงืืืฆืช AVS ืืืื ืืืจื ืืื ืื, ืืขืืฆืื ืืืฆืืจืช ืื ืืชืื ืื ืืืืชื. ืืฉืื ืืกืคืจ ืื ืขื ืืจืขืืื ืฉืขืืื ืืืืืจื ืืฉื. ืืช ืืืืืื ืืืืขืช
ืฉืขืงื ืฉืืื ืืืฆืืืฆื ืฉื ืืฉืจืื ืืืืขืื ืืืฆืจืืช ืืืืข ืฉืื, ืืืืื ื ืืื ื ืืฆืืื ืืช ืืื ืืืืืืช ืืื ืงื ืื, ืจืืกืื ืื ืืืงืจืืื ื. ืืฉืจืื ืืืืื
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