{"id":20944,"date":"2024-08-10T14:38:53","date_gmt":"2024-08-10T12:38:53","guid":{"rendered":"https:\/\/www.smadarsheffi.com\/?p=20944"},"modified":"2024-08-12T07:34:41","modified_gmt":"2024-08-12T05:34:41","slug":"%d7%92%d7%a9%d7%a8%d7%99-%d7%94%d7%99%d7%a8%d7%93%d7%9f-1975-2017-bridges-of-the-jordan","status":"publish","type":"post","link":"https:\/\/www.smadarsheffi.com\/?p=20944","title":{"rendered":"\u05d2\u05e9\u05e8\u05d9 \u05d4\u05d9\u05e8\u05d3\u05df 1975 – 2017 Bridges of the Jordan"},"content":{"rendered":"\t\t
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For English Click Here.<\/a><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Upper image: Efrat Natan,, Bridges of the Jordan. (1975 ) - still from the happening \n Lower image : . Efrat Natan, Tamar Getter , Dganit Bereset , Bridges of the Jordan. (1975 - 2017) detail from 24 photographs .<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Efrat Natan, Tamar Getter , Dganit Bereset , Bridges of the Jordan. (1975 - 2017) detail from 24 photographs .<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\u00a0\u05d4\u05de\u05d9\u05e6\u05d2 \u05e9\u05dc \u05e0\u05ea\u05df \u05d4\u05de\u05e9\u05d9\u05da \u05de\u05d9\u05e6\u05d2\u05d9\u05dd \u05e7\u05d5\u05d3\u05de\u05d9\u05dd \u05e9\u05dc\u05d4 \u05e9\u05d4\u05e4\u05db\u05d5 \u00a0\u05d1\u05de\u05d4\u05dc\u05da \u05d4\u05e9\u05e0\u05d9\u05dd \u05dc\u05e0\u05db\u05e1 \u05e6\u05d0\u05df \u05d1\u05e8\u05d6\u05dc \u05d1\u05ea\u05d5\u05dc\u05d3\u05d5\u05ea \u05d4\u05d0\u05de\u05e0\u05d5\u05ea \u05d4\u05d9\u05e9\u05e8\u05d0\u05dc\u05d9\u05ea \u05db\u05de\u05d5 “\u05e4\u05e1\u05dc \u05e8\u05d0\u05e9 ” \u05de 1973 \u05d0\u05d5 “\u05d3\u05d2\u05dc” \u05de \u00a01974. \u05d4\u05e2\u05d1\u05d5\u05d3\u05d5\u05ea \u05d4\u05d9\u05d5\u05d5 \u05d7\u05dc\u05e7 \u05de\u05e4\u05e8\u05d9\u05d7\u05d4 \u05e7\u05e6\u05e8\u05d4 \u05d5\u05d0\u05d9\u05e0\u05d8\u05e0\u05e1\u05d9\u05d1\u05d9\u05ea \u05e9\u05dc \u05d0\u05de\u05e0\u05d5\u05ea \u05de\u05d9\u05e6\u05d2 \u05d5\u05d0\u05de\u05e0\u05d5\u05ea \u05d2\u05d5\u05e3 \u05d1\u05d0\u05e8\u05e5 \u05d1\u05e9\u05e0\u05d5\u05ea \u05d4 70 ( \u05d1\u05d9\u05df \u05d4\u05e2\u05d1\u05d5\u05d3\u05d5\u05ea \u05d4\u05d1\u05d5\u05dc\u05d8\u05d5\u05ea \u05d4\u05d9\u05d5 \u05de\u05d9\u05d9\u05e6\u05d2\u05d9\u05dd \u05e9\u05dc \u05de\u05d5\u05d8\u05d9 \u05de\u05d6\u05e8\u05d7\u05d9, \u05d9\u05d5\u05db\u05d1\u05d3 \u05d5\u05d9\u05e0\u05e4\u05dc\u05d3, \u05d3\u05d5\u05d3 \u05d2\u05d9\u05e0\u05ea\u05d5\u05df, \u05e4\u05e0\u05d7\u05e1 \u05db\u05d4\u05df \u05d2\u05df \u05d5\u05d7\u05d9\u05d9\u05dd \u05de\u05d0\u05d5\u05e8). \u05d0\u05dc\u05d5 \u00a0\u05db\u05dc\u05dc\u05d5 Happenings \u00a0– \u05d4\u05ea\u05e8\u05d7\u05e9\u05d5\u05d9\u05d5\u05ea \u05db\u05dc\u05d5\u05de\u05e8 \u05e2\u05d1\u05d5\u05d3\u05d5\u05ea \u05d1\u05d4\u05df \u00a0\u05e0\u05d5\u05db\u05d7\u05d5\u05ea \u05d4\u05e7\u05d4\u05dc \u05d7\u05d9\u05d5\u05e0\u05d9\u05ea (\u05d1\u05de\u05d9\u05d3\u05ea \u05de\u05e2\u05d5\u05e8\u05d1\u05d5\u05ea \u05d4\u05e0\u05e2\u05d4 \u05d1\u05d9\u05df \u05d4\u05ea\u05d1\u05d5\u05e0\u05e0\u05d5\u05ea \u05e4\u05d0\u05e1\u05d9\u05d1\u05d9\u05ea \u05dc\u05e9\u05d5\u05ea\u05e4\u05d5\u05ea \u05e4\u05e2\u05d9\u05dc\u05d4) \u05d5\u05e2\u05d1\u05d5\u05d3\u05d5\u05ea Performance \u00a0– \u05de\u05d9\u05d9\u05e6\u05d2 (\u05de\u05d5\u05e0\u05d7 \u05e9\u05d8\u05d1\u05e2 \u05d2\u05d3\u05e2\u05d5\u05df \u05e2\u05e4\u05e8\u05ea \u05d1\u05e9\u05e0\u05d5\u05ea \u05d4 70) \u05d1\u05d4\u05df \u05d1\u05d9\u05e6\u05d5\u05e2 \u05d4\u05d0\u05de\u05e0\/\u05d9\u05ea \u05d4\u05d5\u05d0 \u05d4\u05e2\u05d9\u05e7\u05e8 \u05d0\u05d5 \u05d4\u05e4\u05df \u05d4\u05d9\u05d7\u05d9\u05d3 \u05d5\u05d4\u05d5\u05d0 \u05d9\u05db\u05d5\u05dc \u05dc\u05d4\u05ea\u05e8\u05d7\u05e9 \u05dc\u05e4\u05e0\u05d9 \u05e7\u05d4\u05dc \u05d0\u05d5 \u05d1\u05dc\u05e2\u05d3\u05d9\u05d5 \u05d5\u05dc\u05e2\u05d9\u05ea\u05d9\u05dd \u05e7\u05e8\u05d5\u05d1\u05d5\u05ea \u05de\u05ea\u05d5\u05e2\u05d3 \u05d1\u05e6\u05d9\u05dc\u05d5\u05dd \u05d0\u05d5 \u05d5\u05d5\u05d9\u05d3\u05d9\u05d0\u05d5.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t
Efrat Natan, Tamar Getter , Dganit Bereset , Bridges of the Jordan. (1975 - 2017) <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t
: Efrat Natan,, Bridges of the Jordan. (1975 ) <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t

\u05d4\u05de\u05d7\u05d9\u05e7\u05d4 \u05e9\u05dc \u05d4\u05e7\u05d4\u05dc \u05de\u05ea\u05d9\u05e2\u05d5\u05d3 \u05d4\u05d4\u05ea\u05e8\u05d7\u05e9\u05d5\u05ea \u05d1\u05d5\u05e0\u05d4 \u00a0\u05dc\u05de\u05e2\u05e9\u05d4 \u05d0\u05ea “\u05d4\u05e7\u05d9\u05e8 \u05d4\u05e8\u05d1\u05d9\u05e2\u05d9”‘ \u00a0\u05d0\u05d5\u05ea\u05d5 \u05e7\u05d9\u05e8 \u05d3\u05de\u05d9\u05d5\u05e0\u05d9 \u05e9\u05de\u05e4\u05e8\u05d9\u05d3 \u05d1\u05d9\u05df \u05d4\u05de\u05e6\u05d9\u05d2\u05d4 (\u05d5\u05d4\u05de\u05e6\u05d9\u05d2) \u05dc\u05e7\u05d4\u05dc \u05d5\u05d4”\u05d4\u05e1\u05e8\u05d4” \u05e9\u05dc\u05d5 \u05e0\u05d7\u05e9\u05d1\u05ea \u05dc\u05d0\u05e4\u05d9\u05d5\u05df \u05de\u05e8\u05db\u05d6\u05d9 \u05e9\u05dc \u05d0\u05de\u05e0\u05d5\u05ea \u05ea\u05dc\u05d5\u05d9\u05ea \u05d6\u05de\u05df \u05e9\u05e0\u05ea\u05e4\u05e1\u05d4 \u05d1\u05e2\u05d1\u05e8 \u05db\u05d0\u05d5\u05d5\u05e0\u05d2\u05e8\u05d3\u05d9\u05ea \u05d1\u05ea\u05d7\u05d5\u05de\u05d9 \u05d0\u05de\u05e0\u05d5\u05d9\u05d5\u05ea \u05d4\u05d1\u05de\u05d4 \u05d5\u05d0\u05de\u05e0\u05d5\u05ea \u05d7\u05d6\u05d5\u05ea\u05d9\u05ea.
\u00a0\u05d1\u05e6\u05d9\u05dc\u05d5\u05de\u05d9\u05dd \u05e9\u05dc \u05d2\u05d8\u05e8 \u05d5\u05d1\u05e8\u05e1\u05d8, \u05dc\u05dc\u05d0 \u05d4\u05e7\u05d4\u05dc, \u05dc\u05dc\u05d0 \u05e4\u05e0\u05d9\u05d9\u05d4 \u05d5\u05d4\u05d6\u05d3\u05e7\u05e7\u05d5\u05ea \u05dc\u05de\u05d1\u05d8\u05d5, \u05d4\u05e2\u05d1\u05d5\u05d3\u05d4 \u05db\u05d0\u05d9\u05dc\u05d5 \u05e0\u05d5\u05e2\u05d3\u05d4 \u05de\u05ea\u05d7\u05d9\u05dc\u05d4 \u05dc\u05d4\u05d9\u05d5\u05ea \u05de\u05ea\u05d5\u05e2\u05d3\u05ea. \u05d1\u05e6\u05d9\u05dc\u05d5\u05de\u05d9\u05dd \u05d4\u05de\u05d1\u05d5\u05d3\u05d3\u05d9\u05dd \u05d0\u05ea \u05d4\u05de\u05e8\u05db\u05d9\u05d1\u05d9\u05dd \u05de\u05d4\u05d7\u05dc\u05dc \u05de\u05ea\u05d7\u05d6\u05e7 \u05d4\u05d3\u05de\u05d9\u05d5\u05df \u05dc\u05d0\u05de\u05e0\u05d5\u05ea \u05e1\u05d5\u05e6\u05d9\u05d0\u05dc\u05d9\u05e1\u05d8\u05d9\u05ea \u2013 \u05e1\u05d5\u05d1\u05d9\u05d9\u05d8\u05d9\u05ea \u05d5\u05dc\u05d0\u05d5 \u05d3\u05d5\u05d5\u05e7\u05d0 \u05d1\u05d0\u05d5\u05e4\u05df \u05e4\u05d0\u05e8\u05d5\u05d3\u05d9. \u05d4\u05e2\u05d9\u05e1\u05d5\u05e7 \u00a0\u05d1\u05d2\u05d5\u05e3 \u05d5\u05d1\u05de\u05e8\u05d7\u05d1 \u00a0\u05d4\u05d5\u05e4\u05da \u05dc\u05d3\u05d9\u05d5\u05df \u05d4\u05de\u05d1\u05d9\u05e2 \u05d6\u05e2\u05dd \u05e2\u05dc \u05e0\u05d9\u05e6\u05d5\u05dc: \u00a0\u05d4”\u05d8\u05e7\u05e1” \u05e9\u05dc \u05d4\u05e8\u05db\u05d1\u05ea \u05e9\u05dc\u05d3 \u05e4\u05e8\u05d4 \u05e9\u05e2\u05d4 \u05e9\u05e2\u05d5\u05e8 \u05e4\u05e8\u05d4 \u05e4\u05e8\u05d5\u05e9 \u05db\u05ea\u05e4\u05d0\u05d5\u05e8\u05d4, \u05d4\u05de\u05d6\u05e8\u05d5\u05df \u05dc\u05d9\u05d3 \u05d4\u05e9\u05dc\u05d8 “\u05e9\u05dc\u05d9 \u05e9\u05dc\u05da” \u05e9\u05de\u05e8\u05de\u05d6 \u05d0\u05de\u05e0\u05dd \u05e2\u05dc \u05d4\u05e8\u05d8\u05d1\u05d4 \u05d5\u05d9\u05db\u05d5\u05dc \u05dc\u05d4\u05d9\u05e7\u05e8\u05d0 \u05d2\u05dd \u05db\u05de\u05ea\u05d9\u05d9\u05d7\u05e1 \u05dc\u05e0\u05d9\u05e6\u05d5\u05dc \u05de\u05d9\u05e0\u05d9, \u05d4\u05e7\u05e9\u05e8 \u05db\u05de\u05e2\u05d8 \u05de\u05ea\u05d1\u05e7\u05e9 \u05d1\u05e9\u05d9\u05d7 \u05d1\u05d5 \u05d4\u05d2\u05d5\u05e3 \u05d4\u05e0\u05e9\u05d9 \u05de\u05d3\u05d5\u05de\u05d4 \u05dc\u05d0\u05d3\u05de\u05d4 \u05e9\u05e0\u05db\u05d1\u05e9\u05ea \u05d1\u05d0\u05dc\u05d9\u05de\u05d5\u05ea.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t
Efrat Natan, Tamar Getter , Dganit Bereset , Bridges of the Jordan. (1975 - 2017) <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
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* \u05dc\u05d0 \u05de\u05e6\u05d0\u05ea\u05d9 \u05d0\u05ea \u05e9\u05de\u05d5. \u05d0\u05e9\u05de\u05d7 \u05dc\u05d4\u05d5\u05e1\u05d9\u05e3 \u05d0\u05d5\u05ea\u05d5.<\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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<\/a>Efrat Natan, Bridges of the Jordan, 1975-2017\u00a0
<\/sub><\/strong> photographs by Dganit Berest and Tamar Getter<\/span><\/strong><\/h2>

Twenty-four photographs of Efrat Natan\u2019s happening, \u201cBridges of the Jordan,\u201d were recently exhibited at the Givon Gallery as part of \u201cSeries Matter.\u201d The photographs by Dganit Berest and Tamar Getter, are dated 1975-2017, with 1975 the year in which the performance held at the Tel Aviv Artists\u2019 House was documented, and 2017 the year in which the documentary photographs were processed. The distance between the performance and its representation in the 24 photos transform the series into a stand-alone work, more than documentation, a dense and layered enigmatic work. To a great extent, it is also no less subversive and interesting than the original performance \u2013 and perhaps even more so.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Right: Efrat Natan,, Bridges of the Jordan. (1975 ) - still from the happening \n Left : . Efrat Natan, Tamar Getter , Dganit Bereset , Bridges of the Jordan. (1975 - 2017) detail from 24 photographs .<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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  1. To the best of my knowledge, this was a rare (perhaps a one-time) collaboration between Berest and Getter. Getter and Natan collaborated several times about 50 years ago when Getter documented Natan\u2019s early body works after she left Kibbutz Kfar Ruppin and stayed at the Getter home, and Natan appeared in Getter\u2019s video works.<\/li>
  2. The encounter with the photographs is disconcerting for whom, \u00a0like myself, knows the documentation of the performance that was photographed with the audience. In Getter and Berest\u2019s photographs, the audience is erased, covered in black, as if the event took place in a black limbo, a space without volume, floor, or ceiling. Form a concrete action in a specific place and at a very specific time, in an Israel barely recovering from the Yom Kippur War. It became a ceremony, an extremely eccentric private dance, with the relatively numerous onlookers marginalized outside of the frame like extraneous objects. Time – the abstract, elusive dimension \u2013 was compressed into 24 photographs which became its title, like the 24 hours of a day.<\/li>
  3. I decided not to contact Tamar Getter and Dganit Berest and ask about the photography and manipulation applied to the images. The few details in the gallery text, and the drama found in each image of the 24 images making up the symbolic day create an intriguing poiny of observation.<\/li>
  4. Efrat Natan\u2019s performance continues her previous performances that became a foundational body of work in Israeli art history, such as Head Sculpture <\/em>(1973) or Flag <\/em>(1975). Those works constituted part of the short and intensive blooming of performance and body art in Israel during the 1970s. (Among the outstanding works were performances by Motti Mizrachi, Yocheved Weinfeld, David Ginton, Pinchas Cohen Gan, and Haim Maor). The works included happenings \u2013 performances in which the audience was vital (and whose involvement ranged from passive observation to active participation), and performances (meitzag, <\/em>the Hebrew term coined by Gideon Ofrat) in which the artist\u2019s own actions can be carried out with or without an audience and frequently documented in photographs or video.<\/li><\/ol>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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    The invitation to the 1975 event defined it as a \u201chappening,\u201d meaning the audience presence was essential. Michal Na\u2019aman\u2019s invitation to her talk about it afterwards also testified to the definition. One of the complaints in two very negative pieces of criticism of the event was the attitude to the audience\u2019s questions and reactions, perceived by the writers as demeaning.<\/p>

    Making the audience disappear and isolating Natan and an unidentified male artist (whom I would credit if identified) who participated in the performance, as well as the objects, comprised a radical act. The interpretation of the work when it was made and later revolved around the relationship between the artist\u2019s body and the<\/p>

    Erasing the audience from the documentation of the happening is what actually builds the \u201cfourth wall\u201d \u2013 the imaginary wall separating the performer from the audience. Its \u201cremoval\u201d is considered the major characteristic of time-specific art perceived in the past as avant-garde in stage arts and visual art.<\/p>

    Getter and Berest\u2019s photographs without the audience, without appealing to them or needing their gaze, seem to imply that the work was always intended for documentation. In photographs that isolate the components from the audience, the similarity to socialist and Soviet art becomes stronger and not necessarily in parody. The engagement in the body and in space becomes a discussion expressing survivor\u2019s rage. The \u201cceremony\u201d of assembling a cow\u2019s skeleton while a cowhide is the backdrop, with the mattress near a sign saying \u201cWhat\u2019s mine is yours\u201d hinting at bedwetting but could also be read as referring to sexual abuse, all contribute to a discussion of the association between an imagined female body to land conquered with violence.<\/p>

    landscape \u2013 the route of the Jordan River \u2013 and the symbolism of socialist ideology \u2013 \u201cthe religion of labor\u201d which began to crumble in the country which was still reeling from the 1973 war. The performance and language of movement engaged in the problem of kibbutz children\u2019s bedwetting. The symbolic pissing, laundering of the bedsheet, and standing with legs crossed were all read as symbolizing the symptomatic problem of an emotional issue. In a rather childish way, by writing the word \u201cPalestine\u201d on sign in the exhibition over the imagined Jordan River, Natan intended or perhaps only commentators decided she intended, to include the word for \u201curine\u201d in the Hebrew spelling of Palestine, despite its several spelling variants in Hebrew. Interpretations of the work suggested that holding in one\u2019s urine was a metaphor for blocking the Jordan\u2019s water. In a similar manner, identifying the Jordan River as a discussion on the country\u2019s undefined border, of a cow\u2019s skeleton as the horrors of war, and identifying the artist\u2019s bandaged leg as a wound were all obvious. The identification of the country\/homeland as a woman, as a woman\u2019s body, is characteristic of many national and nationalistic movements, and recurs frequently (e.g., Nofar Sela\u2019s performance Surface<\/em> which she has been performing since 2017).\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/p>

    Dividing the documentation of the performance into 24 still photographs which comprise stages in an imaginary day provides it with a symbolic duration that stretches the length of what actually happened way beyond the event\u2019s real time. It is interesting to think about the slowing down and expanding in relation to artworks that play with time, such as Douglas Gordon\u2019s 1993 film 24 Hour Psycho, <\/em>in which he slowed down Hitchcock\u2019s film so that it would extend over 24 hours exactly. Twenty-four frames per second is the usual rate of images in animation and cinema, meaning that 24 is the necessary number for a historical visual \u201cblink.\u201d Time can thus be extended and compressed; here time became a flexible instrument in documentation and changing the values of an art action performed nearly 50 years ago.<\/p>

    Each photograph, separately framed in a wide white frame, takes on weight as an object. The work by Natan, Berest, and Getter is an experiment in constructing a new memory that captures and distils anxieties, fears, and the spirits that hovered over the performance space.\u00a0<\/p>

    \u00a0<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    For English Click Here. \u05e2\u05e9\u05e8\u05d9\u05dd \u05d5\u05d0\u05e8\u05d1\u05e2 \u05e6\u05d9\u05dc\u05d5\u05de\u05d9\u05dd \u05e9\u05dc \u05f4\u05d2\u05e9\u05e8\u05d9 \u05d4\u05d9\u05e8\u05d3\u05df\u05f4, \u05d4\u05ea\u05e8\u05d7\u05e9\u05d5\u05ea Happening \u05e9\u05dc \u05d0\u05e4\u05e8\u05ea \u05e0\u05ea\u05df \u05d4\u05d5\u05e6\u05d2\u05d5 \u05dc\u05d0\u05d7\u05e8\u05d5\u05e0\u05d4 \u05d1 \u05d2\u05dc\u05e8\u05d9\u05d4 \u05d2\u05d1\u05e2\u05d5\u05df\u00a0 \u05d1\u05de\u05e1\u05d2\u05e8\u05ea \u05d4\u05ea\u05e2\u05e8\u05d5\u05db\u05d4 “\u05d7\u05d5\u05de\u05e8\u05d9 \u05e1\u05d3\u05e8\u05d4”. \u05d4\u05e6\u05d9\u05dc\u05d5\u05de\u05d9\u05dd, \u05e9\u05dc \u05d3\u05d2\u05e0\u05d9\u05ea \u05d1\u05e8\u05e1\u05d8 \u05d5\u05ea\u05de\u05e8 \u05d2\u05d8\u05e8, \u05ea\u05d5\u05d0\u05e8\u05db\u05d5 1975 \u2013 2017. 1975 – \u05d4\u05e9\u05e0\u05d4 \u05d1\u05d4 \u05ea\u05d5\u05e2\u05d3 \u05d4\u05de\u05d9\u05e6\u05d2 \u05e9\u05e0\u05e2\u05e8\u05da \u05d1\u05d1\u05d9\u05ea \u05d4\u05d0\u05de\u05e0\u05d9\u05dd \u05d1\u05ea\u05dc \u05d0\u05d1\u05d9\u05d1 \u00a0\u05d5 2017 \u05d4\u05e9\u05e0\u05d4 \u05d1\u05d4 \u05d8\u05d5\u05e4\u05dc\u05d5 \u05d4\u05e6\u05d9\u05dc\u05d5\u05de\u05d9\u05dd \u05d4\u05d3\u05d5\u05e7\u05d5\u05de\u05e0\u05d8\u05e8\u05d9\u05d9\u05dd. \u00a0\u05d4\u05de\u05e8\u05d7\u05e7 \u05d1\u05d9\u05df \u05d4\u05de\u05d9\u05e6\u05d2 […]<\/p>\n","protected":false},"author":1,"featured_media":20945,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[112],"tags":[],"acf":[],"yoast_head":"\n\u05d2\u05e9\u05e8\u05d9 \u05d4\u05d9\u05e8\u05d3\u05df 1975 - 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