May. 27th, 2009

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В пейпеле теперь нельзя жить в одной стране, а платить карточкой другой страны.
То есть израильской картой, чтобы доставка была в Америку, заплатить нельзя.
И русской картой, чтобы доставка была в Израиль, тоже заплатить нельзя.
Пришлось выпендриваться и делать Donate самому себе с одного счета на другой. Это стоит денег, но ничего лучше не придумал.

PS Кстати, искренне рекомендую интернет-магазин - всякие мелкие и крупные гаджеты типа зарядников, пультов, переходников, фонариков, джипиэсов, по почти китайским ценам с бесплатной международной доставкой.
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Понятно, что такой проект должен был быть. Если бы я его не нашел, я бы его снял.

Bet Yisrael, Jerusalem August 2003. 2/8/2001. Car bomb.

Moment Cafe, Jerusalem February 2003. 3/9/2002. Suicide bombing.

Mahane Yehuda Market entrance, Jerusalem February 2003. 4/12/2002. Suicide bombing.

Neve Sha’anan, Tel Aviv February 2003. 1/5/2003. Suicide bombing.

French Hill intersection, Jerusalem January 2005 9/22/2004. Suicide bombing.

Yoav Horesh (b.1975, Israel) received his BFA from the Massachusetts College of Art and an MFA from Columbia University. He has exhibited in Israel, Europe and the USA. Solo and group exhibitions include the Palazzo Reale di Milano, Projekt RaumBahnhof 25 in Germany, Jerusalem National Theater, Nathan Bernstein Gallery (NYC), Stone Crop Gallery and the Photographic Resource Center in Boston. He has been the recipient of the Mortimer Frank Travel Award, the Agnes Martin and M. Roche scholarships, the Rhode Island Photographic Society and the Agora Gallery International Competition award. Yoav is currently on the photography faculty at the Massachusetts College of Art, Queens College and Columbia University.

About the Photograph:

“Between 2002 and 2005 I worked on “Aftermath”. In this series of photographs, I explored the sites of recent terrorist attacks in Israel after they had been hastily repaired and the destruction had been erased not only from the landscape, but from the collective memory. Instead of being perceived and experienced as a narrative or as an historical moment, the photographs are read as a disruption of time and space, or trauma. The very absence of devastation in these places draws attention to the attempt to erase the trauma and thereby gives the situation a presence that resists and confronts the desire not to see and not to remember. I strive to provide the viewer an alternative gaze at otherwise mundane or ordinary places, at a remaining landscape. This body of work includes over one hundred different sites where a history of violence has been removed.”

Нашел благодаря блогу про документальных фотографов Verve Photo.

PS Он мне только что написал, что у него 4 июня открытие выставки в галерее d&a в Тель-Авиве.

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Гастон Цви Ицкович преподает в школе Мусрара, где я учусь, документальную фотографию (на втором курсе). Он закончил школу в 2000 году.

2006, 120*95 cm, edition of 5

2006, 120*95 cm, edition of 5

2006, 120*95 cm, edition of 5


Men can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive.
(Karl Marx)

The series “Load” was commissioned by Mr. Yona Fisher, the curator of the Mon Art Museum in Ashdod, Israel, to create a special body of work for an exhibition celebrating the city’s 50th anniversary. Ashdod is a place of middle-class workers, highly populated with immigrants and surrounded by desert. The photographs were all taken in one location, in a site that appears to be a sort of no man’s land, a passageway connecting a residential neighbourhood to a commercial area.
I searched for the right platform to convey what I felt was the local movement in the city, the daily Sisyphean lives of the hardworking population. The body language of the photographed passers-by subjects itself to comment upon these themes; they appear withdrawn, their gazes are cast down upon the ground and their shadows make them appear smaller than they are. The contrast between the grey daily movement in the urban wilderness and the colourful brightness of the Israeli sun stresses the difficulty of the individual.

The (naturally) changing pile of ruins in the background engaged with this territory, functions as another reflection of the people photographed and contributes to the sense of an undetermined space; the people appear as signs of urban constructions, while simultaneously bespeaking a state of demolition and destruction.

Эяль Перри преподает документальную фотографию третьему курсу:


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