Projectos done at Hansen, Talbye
Living in a Film (exhibition)
The first exhibition of Mamuta at Hansen will open on December 29. The project, which incorporates art, cinema and performance, will feature eight artists who were artists-in-residence at Mamuta in Ein Karem: Asya Lukin, Itamar Mendes-Flohr, Guy Yitzhaki, Hagar Goren, Hadassa Goldvitch, Zemer Sat, Yarden Erez, Einat Amir and Sala-Manca Group, which also curates the show.
The entrance to “Living in a Film” is every full hour (for detailed hours and dates see below).
The viewers are led by a movie usher named Esther, a girl born to a Jewish Orthodox family, who left religion and fell in love with the usher of the Lisbon Cinema, which operated in the cellars of the leppers’ house in the city of Lisbon in Portugal between 1963 and 1973 (the era of Salazar’s dictatorship – and managed to serve as the underground nerve center of freedom fighters, right under the regime’s nose). In the wake of her love to the usher she also fell in
love with the art of cinema, and because of that love was banished from her home.
Opening: Sunday 29.12.2013, at 19:30
For further inquiries: www.mamuta.org || prod@mamuta.org
Address: Hansen House, 14 Gedalyahu Alon Street, Jerusalem
The Exhibition is supported by the Ostrovsky Family Fund and the Ministry of Culture
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Borderline – Two performance events in the frame of Rashamim (drawing biennale)
Participating artists: adi kaplan and shahar carmel together with Dudu Carmel and invited musicians, shira legmann together with musica nova consort, hadas ophrat, lezli rubin-kunda, josef sprinzak.
Invited artists: Guy Yitzhaki and Dafi Sapunar, Yonatan Amir and Ronen Eidelman
Curators: Sala-manca.
Borderline program 25.2 (Hebrew)
Borderline program 18,2 (Hebrew)
“Borderline” is the title of two performance events featuring new works that address the space of the former Hansen leper house, and engage with cartography, mapping, and drawing in space.
Cartography, as a field of knowledge that encodes the space and delineates the connections between space and identity, employs the language of drawing in order to express political, economic, and social worldviews, all the while preserving and founding perceptions of identity. The works in “Borderline” will offer a different mapping of the space, whether through a revised reading of existing maps or the creation of alternative poetic maps.
The wall of Hansen House – which marked the separation between normal life and abnormal life – serves as the borderline, the initial point of departure for some of the works. The Hansen wall, residue of the outside self-defense against the inside, marks the space of a ghetto, of exile within the city, and serves as an architectural metaphor that echoes other walls. The works in the series of performances engage with the conceptual and concrete notion of the borderline: its delineation, erasure, or blurring. The borderline appears in the works as a formal or metaphorical line that separates and unifies its two sides, produces situations of passage, blockage, schism, or destination, and materializes in the encounter with agents that indicate its existence: customs, police, border crossing, conflict between different interests.
The aspiration towards a utopian borderless space, a plan for a space without lines, was the dream of architect Rodriguez (the pseudonym of João Delgado), who had signed his business card “Arch. Rodriguez – Plans without Lines: an architect on a tightrope”.
http://traces.art.org.il/5/venues/mamuta?en
OFF Series I & II – Experimental Cinema and Video Art Series [click here]