Hadas Tapouchi © Katja Täubert
History cannot be captured in a single form. Not in brass, not in metal. That is what Hadas Tapouchi says. The Berlin-based Israeli artist believes that monuments and inscriptions miss the actual sense of commemoration. This type of remembrance would be an inevitable path towards forgetting.
Undoubtedly, Hadas works against forgetting. Upon our first meeting at her Tel Aviv apartment about four years ago, the artist’s rendered self-portrait in prisoner’s garb immediately jumped out at me. It was one of the precursors to her project, “The Third Generation“. A countless number of portraits since followed – portraits of mutual friends, the author himself, as well as young men and women between Berlin, Tel Aviv and Ramallah. → continue reading
More and more young Israelis are moving to Berlin, bustling between Berghain and meshuggah parties, Neukölln and Prenzlauer Berg. The media can’t stop talking about them, but the vogue isn’t only due to the 50-years of diplomatic ties between Germany and Israel. There are in fact not a few young people moving to the German capital with innovative ideas and youthful brio, dabbling in the start-up or art scenes, running cafes, organizing parties.
Berlin’s skyline with a view of the Jewish Museum © Michele Nastasi
So what does that life really look like?
Last year I met Noga at a Berlin gallery and we quickly started talking about family, Berlin, and Israel. In September of 2010, Noga and her husband Zeevi moved to Berlin with just two suitcases – not to enjoy the party scene here for awhile, but to stay. I met with both of them to talk about their life in Berlin.
Jihan Radjai: Why did you decide to move to Berlin? → continue reading
View of Jewish Musem-Berlin storage,© Jewish Museum Berlin, photo: Jens Ziehe
It’s cold. The neon light casts a harsh glare. A gray cabinet stands next to another along white walls. The room feels sterile. The air conditioning hums. A gloomy place.
I put on blue, latex gloves, open one of the cabinets and take out a gray carton. Contours of an item shimmer from under layers of tissue paper. Carefully, I take the object out of the carton and free it from the paper; a microcosm of history presents itself, as if this gloomy place accentuates the aura of the item, the room itself taking a whole step back. → continue reading