Art

2 evocative exhibits go up in Tel Aviv museum, as battle for hostages is waged outside

Published

9 months ago

December 25, 2023

It has been two and a half months since the plaza in front of the Tel Aviv Museum of Art earned its new temporary name of Hostages Square, for the approximately 240 people abducted to the Gaza Strip on the day of the October 7 massacre by Hamas terrorists in southern Israel.

“Nothing’s the same,” said museum director Tania Coen-Uzzielli during a recent tour of two new exhibits opening at the museum. “The fact of the hostages forces us to rethink every day anew.”

The plaza in front of the museum, usually known for its outsize sculptures, is now a “spontaneous art space,” said Coen-Uzzielli, filled with installations of hope, anger and sadness.

“We allow that space to happen; we don’t organize it or curate it,” she said. “We can accept it as an open façade — not exactly art, but expressions of solidarity.”

There is a long Shabbat table set with places for the 129 hostages still held in Gaza, not all of them alive; tents hosted by the Gaza border kibbutzim whose members were killed or abducted; and kiosks selling T-shirts, umbrellas and hoodies with the Bring Them Home Now logo.

It is also used by the Hostages and Missing Families Forum as the location for weekly rallies and other gatherings of support.

Israelis visit Hostages Square in Tel Aviv, December 12, 2023. (Miriam Alster/FLASH90)

The museum was closed to visitors until November 30, opening its doors only for bathroom use during rallies, with “Bring Them Home Now” images flashing on the monitors behind the front desk.

Now, however, the museum has readied two new exhibits, both reconfigured to fit the mood of the times and the ordeal the nation has been enduring since October 7.

Shalom Sebba’s ‘The Milk Elements’ 1960, from the Shalom Sebba exhibit that opened December 20, 2023, at the Tel Aviv Museum of Art (Courtesy)

“We woke up differently,” said Coen-Uzzielli. “We are looking at art differently, and looking at the same exhibits with another view. There’s a prophecy in art and the ability to take in other views.”

To that end, one of the museum’s new exhibits is “Shalom Sebba: As a Matter of Fact,” a retrospective of the Berlin-born who began his career in 1920s Germany and came in 1936 to pre-state Israel.

The other is “Shmini Atzeret,” a one-gallery show of works from the museum’s collection that were not painted about October 7, but echo and resonate with the emotions, expressions and experiences of that black Shabbat.

The two exhibits are very different, said Mira Lapidot, head curator at the museum. “What we can offer is… an anchor, something stable to remind us of what’s been built here,” she said.

From Berlin to Palestine

On the main floor of the museum are the galleries of the Shalom Sebba exhibit, a classic art retrospective that has been in the works for three years.

The exhibit, open through April 29, 2024, comprises more than 200 works of the German-Israeli artist whose life spanned the Holocaust and whose perspective “takes on a different importance now,” said Lapidot.

Curator Na’ama Bar-Or created a timeline of Sebba’s work from his early years in 1920s Berlin through his final works.

This is Sebba’s fourth solo exhibit in Tel Aviv, beginning with two in 1944 and 1945 in Beit Dizengoff, the precursor to the Tel Aviv Museum of Art, and then another in the 1960s at the Helena Rubenstein Pavilion, which recently became the Eyal Ofer Pavilion at Habima Square.

Shalom Sebba’s ‘The Shepherd,’ part of an exhibit at Tel Aviv Museum of Art through April 2024 (Courtesy Pardo Yigal)

Sebba became a master of many mediums — oils, prints and collages, theater sets and costume design, massive public works and murals — and his works reflect the unknowns of his time and the question marks of the period, as he fled his native Berlin and started anew in pre-state Palestine.

He is an artist whose work is synonymous with the founding of the state and many of the works came from private collectors’ collections — “their dining rooms, bedrooms, all very beloved to them,” , said Bar-Or.

There are iconic Sebba works, such as his 1947 “Sheep Shearing,” which is part of the museum’s collection, and his oils on plexiglass and wood, as “he was always looking to show something differently,” said Bar-Or.

Sebba returned to Germany at the age at 70 at the behest of patron Hanna Bekker vom Rath, who brought back artists who had left the country due to the war, and he resided there until his death in 1975.

Eerily prescient

Downstairs in the museum’s Amir wing is “Shmini Atzeret,” named for the eighth day of the Sukkot holiday, when the Hamas terrorists committed the October 7 massacre.

Curator Dalit Matatyahu at ‘Shmini Atzeret’ exhibit at Tel Aviv Museum of Art on December 19, 2023. (Jessica Steinberg/Times of Israel)

The one-gallery exhibit is made up of works gathered by curator Dalit Matatyahu from the museum collection, works “that remind us of what came before October 7,” said Matatyahu, even as the works may remind viewers of what took place on that day as well.

A poem by Polish poet Tadeusz Różewicz leads the exhibit, introducing the photographs of Deganit Berest, who printed the poem’s words on each of her images, hung around the perimeter of the room in a continual link.

A poem by Polish poet Tadeusz Różewicz leads the ‘Shmini Atzeret’ exhibit at the Tel Aviv Museum of Art, opened December 20, 2023. (Jessica Steinberg/ Times of Israel)

The poem, depicting an imaginary conversation between a son and mother about life, is eerily reminiscent of the thousands of WhatsApp text messages sent by those in the Gaza border communities and Supernova desert rave, as they begged for help, for support, for final messages on October 7.

While curator Matatyahu asks viewers to look at the works and think about moments of life and history in Israel before October 7, it is hard not to wonder at how these artworks portend those very events.

There is Moshe Gershuni’s “White Flag,” which is hard to see without thinking about the three hostages killed in Gaza when they were misidentified by IDF soldiers, and Tzipi Geva’s “Keffiyeh” from 1990, depicting the scarf by many Palestinians and their supporters in protests around the world.

“Israeli art is always under trauma,” said Matatyahu, who put together the exhibit in one month.

Yohanan Simon’s 1947 “Shabbat on the Kibbutz” is a reminder of the pastoral pleasures of life in the Gaza border communities, while Elie Shamir’s 2022 “According to Local Tradition,” a huge oil painting of a funeral at a kibbutz, evokes the many funerals held all the time now, all around the country.

Artist David Reeb’s 1983 ‘Farmers,’ part of the ‘Shmini Atzeret’ exhibit at the Tel Aviv Museum of Art through March 30, 2023 (Jessica Steinberg/Times of Israel)

A familiar photo by Micha Bar Am, who had his own retrospective of sorts in the museum in 2022, shows a soldier washing up by a car, west of the Suez Canal in October 1973.

History repeated itself 50 years later as Israel underwent its largest reservist call-up since the Yom Kippur War. In that war, 2,656 soldiers were killed, and a generation was forever changed.

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Art

Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

Published

6 days ago

September 13, 2024

Harry Miller

In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

Art

Ukrainian sells art in Essex while stuck in a warzone – BBC.com

Published

2 weeks ago

September 2, 2024

Harry Miller

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Ukrainian sells art in Essex while stuck in a warzone BBC.com

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Art

Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

1 month ago

August 18, 2024

Harry Miller

The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

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