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The present, 64th issue, features two items on two female Ethiopian origin artists. Both share the burden of social expectation to offer different angles on issues associated with their community, particularly in light of its current plight. And indeed, the two touch upon such issues: Tigist drew portraits of young murder victims of her community, to be put on show at the Tel Aviv Museum, while Zaudito explores the tale of her family’s immigration and the death of her young brother during the journey to Israel. Zaudito further pushes the boundaries of the medium – as you would expect from a young artist – with interesting metal cuttings, alongside slide drawings and video art. Both artists are promising and should be interesting to follow.

Herzliya Museum of Contemporary Art is currently hosting a fine, impressive aggregate of exhibitions, with Vered Aharonovitch in a sophisticated work, raising reservations that pertain to the personal life of each and every one of us. With brilliant form, using her own personal language, the artist engages with everyday life, which may be anyone’s life, in a work of mesmerizing, uncompromising candor. Aya Lurie has curated this exhibition, which was three years in the making. A Hannah Levi tribute exhibition is thoughtfully curated by Ruty Chinsky Amitay. The prudent choice of works lays out a rich, compelling body of works. Iris Nesher’s exhibition, with its subtle beauty, thoughtfully curated by Aya Lurie, reduced me to tears. It is one of those must-see exhibitions that should be on permanent display. Without as much as a word, it triggers the most fundamental existential questions.

Meanwhile in Jerusalem, as part of Manofim Festival, a diverse, fine exhibition is running at Bikur Cholim Hospital, in grounds that no too long ago served as active premises. The works run the gamut from sound and video art, through photography, to different sculptural elements; a collection of mostly interesting works, carefully curated by Rinat Edelstein and Lee He Shulov.

A galore of fine exhibitions across the different spaces, in a good season for Israeli art and for artists alike. Art spaces are experiencing a spate of closures, having failed to be cost-effective, relinquishing the physical spaces or even the pursuit of displaying and trading in art. The art scene in our little country is not particularly lucrative. The artists themselves, for the most part, are aware of the local difficulties and work hard to make it into other countries, often with considerable success.

Hana Barak Engel
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