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The public came by the hundreds, but the gallery has to close
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At the end of this month, unless there's a miracle (such as a $50,000 donation),
the Hagar Gallery for Contemporary Art will shut. The wrought iron bars that fence in the
gallery's veranda, on the fourth floor of 99 Yefet St., Jaffa, are visible from afar. The
bars are adorned with a Star of David, symbolizing Israeli culture and the history of art.
They were set up by Tzivi Geva about two months ago as part of the "Svaha"
(Entanglement) exhibition, and have remained.
Geva and Tal Ben Zvi, who founded the gallery, dreamed that one day the veranda would be
declared an artistic site by the Tel Aviv Municipality, thus making the artwork an
integral part of the landscape. That dream, however, like Ben Zvi's dream for an
alternative, independent gallery bringing together Jewish and Arab art, is about to
evaporate at the end of the month after just one year of activity.
Many of the programs planned by Ben Zvi for the coming year will be canceled or will come
to life in another exhibition space. So far the gallery has hosted impressive exhibitions
by Palestinian and Jewish artists including Jumana Emil Aboud, Raeda Adon, Sami Bukhari,
Ahlam Shibli, Faten Nastas Mittwasi, Tzivi Geva and Sharif Waked. Next year Ben Zvi
planned to exhibit the Biographies video project, which includes works by Jewish and Arab
artists, as well as a series of solo exhibitions for dozens of artists: Ashraf Fahouri,
Manal Mahamid, Chen Shish, Maria Pomiansky, Zamir Shetz, Neta Harari Navon and others.
Thursday will mark the opening of the gallery's last exhibition, "35 Hedpesim - 35
Shanim Lakibush" (35 Prints - 35 Years of Occupation), with prints by Israeli and
Palestinian artists who oppose the occupation.
The gallery's story and Ben Zvi's is not one of bad luck, but rather a metaphor of the
manner in which Israeli art is trying to continue to exist against all odds. The closure
of the gallery is also proof that alternative galleries have no chance of survival in
Israel, unless they operate under municipal auspices (such as the Kav 16 Gallery, which
operates out of the culture, youth and sports center in Kfar Shalem in Tel Aviv); in a
private institute (like the Gross Gallery in Dizengoff Center); or unless they charge
artists a fee for displaying their works (like the Limbus Gallery).
Ben Zvi decided in advance that artists would not pay for gallery space and would not
finance the costs of an exhibition from their pockets. "Every artist received
$1,000-3,000 for an exhibition," says Ben Zvi. "I objected to the situation in
which the artists financed their own exhibitions, as is the case in most galleries. In
such a situation only theoretically "rich" artists can spend over NIS 10,000 to
finance their exhibitions, thus duplicating the existing class system, which contradicts
the gallery's concept."
Ideology is one thing, however, and reality is another. A year ago, when the dream was
still stronger than reality, Ben Zvi opened the gallery with a one-time donation of rent
for a year ($6,000) and another $30,000 that she received from the European Union Fund for
financing the "Sfat Em" (Mother Tongue), which included exhibitions of Arab
artists at the gallery, a large exhibition at the Artists Hall in Ein Harod, which focused
on Eastern art, and a film festival, seminars catalogs and invitations.
Ben Zvi believed that over the course of a year she could raise $50,000 (the minimum
annual budget for the gallery's operations). "I told myself that if people manage to
raise $300,000 for a successful film, it wouldn't be a problem to raise a much smaller sum
for artistic activities," she said.
Ben Zvi was relying mainly on private individuals, "leftists," by her
definition, who would be interested in continuing to develop the important cultural
dialogue taking place in the gallery, and also on funds that encourage joint ventures of
this type. But the continuing deterioration in all spheres of life and the general
depression caused local collectors to buy fewer art works and to stop giving donations.
The various funds have also reduced their budgets, which are dependent mainly on donors.
The EU also rejected the gallery's proposal this year. The Tel Aviv Municipality notified
Ben Zvi that it could donate NIS 10,000, and the Ministry of Culture offered NIS 20,000.
But NIS 30,000 is not even enough for the rent.
If a donor is not found in the coming month, the gallery will close. Ben Zvi has no
expectations. The past year was a success, she says, a fact that only reinforces the
feeling of missing out on the future.
"Before I opened the gallery people told me that no one would come to Jaffa, and
hundreds of people came all year long," says Ben Zvi. "Art lovers, local
residents and even Arabs from distant communities such as Wadi Ara, Kalansua, Arara, Tira
and Nazareth. I think that this place, which dealt with Palestinian art as part of Israeli
art, proved itself as a cultural option, and that is something that must continue. If I
look today at the adventure through sobered eyes, I know that from the outset it was quite
impossible."
Literary submissions should be under 1000 words. Any paper dealing seriously with the relationship of art to society will be considered, but papers whose primary focus is collage/assemblage and/or experimental art are preferred. The Opinion Page editor reserves the right to make adjustments in length or text to conform to space limitations. Drafts containing changes will be returned to author for pre publication approval. Submissions and questions should be sent by e-mail addressed "To the Editor". Acknowledgment of receipt will be sent by return e-mail.
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