This year, we offer you a concentrated festival comprising, almost entirely, of original productions that will flood the imagination with additional, possible realities. A festival that curates reality through meticulously produced artworks, expands your mind and also tries, wherever possible, to influence that reality in return. During the three weeks of Mekudeshet 2018—and actually at any given moment—we try to go back to our roots, to the spring or the heart of the city, and to call on everyone who believes—no matter what—to come to Jerusalem, to come find what is sacred for them, to come in peace.Tongues of Fire
Convey a whole via a part / Tchelet Pearl Weisstub
A horse gallops against the backdrop of Jerusalem's Old City walls, on the cusp of the desert, in what has been his natural habitat for thousands of years. The sound of his stomping hooves echoes a time before car emissions. A sound that besides being a symbol of authority, government and war, also alludes to a romantic image of independence and freedom of thought.
The horse’s legs were crafted in the Louvre in 17th Century Paris, as part of Neoclassical studies in old Greek and Roman sculptures. The use of these valuable objects, which are attached to a mechanical apparatus, threatens the safety of these old artifacts, evoking a feeling of brutality. This artistic choice references iconoclasm, the destruction of sculptures and paintings for political reasons, a barbaric action conducted for the purpose of negating someone else's history and belief.
The placing of the work in front of the Old City is a purposeful deployment of archaeological artifacts as a tool for constructing nationalist narratives. While a horse is a horse and a flag is a piece of floating fabric, this landscape has framed a city for thousands of years. What changes is the ownership of the land, the symbol on the flag, the Man on the horse.
Silent Gallop tries to see a whole in the fragment in order to challenge the dichotomic separation between holy and secular, temporary and eternal, barbaric and civilized, and live and inanimate.
The horse’s legs were loaned from the Rijksakademie in Amsterdam
Studies by Conrad Schick on the Terrain maps of Carl Ferdinand Zimmermann.
From the Deutsches Evangelisches Institut Jerusalem
Safra Square, Building 10