Inspiring connections #3

To purchase tickets – 10.6.2021

Duration: 90 min. without intermission

Rishumon

Shlomi Shaban Following Menashe Kadishman’s sheep paintings
Inspired by Menashe Kadishman’s sheep paintings, Shlomi Shaban’s new song reflects not only on the famous sheep and the artist, but also on the unpredictable fate of all artworks.
Shaban started contemplating Kadishman’s sheep, which has become synonymous with the artist, after encountering a particularly poor version of it on a random Instagram account. What happens to an artwork when it is duplicated countless times and the connection between the original work and the fake one blurs?
”Who killed Kadishman’s sheep?” asks Shaban, offering varied possible speculations.
Management and agency: Yael Margalit, Michael Tapuach, Hamon Volume / Illustrations: Dekel Hevroni / Production manager: Leetal Lugassi / Promo & Press: Ruthy Marom

Cactus

Mark Eliyahu Following Barry Frydlender’s photo “Sabra”
Shifting between the documentary and the cinematic, Barry Frydlender’s monumental photographs capture the everyday Israeli sphere. Musician and artist Mark Eliyahu presents an original work inspired by a unique photograph taken by Friedlander in 1984 – a cactus on the backdrop of a desert sunset.
With its dreamlike mysterious air, Frydlender’s photo carries particular meaning for Eliyahu, who sees the Sabra that grows in the desert wilderness as an optimistic symbol of our ability to bloom once again as a society.
Accompanied by three musicians, Eliyahu wishes to touch on our social diversity: the warm eastern winds and the endless expanses of the desert but also the ancient roots that run deep.
By Mark Eliyahu / Piano: Haim Weiss / Tar: Piris Eliyahu / Percussion: Rony Iwryn / Sound: Gabriel Mandel / Lighting: Kushkushon

Sisypha

Yoram Karmi – Fresco Dance Company Following Murjan Abu Debe‘s untitled video work
A 2017 video by artist Murjan Abu Debe shows a woman in traditional Arabic attire on a beach, a mop in her hands, feverishly sweeping the water that the waves wash ashore back to the sea.
Inspired by Aby Debe’s video work, choreographer Yoram Karmi wishes to explore the temporal dimension, the power of nature and endless cycle that can be seen as Sisyphean and reparative but also as optimistic and meditative perseverance. The Fresco Dance Company will present an intensive dance that touches on sadness, compassion, irony, and beauty.
Choreographer: Yoram Karmi / Music: Gal Hochberg, Max Richter / Costumes: Tal Markovitch / Rehearsal managers: Inbar Nemirovsky, Noa Sarig / Performed by the Fresco Yoram Karmi Dance Company

Y

Sharon Eyal Following the artist Sigalit Landau
“I connect with people. I connect with artworks that move something in me. Sigalit touches my heart, this movement is an endless motion – her works are exhilarating and alive. My choice in her comes from a profound place of connection with her art, love and totality. Barbed wire fences forever around and inside us 💔”.
Inspired by artist Sigalit Landau, Sharon Eyal presents a new piece performed by the Batsheva – The Young Ensemble..

Created by Sharon Eyal / Co-creator: Gai Behar / Soundtrack design: Ori Lichtik / Lighting design: Alon Cohen / Batsheva Ensemble Manager: Idan Porges / Stage manager: Gavriel Spitzer / Rehearsal directors: Doron Raz, Gavriel Spitzer / Production manager: Dana Katz Naaman / Production coordinator: Yaara Sharon / Wardrobe manager: Shoshi Or-Lavi

Batsheva – theYoung Ensemble (season 2020/2021): Yarden Bareket, César Brodermann, Nathan Chipps, Guy Davidson, Li-En Hsu, Alma Karvat Shemesh, Adrienne Lipson, Federico Longo, Roni Milatin, Tom Nissim, Gianni Notarnicola, Danai Porat, Avigail Shafrir, Ido Toledano, Shaked Werner, Ofir Yannai, Maya Botzer -Apprentice, Emil Brukman – Apprentice, Dor Nahum – Apprentice, Naomi Turnpo – Apprentice

Hachi Yafa Bagan

Gilad Kimchi Following Yehudith Ravitz
Director and artist Gilad Kimchi returns to Yehudith Ravitz, whose voice and songs form the soundtrack of his youth. He recalls Ravitz presenting the song at a concert, saying: “Dorothy Parker had the courage to write the song’s lyrics in the 1960s and I only have the courage to sing these words now.” As a teenager, he felt that she confided in him through the song, and shortly after that performance he came out as a gay man.
“Hachi Yafa Bagan” was created following Kimchi’s encounter with trans artists, and he sees it as a journey into the elements that comprise people who are “both this and that and also that” in a world that raises people to be either/or. The piece interweaves Ravitz’s songs, which are at the heart of the Israeli mainstream, with stories and hearts of those who live on the margins.
By: Gilad Kimchi / Music: Amir Lekner / Set design: Eran Atzmon / Costumes: Orna Smorgonsky / Assistant director: Keren Hovav / Featuring Allen Walker, LeeOz Levy, Shirley Charlie Kleinman

Kingdom of Shadows

Amir Yatziv Following Nathan Alterman’s play “The Pythagorean Theorem”
In 1965 the computer broke free from the basements of the academy and entered the private home. That same year, Habima Theater premiered “The Pythagorean Theorem” by Nathan Alterman – a philosophical parable about the moral issues introduced by the computer revolution. In it, a computer by the name of Pythagoras that does not answer to the laws of morality or nature, flatly rejects “any possible explanation.”
Shifting between reality and fabrication during an audition of avatars for a play about love and betrayal, video artist Amir Yatziv uses advanced technology to explore its overwhelming intangible force.
Can we tell what is fake and what is real? Does it even matter?
Work by Amir Yatziv / Performers: Neta Shpigelman, @@

And There Is No End

Tal Nitzan Following Omer Klein’s “Desert Trip”

The rhythms and vibe of Israeli jazz, which combines Middle Eastern music with Israeli classics and classical jazz, are a constant soundtrack for poet and novelist Tal Nitzan, and also permeate her work. She has a particular, mutual rapport with musician Omer Klein, who has composed her poetry and wrote a piece inspired by her 2015 novel “Each and Every Child.”

Accompanied by live music, Tal Nitzan will read on stage a short story inspired by Klein’s song “Desert Trip”: a convoy of camels crossing the desert, a western passerby, an occurrence that hovers between memory and dream, present tense and infinity.

“And there is No End” text and performance: Tal Nitzan / Piano: Toki Stern

The Cassette Tape at the End of the Hallway

Yehezkel Rahamim Following Avihu Medina’s song “Let Time Go”
Poet Yehezkel Rahamim returns to his childhood boarding school, to the dormitory hallway and the old cassette tape, which often played Mediterranean music, Avihu Medina’s in particular – a bitter-sweet embrace of raw emotion.
Inspired by the frequency that shaped him as a man and as a poet, Rahamim wrote “The Cassette Tape at the End of the Hallway,” which will be presented by the multi-instrumentalist, producer, and founder of the group Quarter to Africa, Yakir Sasson. With spoken word and live music, Sasson too returns to the warm messiness of his childhood and his early mixtapes of his father’s wedding band, Mediterranean music and old pop.
Lyrics: Yehezkel Rahamim / Original music: Yakir Sasson