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wears as a dress, moving as the body moves, living and breathing 1. For the Arab village Zarzir, Bruck
created a map which is a Bedouin applique opening up as a tent, a space for an open assembly for the
surroundings and for the wind.
Through the study of the layered aspects of the Map, Bruck raises pertinent questions about the identity of the other, the manifest, the concealed, and the fragile threshold between them. In "Mappressions Loci" contexts that were an intrinsic part of the process that started the "Woman With Threads" series were integrated. Mirjam Bruck dealt with the boundaries of the Jewish and Arab towns in a way similar to the way she employed before to confront her torn identity, the European and the Israeli, and the geographical and the cultural borders she crossed during her life. In 1973 the artist Pinchas Cohen-Gan set a tent near the refugee camps in the Jericho2 area and started a dialog between Cohen-Gan, a refugee from North-Africa, and Palestinian refugees from Jericho . During the 80s the artist Larry Abramson focused his view on the ruins of the Arab village Tsuba, which was absent from the painting of the "New Horizons" painters a few years before3 . Mirjam Bruck comprises within her work the outlooks of both these artists, and expands them to new contexts. The biographical contexts of Mirjam Bruck, as a child who experienced being a refugee, and being torn and displaced, are evident in her works, and reveal exposed nerves. She is aware of the pain of the Arab citizens of Israel, the distress of the double identity, or the denied identity, and of the fact that they are not part of her self view as a Jewish, Israeli, citizen.
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