tag:blogger.com,1999:blog-88381773999851855042024-03-05T11:29:09.459-08:00Between Memory and Retelling Arie Hartoghttp://www.blogger.com/profile/02752303997074983910noreply@blogger.comBlogger46125tag:blogger.com,1999:blog-8838177399985185504.post-75910772620796262602019-06-03T11:40:00.001-07:002019-07-03T03:54:28.753-07:00Leonard Cohen <div dir="ltr" style="text-align: left;" trbidi="on">
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<i>HiNENI </i>הנני,..... “Here I Am” in Hebrew. </div>
josephhttp://www.blogger.com/profile/11239542386253563601noreply@blogger.com2tag:blogger.com,1999:blog-8838177399985185504.post-1259850775601470432019-04-01T17:01:00.000-07:002019-07-03T03:56:18.139-07:00עיר מקלט IR MiKLaT City of Refuge/Shelter [Epistemic מקום MaKOM in MaKOM] 1986 <div dir="ltr" style="text-align: left;" trbidi="on">
<span style="background-color: white; font-family: "arial black" , sans-serif; font-size: 12.8px;"> IR MiKLaT City of Refuge </span><br />
<span style="background-color: white; font-family: "arial black" , sans-serif; font-size: 12.8px;">[Epistemic מקום MaKOM in MaKOM] 1986</span><br />
<span style="background-color: white; font-family: "arial black" , sans-serif; font-size: 12.8px;">2x - wood, bronze, 200 x 72 x 200 cm.</span><br />
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<b><span style="font-family: comic sans ms, sans-serif;"><span style="color: blue;">I have placed two identical objects, (i.e., two identical footnotes), </span></span></b></div>
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<span style="color: blue; font-family: comic sans ms, sans-serif;"><b>at two different locations in Amsterdam.</b></span></div>
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<span style="color: blue; font-family: comic sans ms, sans-serif;"><b>1. The first object was placed in the bedroom of Gert Meijerink, </b></span></div>
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<span style="color: blue; font-family: comic sans ms, sans-serif;"><b><span style="line-height: 18.2px;">art historian and curator</span><span style="line-height: 18.2px;"> - to be identified as a Private Space.</span></b></span></div>
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<span style="color: blue; font-family: comic sans ms, sans-serif;"><b>2. The second object was placed in - Arti et Amicitiae, Amsterdam - </b></span></div>
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<span style="color: blue; font-family: comic sans ms, sans-serif;"><b>to be identified as <span style="line-height: 22.4px;">a P</span><span style="line-height: 22.4px;">ublic Space.</span></b></span></div>
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<b style="font-family: "arial black", sans-serif; font-size: 12.8px; line-height: 22.4px;"><span style="color: blue;"><div style="font-family: Arial, Helvetica, sans-serif; font-size: small; font-weight: 400; text-align: right;">
<span style="background-color: #fdfeff; line-height: 20px; text-align: justify;"><b><span style="font-family: comic sans ms, sans-serif; font-size: xx-small;"><br /></span></b></span></div>
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<span style="background-color: #fdfeff; line-height: 20px; text-align: justify;"><b><span style="font-family: comic sans ms, sans-serif; font-size: xx-small;">King James Bible, Numbers 35:28 '</span></b></span><b><span style="font-family: comic sans ms, sans-serif; font-size: xx-small;"><span style="background-color: #fdfeff; line-height: 20px; text-align: justify;">Because he (the one </span><span style="line-height: 24px;">who kills a person accidentally and unintentionally) </span><span style="background-color: #fdfeff; line-height: 20px; text-align: justify;">should have remained in the city of his refuge until the death of the high priest: but after the death of the high priest the slayer shall return into the land of his possession."</span></span></b></div>
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<span style="color: blue; font-family: comic sans ms, sans-serif;"><span style="line-height: 18.2px;"><b>In this context, then, the invisible '<i>City of Refuge/Shelter',</i> </b></span></span></div>
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<span style="color: blue; font-family: comic sans ms, sans-serif;"><span style="line-height: 18.2px;"><b>which I have constructed between the two identical objects, is again a certain movement between the Private and the Public spaces - </b></span></span><b style="color: blue; font-family: "comic sans ms", sans-serif;"><span style="line-height: 18.2px;">but whereas the childhood memory </span>of a public entrance of a bomb shelter is still driven by the effect of fear -</b><b style="color: blue; font-family: "comic sans ms", sans-serif;"> the constructed '<i>City of Refuge/Shelter'</i> is driven by the influence of a changing physical locations, </b><b style="color: blue; font-family: "comic sans ms", sans-serif;">and so it should be considered as a "<i>Public Confession"</i>.</b></div>
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<span style="color: blue;"><div>
<span style="font-family: comic sans ms, sans-serif;"><b>Please note:</b></span></div>
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<span style="font-family: comic sans ms, sans-serif;"><b>this "Public Confession" has been essentially a symbol of sorrow; </b></span></div>
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<span style="color: blue; font-family: comic sans ms, sans-serif;"><b>my sincere request for forgiveness -</b></span></div>
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<span style="color: blue; font-family: comic sans ms, sans-serif;"><b>that is, the eternal theme of the 'poetry' of the soldier - </b></span></div>
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<span style="color: blue; font-family: comic sans ms, sans-serif;"><b>the War and the veil of its smell.</b></span></div>
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<b style="color: blue; font-family: "comic sans ms", sans-serif;">Thus gradually, the world of the soldier merges with the world of death, </b></div>
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<span style="color: blue; font-family: comic sans ms, sans-serif;"><b>and this is the soldier's memory of the act of killing.</b></span></div>
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<b style="color: blue; font-family: "comic sans ms", sans-serif;">It is not, however, until the end of the war, </b></div>
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<b style="color: blue; font-family: "comic sans ms", sans-serif;">that the opposition between the significance of life and the intolerable burden of being a soldier becomes apparent. </b></div>
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<b style="color: blue; font-family: "comic sans ms", sans-serif;">What remains, is not a memory, but simply a "Public Confession". </b></div>
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<span style="color: blue; font-family: arial, sans-serif;"><b><br /></b></span></div>
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<span style="color: blue; font-family: arial black, sans-serif;"><b><i>A soldier / kisses / a bird / on a garden path.</i></b></span></div>
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<span style="color: blue; font-family: arial black, sans-serif;"><b><i>Still a soldier / even though all around / is a diadem / of birds.</i></b></span></div>
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<span style="color: blue; font-family: arial black, sans-serif;"><b><i>Their shadow / is a bride / And one bird / kisses his mouth (A false promise)</i></b></span></div>
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<span style="color: blue; font-family: arial black, sans-serif;"><b><i>An image / a portrait / of a soldier / I saw him / </i></b></span></div>
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<span style="color: blue; font-family: arial black, sans-serif;"><b><i>A man swollen up </i></b></span></div>
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<span style="color: blue; font-family: arial black, sans-serif;"><b><i>One died / </i></b></span></div>
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<span style="color: blue; font-family: arial black, sans-serif;"><b><i>He left the land/</i></b></span></div>
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<span style="font-family: "arial black", sans-serif;"><span style="color: blue; font-size: xx-small;">We are all bound by the law(s) of the Private and the Public Space, in the sense that we are always already residing in a system of possibilities and limits within which we evolve our own spatial memory. </span></span><span style="color: blue; font-family: "arial black", sans-serif; font-size: xx-small;">But at the same time, we are also busy deciding, what the Guest's condition should be. </span></div>
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<span style="font-family: "arial black", sans-serif;"><span style="color: blue; font-size: xx-small;">Consequently, by placing a recognizable object in the Public Space, and calling it an <i>artwork</i>, we are reinforcing its <i>invisible element</i> - </span></span></div>
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<span style="color: blue; font-family: "arial black", sans-serif; font-size: xx-small;">the MaKOM in MaKOM which is at once a constraining framework and a system of possibilities to be exploited by the public. </span><span style="color: blue; font-size: xx-small;"><span style="font-family: "arial black", sans-serif;">True, the Public Space and the Private Space are social </span><span style="font-family: "arial black", sans-serif; line-height: 24.3px;">design, </span></span><span style="color: blue; font-family: "arial black", sans-serif; font-size: xx-small;">a physical entities that transform different areas of everyday life into the act of </span><i style="color: blue; font-family: "arial black", sans-serif; font-size: x-small;">Reading while Writing</i><span style="color: blue; font-family: "arial black", sans-serif; font-size: xx-small;">. </span></div>
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<span style="color: blue; font-family: "arial black", sans-serif; font-size: xx-small;">In these terms, then, we can observe that the form of the Private Space is a kept secret,</span><span style="color: blue; font-family: "arial black", sans-serif; font-size: xx-small;"> </span></div>
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<span style="color: blue; font-family: "arial black", sans-serif; font-size: xx-small;">and it remains a connecting KaV ( i.e., line, cord, string, outline), </span></div>
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<span style="color: blue; font-family: "arial black", sans-serif; font-size: xx-small;">even if sometimes the KaV seems to be a Public knowledge. </span></div>
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<span style="font-family: "arial black", sans-serif;"><span style="line-height: 24.3px;"><span style="color: blue; font-size: xx-small;">In the end, by imposing the Private Writing on the Publicness of Reading, </span></span></span><span style="font-family: "arial black", sans-serif;"><span style="line-height: 24.3px;"><span style="color: blue; font-size: xx-small;">one could keep out of sight, </span></span></span><span style="color: blue; font-family: "arial black", sans-serif; font-size: xx-small;">and sometime if needed, one could reveal his own authentic Name.</span></div>
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<span style="color: black; font-family: "arial black" , sans-serif; font-size: 12.8px;">The form of the artworks is based on a childhood memory of a public entrance of a bomb shelter, in Tel-Aviv, Israel.</span><span style="color: black; font-family: "arial black" , sans-serif;"><span style="line-height: 18.2px;"><br /></span></span></div>
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<span style="color: black; font-family: "arial black" , sans-serif;"><span style="line-height: 18.2px;">Please note;</span></span></div>
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<span style="color: black; font-family: "arial black" , sans-serif;"><span style="line-height: 18.2px;">between the two objects, (that is to say, between the Private Space and the Public Space) I have designated an invisible square - an invisible territory - a frame of mind - a spatial space - a void, to remind us of the idea of the '<i>City of Refuge/Shelter</i>';</span></span></div>
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<span style="color: black;"><span style="font-family: "arial black" , sans-serif;"><span style="line-height: 18.2px;">(IR MIKLaT); <a data-saferedirecturl="https://www.google.com/url?q=https://www.blogger.com/goog_978399024&source=gmail&ust=1554249345572000&usg=AFQjCNFdqaZ2m22Bhk1lpsWZDszd8ytJMw" href="https://www.blogger.com/goog_978399024" target="_blank"> </a></span></span><span style="font-family: "arial black" , sans-serif;"><span style="line-height: 18.2px;"><a data-saferedirecturl="https://www.google.com/url?q=https://en.wikipedia.org/wiki/Cities_of_Refuge&source=gmail&ust=1554249345572000&usg=AFQjCNEtLBHOJWLa3ybCaQxkEP9kXe1Ytw" href="https://en.wikipedia.org/wiki/Cities_of_Refuge" target="_blank">https://en.wikipedia.org/<wbr></wbr>wiki/Cities_of_Refuge</a></span></span></span></div>
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<b style="font-size: 12.8px;"><span style="color: #222222; font-family: "arial" , sans-serif;"><span style="font-size: 12.8px;"><br /></span></span></b> <b><i><span style="color: #222222; font-family: "arial" , sans-serif;"><span style="font-size: 12.8px;">All of the unintentional man slayers went into </span></span><span style="font-family: "arial black" , sans-serif; font-size: 12.8px;">עיר מקלט - </span><span style="color: #222222; font-family: "arial" , sans-serif; font-size: 12.8px;"> CITY OF REFUGE - they were forced to leave their home, for a long staying in GaLUT (Diaspora); this is GaLUT within the Holy Land!</span></i></b><br />
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<span style="color: #222222; font-family: "arial" , sans-serif; font-size: 12.8px;"><b>..."To begin with, גלות GaLUT is not an Exile, neither Diaspora, nor an existing Place; GaLUT is simply a disciplined activity, an intensive vision, and it is what GaLUT proceeds to do - to transform each and every temporary מקום MaKOM of shelter, into a perpetual search for a Hand Full of Soil. At this point, one can say that the depiction of MaKOM in MaKOM in GaLUT is an idea of a constant doubling; That is to say, that the depiction of MaKOM in GaLUT, is nothing but a double mirror-image of itself by itself. But behind all these, there is another reality, that is of an absolute Reading, to be defined in terms of the enduring action of Writing. And in return, one can say that there is one single universal Reading, - a singular universal object - and this is the TeMUNaH (an image of a picture) of a human גולגולת GULGOLeT, (Skull); The primary element of sanctity which continues to re-assume its lucidity by the act of Reading while Writing. Here, then, the action of measuring in GaLUT, is a way to define אופק OFeK, ( Horizon, Restraining ) - the KaV, (</b></span><span style="color: #222222; font-family: "arial" , sans-serif;"><span style="font-size: 12.8px;"><b>line, cord, string, streak, outline) </b></span></span><span style="color: #222222; font-family: "arial" , sans-serif; font-size: 12.8px;"><b>which separate the Doubling of MaKOM from the absence of MaKOM. But soon, everything would be a measurement, a measurement in the public sphere, a limited and primitive gesture of a (certain) memory, of a constant Doubling - and this is precisely the significance of the Promise which has been initiated and established in GaLUT. And GaLUT is the world, the lay-out of a double mirror-image of the world thrown across. </b></span><br />
<span style="color: #222222; font-family: "arial" , sans-serif; font-size: 12.8px;"><b>Remember, this is the logical predicament of GaLUT's subversive system; we shall call it, 'Reading while Writing', for it is a gesture which displays itself exclusively in maximizing the act of Measurement in MOED, (</b></span><b style="color: #222222; font-family: arial,sans-serif; font-size: 12.8px;">appointed time, specific date, commemorative date,). </b></div>
<b style="color: #222222; font-family: arial,sans-serif; font-size: 12.8px;"><br /></b> <b style="color: #222222; font-family: arial,sans-serif; font-size: 12.8px;">Joseph Semah: </b><b style="color: #222222; font-family: arial,sans-serif; font-size: 12.8px;">The Doubling of מקום MaKOM.</b></div>
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<span style="color: black; font-family: "arial black" , sans-serif; font-size: 12.8px;"><span style="line-height: 18.2px;">In this context, then, the invisible '<i>City of Refuge/Shelter',</i> which I have constructed between the two identical objects, is again a certain movement between the Private and the Public spaces - but whereas the childhood memory, namely, my private memory</span> of a public entrance of a bomb shelter is still driven by the effect of fear; t</span><span style="color: black; font-family: "arial black" , sans-serif; font-size: 12.8px;"><span style="font-size: 12.8px;">he constructed '</span><i style="font-size: 12.8px;">City of Refuge'</i><span style="font-size: 12.8px;">, is driven by the influence of a changing physical locations, and so it should be considered as a </span><i><span style="font-size: medium;">Public Confession</span></i><span style="font-size: 12.8px;">.</span></span></div>
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<span style="background-color: #fdfeff; font-size: 15px; line-height: 20px; text-align: justify;"><span style="color: black; font-family: "arial narrow" , sans-serif;"><b>King James Bible, Numbers 35:28 </b></span></span></div>
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<span style="font-family: "arial narrow" , sans-serif;"><b><span style="background-color: #fdfeff; line-height: 20px; text-align: justify;"><span style="color: black;">Because he (the one </span></span><span style="line-height: 24px;"><span style="color: black;">who kills a person accidentally and unintentionally) </span></span><span style="background-color: #fdfeff; color: black; line-height: 20px; text-align: justify;">should have remained in the city of his refuge until the death of the high priest: but after the death of the high priest the slayer shall return into the land of his possession.</span></b></span></div>
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<span style="color: black; font-family: "arial black" , sans-serif;">We are all bound by the law(s) of the Private and the Public Space, in the sense that we are always already residing in a system of possibilities and limits within which we evolve our own spatial memory. </span></div>
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<span style="color: black; font-family: "arial black" , sans-serif;">But at the same time, we are always busy deciding, what the Other's condition should be. </span></div>
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<span style="color: black; font-family: "arial black" , sans-serif;"><span style="font-size: 12.8px;">Consequently, by placing a recognizable object in the Public Space, and calling it an artwork, we are reinforcing as it were, its </span><span style="font-size: medium;"><i>invisible element</i></span><span style="font-size: 12.8px;"> - the void which is at once a constraining framework and a system of possibilities to be exploited by the public.</span></span></div>
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<span style="color: black; font-family: "arial black" , sans-serif;">True, the Public Space and the Private Space are social <span style="line-height: 24.3px;">design, a physical entities that transform different areas of everyday life into the act of <i>Reading while Writing</i>.</span></span></div>
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<span style="color: black; font-family: "arial black" , sans-serif;"><span style="line-height: 24.3px;">In these terms, then, we can observe that the form of the Private Space is a kept secret, and it remains a connecting KaV ( i.e., line, cord, string, outline), even if sometimes the KaV seems to be a Public knowledge.</span></span></div>
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<span style="color: black; font-family: "arial black" , sans-serif;"><span style="line-height: 24.3px;">In the end, by imposing the Private Writing on the Publicness of Reading, one could keep out of sight, or even reveal his status, as needed.</span></span><br />
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josephhttp://www.blogger.com/profile/11239542386253563601noreply@blogger.com0tag:blogger.com,1999:blog-8838177399985185504.post-81253664994497984792018-03-08T06:00:00.001-08:002018-03-08T06:00:32.915-08:00Vleeshal, Meat Market BaYiT BaSaR בית בשר 1991<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="background-color: white; font-size: 14px; text-size-adjust: auto;"><span style="color: #1d2129; font-family: system-ui, -apple-system, system-ui, .SFNSText-Regular, sans-serif;">Vleeshal, Meat Market BaYiT BaSaR בית בשר 1991</span></span><br />
<span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;">In the sculpture "Vleeshal (meat market) BaYiT BaSaR בית בשר 1991", I have reduced an existing hall - de Vleeshal (meat market) in Middelburg, the Netherlands - into a model which then functions as a support for an inscription. What is particular about this inscription is the fact that it is made up by the joints between the geometrical blocks of which the sculpture is constructed (please note: the geometrical blocks are based on 6 Hebrew letters, בית בשר to be read as BaSaR BaYiT i.e., Vleeshal/meat market). The place is transformed into its name, a name which lives in the lacuna of the town. </span><br />
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<span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;">1991 Vleeshal (Correction III) BaYiT BaSaR בית בשר x900 x 380 x 19 cm, metal, bronze, </span><br />
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<span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px; text-align: left;">(Collection Becht, Naarden)</span></div>
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josephhttp://www.blogger.com/profile/11239542386253563601noreply@blogger.com0tag:blogger.com,1999:blog-8838177399985185504.post-55297763770742247502018-03-08T05:52:00.001-08:002018-03-08T05:52:42.895-08:00KaPOReT כַּפֹּרֶת 1979 <div dir="ltr" style="text-align: left;" trbidi="on">
<span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;">KaPOReT כַּפֹּרֶת 1979 </span><br />
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<span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;">iron (Car Ramp), copper 50 x 130 x 40 cm<span class="Apple-converted-space"> </span><span class="Apple-converted-space"> </span></span><br style="color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;" /><span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;"><br /></span><br />
<span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;">One can learn much from this, for this is not a</span><br style="color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;" /><span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;">contradiction; on the contrary, the Golden COVER is the source,</span><br />
<span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;"><span style="font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif;">the designed image of כַּפֹּרֶת (KaPoReT);</span></span><span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;"><br /></span><br />
<span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;">(KaPoReT), Seat of Mercy, covering (lid) of the Holy Ark)</span><br style="color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;" /><span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;">curtain. In the following examples we show the use of the verb כפר K.P.R.</span><br style="color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;" /><span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;">in Torah, the Old Testament. KoFeR: A protective coating –</span><br style="color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;" /><span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;">Genesis, Breshit 6:14. AChaPeRaH: A protection gift – Genesis,</span><br style="color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;" /><span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;">Breshit 32:21. KeFoR: A covering of the ground – Exodus, Shemot</span><br style="color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;" /><span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;">16:14. KoFeR: Protection money, the word used to describe a payment</span><br style="color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;" /><span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;">which can be made in lieu of punishment, protection from punishment</span><br style="color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;" /><span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;">- Numeri, Bamidbar 35:31. KaPoReT: A golden lid with two KeRUVIM,</span><br style="color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;" /><span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;">Cherubs upon it, served as the cover for the Holy Ark – Exodus,</span><br style="color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;" /><span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;">Shemot 25:17-22. The Hebrew word KiPUR is a derivative of the</span><br style="color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;" /><span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;">biblical word כַּפֹּרֶת KaPoReT. The term Yom Kippur is commonly known as</span><br style="color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;" /><span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;">the day of Atonement. Please Note: The word Atonement appears only</span><br style="color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;" /><span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;">once in the King James Bible, the New Testament, Romans 5:11, and</span><br style="color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;" /><span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;">more than 80 times in KJB, the Old Testament.</span><br />
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<span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; text-size-adjust: auto;">KaPOReT כַּפֹּרֶת 1979 </span><span style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px;">iron (Car Ramp), copper 50 x 130 x 40 cm</span><span class="Apple-converted-space" style="color: #1d2129; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px;"> </span><br />
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josephhttp://www.blogger.com/profile/11239542386253563601noreply@blogger.com0tag:blogger.com,1999:blog-8838177399985185504.post-8001478979161190222018-01-22T05:19:00.001-08:002019-06-13T01:15:23.791-07:00The SCAPEGOAT; שָׂעִיר לַעֲזָאזֵל 1986<div dir="ltr" style="text-align: left;" trbidi="on">
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The SCAPEGOAT; שָׂעִיר לַעֲזָאזֵל 1986 </div>
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<span style="font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif;">"And Aaron shall cast lots upon the two goats:</span><span class="Apple-converted-space" style="font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif;"> </span></div>
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one lot for the LORD, and the other (i.e., The Scapegoat) </div>
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lot for AZAZeL." Leviticus 16:8</div>
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Please note: the two goats are always already identical.</div>
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The Scapegoat 1986</div>
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bronze, woven cotton band (104 meters)</div>
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140 x 40 x 400 cm<br />
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The SCAPEGOAT; שָׂעִיר לַעֲזָאזֵל<br />
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<i><span style="font-family: georgia, serif;"><b style="color: blue;">And Aaron shall cast lots upon the two goats:</b><br /><b style="color: blue;">one lot for the LORD, and the other (i.e., <b>SAIR La-AZAZeL / The AZaZeL Goat)</b> lot for AZAZeL." Leviticus 16:8</b><br /><span style="color: blue;"><b>Please note: the two goats must be identical...........</b><b>;</b></span></span></i></div>
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<span style="font-family: georgia, serif;"><span style="color: blue;"><i><b>In this context then, to explain the idea of <b>SAIR La-AZAZeL (The AZaZeL Goat)</b>, </b><b>and in particular to justify the [epistemic] process of selection; </b></i></span></span></div>
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<span style="font-family: georgia, serif;"><span style="color: blue;"><i><b>namely, the mental power, the skill to identify the <b><b>SAIR La-AZAZeL (The AZaZeL Goat)</b></b></b></i><i><b> out of two identical goats</b><b> can only take place in language, </b></i></span></span></div>
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<span style="font-family: georgia, serif;"><span style="color: blue;"><i><b>which has a writing system. </b></i></span></span><i style="font-family: georgia, serif;"><b><span style="color: blue;">As such, the act of Reading about the very status of two identical objects, </span></b><b><span style="color: blue;">and the ability to choose and to promote one object, </span></b></i></div>
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<span style="font-family: georgia, serif;"><i><b><span style="color: blue;">is therefore connected directly to Writing;</span></b><b style="color: blue;"> </b></i></span></div>
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<i><span style="color: blue;"><span style="font-family: georgia, serif;"><b>please note, the <b><b>SAIR La-AZAZeL (The AZaZeL Goat)</b></b> as a symbol, </b></span></span></i></div>
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<i><span style="color: blue;"><span style="font-family: georgia, serif;"><b>is our attempt to select something, </b></span></span></i><i><span style="color: blue;"><span style="font-family: georgia, serif;"><b>which has already been selected by itself. </b></span></span></i></div>
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<i><span style="color: blue;"><span style="font-family: georgia, serif;"><b>So finally, to gaze at the image of a certain selected object, i.e., </b></span></span></i><i><span style="color: blue;"><span style="font-family: georgia, serif;"><b>the <b><b>SAIR La-AZAZeL (The AZaZeL Goat), </b></b>is not an act of solidarity, nor a censorship, </b></span></span></i></div>
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<i><span style="color: blue;"><span style="font-family: georgia, serif;"><b>but a certain momentary translation. </b></span></span></i></div>
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<i><span style="color: blue;"><b><span style="font-family: georgia, serif;">In other words, the exchanging of Reading with Writing. </span></b></span></i></div>
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<i><span style="color: blue;"><span style="font-family: georgia, serif;"><b>True, the <b><b>SAIR La-AZAZeL (The AZaZeL Goat)</b></b> is understood not simply as an object in space and time, </b></span></span></i><i><span style="color: blue;"><span style="font-family: georgia, serif;"><b>but as an action that we need to take into consideration, </b><b>even inside an unfamiliar room. </b></span></span></i></div>
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<i><span style="color: blue;"><span style="font-family: georgia, serif;"><b>At this point, the <b><b>SAIR La-AZAZeL (The AZaZeL Goat)</b></b>, the selected object - our Given symbol - </b><b>is the reason why each and every artwork on display, cannot be simply a category of ocular desire. </b><b>After all, there is nothing asymmetrical about it, </b><b>to the extent that the veiled mechanism of selection is, at all times, </b></span></span></i></div>
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<i><span style="color: blue;"><span style="font-family: georgia, serif;"><b>linked to Reading while Writing. </b><b>So, to be sure, the traces of the past are found and identified, because of the magnificent moment of the second birth of </b></span></span></i></div>
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<i><span style="color: blue;"><span style="font-family: georgia, serif;"><b>the Guest's mother tongue.</b></span></span></i></div>
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josephhttp://www.blogger.com/profile/11239542386253563601noreply@blogger.com0tag:blogger.com,1999:blog-8838177399985185504.post-88949497382127763732016-12-03T03:00:00.000-08:002016-12-03T03:01:20.520-08:00Echo / Echo, Kunst in Kirchen Raum geben, Hannover, Germany 1993<div dir="ltr" style="text-align: left;" trbidi="on">
Echo / Echo, Kunst in Kirchen Raum geben, Hannover, Germany 1993<br />
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Echo / Echo is a site specific art work in memory of the synagogue which
was built next to the Ev.- Luth. Neustädter Hof- und Stadtkirche St.
Johannis, Hannover.<br />
The main synagogue of Hannover was destroyed
during the Kristallnacht pogrom, 10.11.1938. The main synagogue of
Hannover, architect: the German-Jewish Edwin Oppler (1831-80),
inaugurated 1870.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM-AXxePZ2gLvWYoGl-B6LqtdLr8uBH785ZhuJL70iHKZQnpQTDeDYhYyGZx8GK7rhTzPm5ZmO3-GSDRX8KVQLaVi8QJpjQyqVo4EBCNqDj_V1WhqFUclAhPa8RiPBW4Wj2ajllKWDxrQe/s1600/Echo+_+Echo+I++1993+Hannover+joseph+SEMAH+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM-AXxePZ2gLvWYoGl-B6LqtdLr8uBH785ZhuJL70iHKZQnpQTDeDYhYyGZx8GK7rhTzPm5ZmO3-GSDRX8KVQLaVi8QJpjQyqVo4EBCNqDj_V1WhqFUclAhPa8RiPBW4Wj2ajllKWDxrQe/s640/Echo+_+Echo+I++1993+Hannover+joseph+SEMAH+1.jpg" width="448" /></a></div>
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Echo / Echo I<br />
In the clock tower of the Ev.- Luth. Neustädter Hof- und Stadtkirche
St. Johannis Hannover. Bronze, (in bronze casted, 36 ShOFaROT, ram's horn
used for Jewish religious purposes), Height 600 cm <br />
Please note: Echo / Echo I in the clock tower, disappeared without a trace, it has yet to be found.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDW35DYLrZX3-ILup9MNenA0lVE6Tbv9RpEdtp6vp4tj4QeIXwOGG7R6WReFgkyMavVNvMB1Nd0FA2IGId07llNDig9eEPgc_-EeiwpDE9PwziSwJ39FxVSxfubL6eZGtwULwywNEEltGD/s1600/Echo+_+Echo+II+1993+joseph+semah+Hannover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDW35DYLrZX3-ILup9MNenA0lVE6Tbv9RpEdtp6vp4tj4QeIXwOGG7R6WReFgkyMavVNvMB1Nd0FA2IGId07llNDig9eEPgc_-EeiwpDE9PwziSwJ39FxVSxfubL6eZGtwULwywNEEltGD/s400/Echo+_+Echo+II+1993+joseph+semah+Hannover.jpg" width="400" /></a></div>
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Echo / Echo II,<br />
(In the proximity of the Church) 4 x steel plates (The form is based on the ground plan of a synagogue), Bronze, Height 75 cm.<br />
This art work is located outside the Church, in front of the Church Office, Landeskirchenamt Hannover.<br />
Please note: The administrative center of the Luth. Church of Hanover
has been built upon the area of the destroyed Synagogue in 1954.
At a certain time it has been decided to change the
location of Echo / Echo II, to the back side of the Church. A strange
decision by the city. <a href="http://www.josephsemah.nl/sites/default/files/books/Echo%20EchoKL.pdf" rel="nofollow" target="_blank">http://www.josephsemah.nl/…/d…/files/books/Echo%20EchoKL.pdf</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoCYB_GGuhNFvA5PMd9bwkE3mcleDyBWU1qak6ZeJmuz_AGrOZj9ch8BQLZjlEJP6rqequVXND98adLHg71MIsY-ZWUhCI5E2iRPntMkurcxrYimryEwWnIINpvDh7PR07L-RL1e0bjFIv/s1600/Synagogue+Hannover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoCYB_GGuhNFvA5PMd9bwkE3mcleDyBWU1qak6ZeJmuz_AGrOZj9ch8BQLZjlEJP6rqequVXND98adLHg71MIsY-ZWUhCI5E2iRPntMkurcxrYimryEwWnIINpvDh7PR07L-RL1e0bjFIv/s320/Synagogue+Hannover.jpg" width="320" /></a></div>
The main synagogue of Hannover<br />
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the Ev.- Luth. Neustädter Hof- und Stadtkirche
St. Johannis Hannover.</div>
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josephhttp://www.blogger.com/profile/11239542386253563601noreply@blogger.com0tag:blogger.com,1999:blog-8838177399985185504.post-76612100167025102542016-06-11T09:43:00.000-07:002016-06-19T02:38:32.047-07:00שלחן ערוך ShULChaN ARUCh, Set Table, (Laid Table)<div dir="ltr" style="text-align: left;" trbidi="on">
<b style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;">שלחן ערוך ShULChaN ARUCh</b><br />
<b style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;">Set Table, (Laid Table), 2005</b><br />
<span style="font-size: xx-small;"><b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;"><b style="line-height: 22.4px;">ORaCh ChaYIM (Manner of Life) </b></b><b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">- </b><b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">YOReH DEAH (If Teaches Knowlegde) - </b><b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">EVeN HaEZeR (Stone of Help) - </b><b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">CHOSheN MiShPaT (Breastplate of Judgement) - </b><b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">MaPaH / TOSaFOT (Tablecloth/ Extra) </b></span><br />
<b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;"><span style="font-size: x-small;">Collection: Bouwfonds Art Foundation, Hoevelaken, The Netherlands</span></b><br />
<span style="background-color: white; line-height: 22.4px;"><span style="color: #252525; font-family: sans-serif; font-size: xx-small;"><b><a href="https://en.wikipedia.org/wiki/Shulchan_Aruch">https://en.wikipedia.org/wiki/Shulchan_Aruch</a></b></span></span><br />
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<br />
<span style="font-size: xx-small;"><b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">שלחן ערוך ShULChaN ARUCh, </b><b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">Set Table, (Laid Table), 5x Parts, 2005</b></span><br />
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<span style="font-size: xx-small;"> <b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">שלחן ערוך ShULChaN ARUCh, </b><b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">Set Table, (Laid Table), 5x Parts, 2005</b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgv0JNxqJ0vDJoPzvBm3a-v8yBpqEywVkA7UCQZXzPuPmVgYG-_CqF6i9OkZ__FexQcA_EVKPw-5EAmMWiGussgVlTw13euO-FkwUQ5w58wvQXmf_ieO1JgcmoqM1QdnoxfYJ6RLlsE23Y/s1600/ShULChaN+ARUCh+%2528Laid+table%2529+ORaCH+ChaIEM+2005+joseph+semah.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgv0JNxqJ0vDJoPzvBm3a-v8yBpqEywVkA7UCQZXzPuPmVgYG-_CqF6i9OkZ__FexQcA_EVKPw-5EAmMWiGussgVlTw13euO-FkwUQ5w58wvQXmf_ieO1JgcmoqM1QdnoxfYJ6RLlsE23Y/s320/ShULChaN+ARUCh+%2528Laid+table%2529+ORaCH+ChaIEM+2005+joseph+semah.jpg" width="213" /></a></div>
<span style="font-size: xx-small;"><b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">שלחן ערוך ShULChaN ARUCh, </b><b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">Set Table, (Laid Table), 5x Parts, 2005</b></span><br />
<b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;"><span style="font-size: xx-small;">ORaCh ChaYIM (Manner of Life)</span></b><br />
<b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;"><span style="font-size: xx-small;">Wood, 2 saw-horses, copper, 2 x cast iron shoe lasts, 108 x 60 x100 cm</span></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfzfRFXjdEmcy6Z_SXE1bFuF5s2ipJjwEHPdxZuUYUb_-7oqzMSLvtNHHO_s0ycRcteOyyQKJb0U-8kp4PzPK06aI1KifqDYBFgENt67ga1OeI7CVTvVR7NQLnnky4BzTDOZQyHNXCXQ_8/s1600/ShuLChaN+ARUCh++YOReH+DeAH+2005+joseph+semah.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfzfRFXjdEmcy6Z_SXE1bFuF5s2ipJjwEHPdxZuUYUb_-7oqzMSLvtNHHO_s0ycRcteOyyQKJb0U-8kp4PzPK06aI1KifqDYBFgENt67ga1OeI7CVTvVR7NQLnnky4BzTDOZQyHNXCXQ_8/s320/ShuLChaN+ARUCh++YOReH+DeAH+2005+joseph+semah.jpg" width="213" /></a></div>
<span style="font-size: xx-small;"> <b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">שלחן ערוך ShULChaN ARUCh, </b><b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">Set Table, (Laid Table), 5x Parts, 2005</b></span><br />
<b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;"><span style="font-size: xx-small;">YOReH DEAH (If Teaches Knowledge), </span></b><br />
<span style="font-size: xx-small;"><b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">Copper, glass, wood, </b><b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">2 saw-horses, </b><b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">iron rings, 5x marble eggs, 108 x 60 x 100 cm</b></span><br />
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<span style="font-size: xx-small;"> <b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">שלחן ערוך ShULChaN ARUCh </b><b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">Set Table, (Laid Table), 5x Parts, 2005</b></span><br />
<b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;"><span style="font-size: xx-small;">EVeN HaEZeR (Stone of Help), </span></b><br />
<b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;"><span style="font-size: xx-small;">Glass, wood, <b style="line-height: 22.4px;">2 saw-horses</b>, copper, 2 x horseshoe, 2 x stones from Jerusalem, 108 x 60 x 100 cm</span></b><br />
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<span style="font-size: xx-small;"><b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">שלחן ערוך ShULChaN ARUCh, </b><b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">Set Table, (Laid Table), 5x Parts, 2005</b></span><br />
<b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;"><span style="font-size: xx-small;">CHOSheN MiShPaT (Breastplate of Judgement), </span></b><br />
<span style="font-size: xx-small;"><b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">Wood, copper, </b><b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">2 saw-horses, </b><b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">117.5 x 60 x 100 cm</b></span><br />
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<span style="font-size: xx-small;"><b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">שלחן ערוך ShULChaN ARUCh, </b><b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">Set Table, (Laid Table), 5x Parts, 2005</b></span><br />
<b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;"><span style="font-size: xx-small;">MaPaH / TOSaFOT (Tablecloth/ Extra), </span></b><br />
<span style="font-size: xx-small;"><b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">Wood, </b><b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">2 saw-horses, white cloth material, threads, </b><b style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">74 x 60 x 100 cm</b></span></div>
josephhttp://www.blogger.com/profile/11239542386253563601noreply@blogger.com0tag:blogger.com,1999:blog-8838177399985185504.post-32752158458986072782016-05-22T06:57:00.000-07:002016-06-06T00:30:24.893-07:00פתוחה / סתומה, (PeTUChaH / SeTUMaH), Open / Closed <div dir="ltr" style="text-align: left;" trbidi="on">
<b>פתוחה / סתומה, (PeTUChaH / SeTUMaH), Open / Closed ,1990</b><br />
<span style="font-size: x-small;">Neon light, electrical wire (104 Meters,) plexiglas, iron, 100 x 100 x 100 Cm.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><b><i>OPEN PORTION / CLOSED PORTION</i></b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><b><i>Please note: there are 290 'open portions' and 379 'closed portions', in TORaH's scroll.</i></b></span><br />
<span style="font-size: x-small;"><a href="https://en.wikipedia.org/wiki/Parashah">https://en.wikipedia.org/wiki/Parashah</a></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><b>As a matter of fact, the pyramid combination of the 10 circles above the word CLOSED, is a symbol of the Tetragrammaton </b></span><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="https://en.wikipedia.org/wiki/Tetragrammaton">https://en.wikipedia.org/wiki/Tetragrammaton</a> .</span></b><br />
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josephhttp://www.blogger.com/profile/11239542386253563601noreply@blogger.com0tag:blogger.com,1999:blog-8838177399985185504.post-34752704194740458102016-05-22T06:26:00.001-07:002016-05-22T07:16:04.895-07:00Breaking News<div dir="ltr" style="text-align: left;" trbidi="on">
<b>Breaking News</b>, 1990<br />
<span style="font-size: x-small;">Bronze, 3x iron circle planning industrial, hight 70 Cm.</span><br />
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josephhttp://www.blogger.com/profile/11239542386253563601noreply@blogger.com0tag:blogger.com,1999:blog-8838177399985185504.post-12742739424649271162016-05-20T02:04:00.000-07:002016-05-20T02:07:40.076-07:00SIR HaBaSaR (meat pot)<div dir="ltr" style="text-align: left;" trbidi="on">
<b>SIR HaBaSaR (meat pot)</b>, 1983<br />
<span style="font-size: x-small;">10 x Cooking Pots, 4 x ShOFaROT (an ancient musical instrument made of ram's horn - <span style="background-color: white; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; line-height: 25px;"> it is also used for Jewish religious purposes</span>)</span><br />
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josephhttp://www.blogger.com/profile/11239542386253563601noreply@blogger.com0tag:blogger.com,1999:blog-8838177399985185504.post-83124912855863687912016-05-18T00:45:00.000-07:002016-06-16T00:06:38.783-07:00The Wandering Jew / The Wondering christian<div dir="ltr" style="text-align: left;" trbidi="on">
<b><i><strike>The Wandering Jew</strike> / The Wondering Christian</i></b>, 1987<br />
<span style="font-size: x-small;">2 x bronze castings of a stuffed goat, 10 x fluorescent, 10 x transformers, electricity wire,</span><br />
<span style="font-size: x-small;">400 x 400 Cm.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw5f60022GaulLsTlBTCphyCRLnDNWiGrEJJmMnOOiaWAY-ygcJqPvOu860k6ls2I4ED3i2a6J3yiqwQbo7FS0iDl8tSoihC_fSe83ozkqa-N_-MLgjzPz_3quoijYs_H5B4SHvsyaZS1D/s1600/josephSEMAH+1987+the+wandering+jew+%253A+the+wondering+christian.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw5f60022GaulLsTlBTCphyCRLnDNWiGrEJJmMnOOiaWAY-ygcJqPvOu860k6ls2I4ED3i2a6J3yiqwQbo7FS0iDl8tSoihC_fSe83ozkqa-N_-MLgjzPz_3quoijYs_H5B4SHvsyaZS1D/s320/josephSEMAH+1987+the+wandering+jew+%253A+the+wondering+christian.jpg" width="320" /></a></div>
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<b><i><strike>The Wandering Jew</strike> / The Wondering Christian</i></b>, 1987-90<br />
<span style="font-size: x-small;">Black piano, 4 x bronze castings of a stuffed goat, 20 x fluorescent, 20 x transformers, 20 x starters, electricity wire, 170 x 300 x 600 Cm.</span><br />
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josephhttp://www.blogger.com/profile/11239542386253563601noreply@blogger.com0tag:blogger.com,1999:blog-8838177399985185504.post-11875095623003922782016-05-15T04:01:00.000-07:002016-05-16T00:27:05.085-07:00Read Full Text<div dir="ltr" style="text-align: left;" trbidi="on">
<b>Read Full Text, 1983</b><br />
Two school chairs, a school map entitled: 'Palestina at the era of the Bible',<br />
a wood folding table, hight<span style="font-size: x-small;"> 75 Cm.</span><br />
<span style="font-size: x-small;">Collection Museum van Bommel van Dam, Venlo</span><br />
<span style="font-size: x-small;">Photo: Arend Velsink</span><br />
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<b>Please note: The chess pieces are based on the form of </b><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;">תפילין</span><b> TeFILIN / Phylacteries.</b><br />
<b><span style="font-size: xx-small;"><a href="https://en.wikipedia.org/wiki/Tefillin">https://en.wikipedia.org/wiki/Tefillin</a></span></b><br />
<b><span style="font-size: xx-small;"><a href="https://toldotyisrael.wordpress.com/2011/11/06/probing-the-earliest-origins-of-tefillin-phylacteries-part-i/">https://toldotyisrael.wordpress.com/2011/11/06/probing-the-earliest-origins-of-tefillin-phylacteries-part-i/</a></span></b><br />
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josephhttp://www.blogger.com/profile/11239542386253563601noreply@blogger.com0tag:blogger.com,1999:blog-8838177399985185504.post-6631237937817266452016-05-14T05:55:00.001-07:002016-05-19T00:17:44.668-07:00Reading in Reverse<div dir="ltr" style="text-align: left;" trbidi="on">
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<b>Reading in Reverse</b>, 1990</div>
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Bronze, height 50 cm, </div>
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<span style="font-size: x-small;">Photo: Rüdiger Lubricht, Worpswede</span></div>
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josephhttp://www.blogger.com/profile/11239542386253563601noreply@blogger.com0tag:blogger.com,1999:blog-8838177399985185504.post-38028952121351468582016-05-14T05:41:00.000-07:002016-05-14T05:41:21.792-07:00קדיש קד איש מני אז מניין תשע בו פחות אחד KaDISh (Prayer for the dead): One man bowed out/ Now the quorum of ten (MiNYaN) only has nine/ One too few<div dir="ltr" style="text-align: left;" trbidi="on">
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<b>קדיש</b> <span style="font-size: x-small;"><b>קד איש מני אז מניין תשע בו פחות אחד</b></span></div>
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<b>KaDISh (Prayer for the dead): One man bowed out/ Now the quorum of ten (MiNYaN) only has nine/ One too few, 1979</b></div>
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<b>KaDISh KaD ISH MiNI AZ MiNYaN TeShA BO PaChOT EChaD</b></div>
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<b>22 x european typewriters + 1 x hebrew typewriter, 2x steel boxes (the form is based on the image of TeFILIN - P</b><b style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;">hylacteries</b><b>, white band, 250 x 50 x 50 Cm.</b></div>
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<span style="font-size: x-small;">Photo: Rüdiger Lubricht, Worpswede</span></div>
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josephhttp://www.blogger.com/profile/11239542386253563601noreply@blogger.com0tag:blogger.com,1999:blog-8838177399985185504.post-57891878424964210032016-05-13T14:54:00.001-07:002016-05-16T00:35:17.640-07:00SeFaT IMI SeFaT EVeR My mother's tongue is the Hebrew tongue<div dir="ltr" style="text-align: left;" trbidi="on">
<b>SeFaT IMI SeFaT EVeR</b><br />
<b>My mother's tongue is the Hebrew tongue</b>, 1985<br />
Iron, leather, wood, books<br />
250 x 250 x 250 Cm.<br />
<span style="font-size: x-small;">Collection Israel Museum, Jerusalem</span><br />
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<span style="font-size: x-small;">ref: TeFILIN, phylacteries,</span><br />
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josephhttp://www.blogger.com/profile/11239542386253563601noreply@blogger.com0tag:blogger.com,1999:blog-8838177399985185504.post-80836372627410806872016-05-11T01:07:00.000-07:002016-05-14T05:47:56.929-07:00ירושלים הרים סביב לה YeRUShaLaYiM HaRIM SaVIV LaH JERUSALEM SURROUNDED BY MOUNTAINS<div dir="ltr" style="text-align: left;" trbidi="on">
<span lang="DE" style="color: #1d2129; font-family: "helvetica"; font-size: 10.5pt;"><span style="background-color: white; color: #6a6a6a; font-family: "arial" , sans-serif; font-size: x-small; line-height: 18.2px;"><b>ירושלים הרים סביב לה </b></span></span><br />
<span lang="DE" style="color: #1d2129; font-family: "helvetica"; font-size: 10.5pt;"><b>YeRUShaLaYiM HaRIM SaVIV LaH<br />
JERUSALEM SURROUNDED BY MOUNTAINS 1987<br /><br />
</b></span><br />
<span lang="DE" style="color: #1d2129; font-family: "helvetica"; font-size: 10.5pt;"><b>Ten cast bronze dogs painted in a gold color,<span class="apple-converted-space"> </span><br />
ten glass plates</b></span><br />
<span lang="DE" style="color: #1d2129; font-family: "helvetica"; font-size: 10.5pt;"><b>40 x 450 x 700 cm.</b></span><br />
<b><span lang="DE" style="color: #1d2129; font-family: "helvetica"; font-size: 10.5pt;"><br /></span>
<span lang="DE" style="color: #1d2129; font-family: "helvetica"; font-size: 10.5pt;">Please note: This work is based on the ground plan of a synagogue, namely the one that was destroyed in Germany in the Kristallnacht, 9 November 1938</span></b><br />
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<b style="color: #1d2129; font-family: helvetica; font-size: 14px; text-align: left;">Restraining oneself by demanding nothing in return, 1984</b></div>
<span lang="DE" style="color: #1d2129; font-family: "helvetica"; font-size: 10.5pt;"><span style="font-size: xx-small;"><b>Two cast bronze dogs painted in gold color, five glass plates 150 x 150 Cm.</b></span></span><br />
<span style="font-size: xx-small;"><b style="color: #1d2129; font-family: helvetica;">Collection, Hällisch-Fränkische Museum für Kunst- und Kulturgeschichte Schwäbisch Hall, Germany</b></span><br />
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<span lang="DE" style="color: #1d2129; font-family: "helvetica"; font-size: 10.5pt;"><span style="font-size: 14px;"><b>Joseph Semah, Restraining oneself by demanding nothing in return, 1982</b></span></span><br />
<span lang="DE" style="color: #1d2129; font-family: "helvetica"; font-size: 10.5pt;"><span style="font-size: 14px;"><b>Water colore, ink 40 x 30 cm.</b></span></span><br />
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<span lang="DE" style="color: #1d2129; font-family: "helvetica"; font-size: 10.5pt;"><span style="font-size: xx-small;"><b><i>According to this descriptive level the dog had been isolated by the iceberg – the Geopolitical concept (Germany), Caspar David Friedrich; the Hope, contributing as it were, a constant perspective (although restricted) by asserting the link between Christianity and Judaism. There is something bluntly deliberate in one’s logical scheme, the distinct operation which administers the lingering conflict situated between the good and the bad, between the immaculate / the pure and the wicked, between the person’s innocent love and the cynical attitude towards the whole human being. Between compassion (Christianity) and cruelty, blood etc., (Judaism). The dog is (the unabridged reality) a companion, a wreath, a friend, that is, in the comprehension of the Christian. The dog is the evil, the stranger, the constant fear for the Jew. The human spirit, the pigeon, the bird, the angel, the desires and the inclinations (to eradicate the Self). </i></b></span></span><br />
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<span lang="DE" style="color: #1d2129; font-family: "helvetica"; font-size: 10.5pt;"><span style="font-size: 14px;">Restraining oneself by demanding nothing in return. Restraining oneself by demanding nothing in return. Restraining oneself by demanding nothing in return. Restraining oneself by demanding nothing in return. Restraining oneself by demanding nothing in return Restraining oneself by...</span></span></i></b></span><br />
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<span lang="DE" style="color: #1d2129; font-family: "helvetica"; font-size: 14px;"> </span><br />
<b><span lang="DE" style="color: #1d2129; font-family: "helvetica"; font-size: 14px;">The Sea of Ice ( The Wreck of Hope ) FRIEDRICH, Caspar David </span><span style="background-color: white; color: #545454; font-family: "arial" , sans-serif; font-size: x-small; line-height: 18.2px;">1823–1824</span></b><br />
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josephhttp://www.blogger.com/profile/11239542386253563601noreply@blogger.com0tag:blogger.com,1999:blog-8838177399985185504.post-60555083995412115672016-05-09T09:57:00.003-07:002016-05-12T03:44:35.416-07:00YaKNeHa'Z יַקְנְהַ״ז<div dir="ltr" style="text-align: left;" trbidi="on">
<b>YaKNeHa'Z,</b><br />
<b><span style="background-color: white; color: #545454; font-family: "arial" , sans-serif; font-size: x-small; line-height: 18.2px;">יַקְנְהַ״ז </span>1983</b><br />
Plumb with line, bronze, 400 cm.<br />
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<b><i>YaKNeHa'Z</i></b> is an abbreviation composed of the initials of 5 x Hebrew words (The praying of HaVDaLaH <span style="font-size: xx-small;"><a href="https://en.wikipedia.org/wiki/Havdalah">https://en.wikipedia.org/wiki/Havdalah</a></span> );<br />
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<b>Ya</b> - Y<span style="font-size: x-small;">aYiN</span> - Wine<br />
<b>K</b> - K<span style="font-size: x-small;">IDUSh</span> - Sanctification<br />
<b>Ne</b> - N<span style="font-size: x-small;">eR</span> - Light<br />
<b>Ha</b> - H<span style="font-size: x-small;">aVDaLaH</span> - Separation<br />
Z - Z<span style="font-size: x-small;">eMaN</span> - Time<br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><span style="font-size: x-small;">YaKNeHa’Z is a mnemonic device to help remember the </span><span style="font-size: x-small;">sequence of the prayer of HaVDaLaH when PeSaCh SeDeR (meal) is held </span><span style="font-size: x-small;">on Saturday night; </span></b></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><b><span style="font-size: x-small;">TaLMUD BaVeLY, tractate PeSaChIM.</span></b></span><br />
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<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: 14px;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: 14px;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"><span style="font-size: x-small;"><i><b>YaKNeHa’Z</b></i></span><span style="font-size: 14px; font-weight: bold;">: </span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: 14px;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"><span style="font-weight: bold;"><span style="font-size: xx-small;">(Ya) YaYieN (Wine), (K) KIDuSh (Sanctification), (Ne) NeR (Candle), (Ha) HaVDaLaH (Blessing over fire), (Z) ZeMaN (Season).</span></span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: 14px;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"><b><br /></b></span></span>
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: 14px;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"><b>Please note:</b></span></span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: 14px;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"><b>the prayer of HaVDaLaH on ShaBaT (Saterday) has a diferent mnemonic device: </b></span></span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: 14px;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"><b><i>YaBNeH</i></b><span style="font-size: 14px; font-weight: bold;">:</span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: 14px;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"><span style="font-size: 14px; font-weight: bold;">(Ya) Wine (B) Spices (Ne) Candle, (H) HaVDaLaH. </span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif; font-size: 14px;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"><b>1.Blessed are You, </b><b style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">HaSheM</b><b> [the Name, TETRAGRAMMATO] our God, King of the universe, Who creates the fruit of the vine. 2. </b><b style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">HaSheM</b><b>, our God, King of the universe, Who creates species of fragrance. 3. Blessed are You, </b><b style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">HaSheM</b><b>, our God, King of the universe, Who creates the illuminations of the fire. 4.Blessed are You, Hashem our God, King of the universe, Who separates between holy and secular, between light and darkness, between Israel and the nations, between the seventh day and the six days of labor. </b></span><b style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Blessed are You, HaSheM, Who separates between holy (Saterday) and secular (the rest of the week).</b></span><br />
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<span style="font-size: 14px;">Hare Hunting 1982</span></b></span><br />
<span style="font-family: "georgia" , "times new roman" , "times" , serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 14px;"><b>Ink, pencil, paper 30 x 22 Cm.</b></span></span><br />
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josephhttp://www.blogger.com/profile/11239542386253563601noreply@blogger.com0tag:blogger.com,1999:blog-8838177399985185504.post-8525973472160662902016-05-04T02:45:00.001-07:002016-05-16T10:54:58.729-07:0072 Privileges [.....]: ‘It is precisely this balance between exile and the emotion of the privileged which forms the unique originality of our Breathing in Reverse. As will be clear already, there is no past or future in Exile, only an immediate present’. ...........................Please note: From now onward, it will be known as - ............................ 72 Privileges [.....] - [A second chance]: ‘It is precisely this balance between exile and the emotion of the privileged which forms the unique originality of our Breathing in Reverse. As will be clear already, there is no past or future in Exile, only an immediate present’. 2012 - 2013 <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>72 Privileges [.....]: </i></b></span></div>
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<b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i><span style="font-size: large;">‘It is precisely this balance between exile
and the emotion of the privileged which forms the unique originality of our
Breathing in Reverse. As will be clear already, there is no past or future in
Exile, only an immediate present’. 2012 </span> </i></span></b><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj397Ml1sObobpt1cmKJw7qc-jaTScwuO_SA-ZKiFZdqvfcrkAWsQacaVryMz7dOVnEcZspYJKiQrQWh-3aDIoe8jzo3SU6mcVZtCdsVjeiecxHfBpwloMUm2bKhmviFhkCtPlfLqNI9Gyl/s1600/drawing.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj397Ml1sObobpt1cmKJw7qc-jaTScwuO_SA-ZKiFZdqvfcrkAWsQacaVryMz7dOVnEcZspYJKiQrQWh-3aDIoe8jzo3SU6mcVZtCdsVjeiecxHfBpwloMUm2bKhmviFhkCtPlfLqNI9Gyl/s320/drawing.png" width="239" /></a></div>
<b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i><br /></i></span></b></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"><b><i>Please note:</i></b></span></div>
</div>
<div style="text-align: right;">
<div style="text-align: left;">
<span style="font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"><b><i><span style="font-family: "arial" , "helvetica" , sans-serif;">From now onward, it will be known as -</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> </span></i></b></span></div>
</div>
<i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><b>72 Privileges [.....] - </b></span><b style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;">[A second
chance]: </b></i><br />
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<b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i><span style="font-size: large;">‘It is precisely this balance between exile and the emotion of the privileged which forms the unique originality of our Breathing in Reverse. As will be clear already, there is no past or future in Exile, only an immediate present’. 2012 - 2013 </span> </i></span></b></div>
<b style="font-family: Georgia, 'Times New Roman', serif; font-size: x-large;"><br /></b>
<b style="font-family: Georgia, 'Times New Roman', serif; font-size: x-large;">The first Kochi-Muziris Biennale, 2012-2013, India.</b><br />
<span style="font-size: x-small; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><a href="http://www.thehindu.com/todays-paper/tp-national/tp-kerala/kochi-gets-ready-for-a-dutch-treat/article4180329.ece">http://www.thehindu.com/todays-paper/tp-national/tp-kerala/kochi-gets-ready-for-a-dutch-treat/article4180329.ece</a></span></div>
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<b><span style="font-size: x-small;"><a href="http://shevlinsebastian.blogspot.nl/2012/12/a-rulers-magnanimity.html">http://shevlinsebastian.blogspot.nl/2012/12/a-rulers-magnanimity.html</a></span></b><br />
<b><span style="font-size: x-small;"><a href="http://www.thehindu.com/todays-paper/tp-national/tp-kerala/artists-should-give-political-issues-a-wide-berth-semah/article4024605.ece">http://www.thehindu.com/todays-paper/tp-national/tp-kerala/artists-should-give-political-issues-a-wide-berth-semah/article4024605.ece</a></span></b><br />
<b>Interview</b><br />
<b><span style="font-size: x-small;"><a href="https://www.youtube.com/watch?v=mMZ0pMufbHs">https://www.youtube.com/watch?v=mMZ0pMufbHs</a></span></b><br />
<b><br /></b>
<b>.....When issues of religious intolerance are rocking Europe, it is
wonderful to see here in Kochi, India, a laboratory of tolerance, where Hindus, Muslims,
Jews and Christians co-exist in perfect harmony. </b></div>
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<b>Here we can see how the concept of tolerance
took shape by promoting a kind of balance between different religious groups.
This could be an example for us in the West. </b></div>
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<b><br /></b></div>
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<b>Please note: </b><br />
<b>After being in such a close proximity to the history of Kochi and
bumping into the story of the copper plates which tells us about the 72
privileges that were granted to the Jewish and Christian communities by the
last king of the Chera dynasty, Cheraman Perumal (962-1019 AD) - I have adopted the number 72 to be the main measurement of
my work. </b></div>
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<b><br /></b></div>
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<b>The 72 Copper plates (42cm x
30cm) are pierced with the star constellations found in the cosmos above the
city of Jerusalem, and arranged diagonally on a long 22 meter wooden table that
dissects the room. Woven throughout is
5000 meters of tangled white cotton thread that represents the circumference of
the old city of Jerusalem.</b><span style="font-size: 10pt;"><o:p></o:p></span></div>
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<b><br /></b></div>
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<!--StartFragment--><b>Brahmin king Cheraman
Perumal, the last of the Chera Dynasty, granted 72 privileges to the Jews and
Christians of Kochi, and inscribed them in ancient Tamil onto copper
plates. </b></div>
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<span style="font-size: x-small;"><b>1. Ambari (Howdah on an
elephant) 2. Ankaram (courtyard) 3. Antholam (palanquin) 4. Ammoolam (tax
gathering) 5. Arpu (cheers) 6. Aala vattam (Peacock feather fan) 7. Aana savari
(Elephant riding) 8. Uchippoovu (Head Turban) 9. Kacha (Robes) 10. Kacha puram
(Over coat) 11. Kankanam (Bangles) 12. Kaal thala (Anklet Rings) 13. Kaal
chilambu (Anklets Bells) 14. Kurava (Tongue Cheers) 15. Kuthirasavari (horse
ride) 16. Kuzhal (Bugles) 17. Kodi (Flag) 18. Kaikara (Hand Ornaments) 19.
Kaithala (Bangles) 20. Cheli (a kind of tax) 21. Chemkombu (another tax) 22.
Chenda (Drum) 23. Thamburu (String Instruments) 24. Thazha kkuda (Royal Palm
Umbrella) 25. Ner vaal (Straight Sword) 26. Pattu chatta (Silk Coat) 27.
Patturumal (Silk Handkerchief) 28. Pattumundu (Silk dothi) 29. Pakal vilakku
(Day Lamp) 30. Padi pura (Entry Gate House) 31. Pathakkam (Necklace) 32. Panni
pudava (Embroidary Robes) 33. Paravathani (Carpet) 34. Pavaada (Royal Cloth)
35. Pallakku (Palanquin) 36. Pavada (Royal Cloth) 37. Panchavadyam (Five
Instrument Orchestra) 38. Pandal Vithanam (Pandal Decoration) 39. Pathinezhu
Parichamel Kathruthwam (Control over the 17 Low castes) 40. Maddalam (Hand
Drum) 41. Manarkolam (Platforms) 42. Mudi (Crown) 43. Mudikuzhabharanam (Head
ornaments) 44. Mammoolam (Tax) 45. Methi adi (Wooden Chappels) 46. Raja vaadyam
(Royal Orchestra) 47. Raja Sankham (Irippu) (Honour to sit in court with the
King) 48. Rajabogham (Honor to eat with King) 49. Veena (String Instrument) 50.
Deevetti (Indigenous Torch) 51. Thookku manchal (Swinging Cot) 52. Thondon 53.
Thoranam (Decoration) 54. Thol vala (Armpit Bangle) 55. Theendalkattal
(untouchability) 56. Nada (Cheers) 57. Nayattuhubhogam (Privilege for hunting)
58. Naikudiparisha 59. Nedizakuda (Royal Umbrella) 60. Nettipetti (Cloth Box)
61. Nettikettu (Head Dress) 62. Veera vaadyam (Heroic Bugles) 63. Veera madalam
64. Veera srimkhala (Royal Chain) 65. Viri panthal (Honour to errect Pandal)
66. Venchamaram (Royal Fan) 67. Sankhu (conch) 68. Sangu Edam Piri (Conch with
left screw) 69. Sankhu Valampiri (conch with right screw) 70. Bhoomi
Karamozhivu (land tax evation) 71. Nayattu (Hunting) 72. Paalamarangal (Forest
concession)</b></span><!--EndFragment-->
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<b>The accompanying 72 shadow
drawings (42cm x 30cm), which were drawn with a black indian ink on various
tracing papers are sawn together with white thread into a sheet of music
notes. The 72 drawings are in fact a
visual guide to the history and the significance of the 72 privileges.<o:p></o:p></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 13.3333px;"><b><br /></b></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>PERFORMANCE</b></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: 13.3333px;"><b>The performance featuring 8 public figures of diverse religious denominations and a secular person, who are reading aloud, Back-to-Back, from their scriptures /book of influence in an impromptu fashion. </b></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: 13.3333px;"><b>At the same time, 72 pupils from diverse religious denominations took an active role by reading aloud and burning the 72 privileges inside 72 wine glasses.</b></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: 13.3333px;"><b><br /></b></span>
<b style="font-family: Georgia, 'Times New Roman', serif; font-size: 13.3333px;">Remember, the new sound created by the reading of the 8 persons, together with the 72 pupils is already advancing into 'a ready to hand' meaningful gesture; This is the language of Art. There is no doubt, </b><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: 13.3333px;"><b>Breathing by Breathing, </b></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: 13.3333px;"><b>one is coming closer and closer to the impulses of the tradition of secularity which appear to dominate our creative desire. </b></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: 13.3333px;"><b><br /></b></span>
<span style="font-family: "georgia" , "times new roman" , serif; font-size: 13.3333px;"><b>Please note: to reach the full effect of the Performance, one should </b></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 13.3333px;"><b>watch the 2x registration videos at the same time.</b></span></span><br />
<a href="https://www.youtube.com/watch?v=jssNAgGBuO0">https://www.youtube.com/watch?v=jssNAgGBuO0</a><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: 13.3333px;"><b><a href="https://www.youtube.com/watch?v=wocZraGifBE">https://www.youtube.com/watch?v=wocZraGifBE</a></b></span><br />
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<b style="font-family: Georgia, 'Times New Roman', serif; font-size: x-large;">The Secret</b><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: 13.3333px;"><b>To understand the inner meaning of this art-work, </b></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: 13.3333px;"><b>one should lie on the floor under the wooden table.</b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">72 Privileges [.....] - </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">[A second chance]: </span></b></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><b>‘It is precisely this balance between exile and the emotion of the privileged which forms the unique originality of our Breathing in Reverse. As will be clear already, there is no past or future in Exile, only an immediate present’. 2012 - 2013 </b></span></span><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"></span><br />
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josephhttp://www.blogger.com/profile/11239542386253563601noreply@blogger.com1tag:blogger.com,1999:blog-8838177399985185504.post-92095234193074572822016-04-25T01:18:00.001-07:002016-06-05T03:40:21.251-07:00The Wandering Jew / The Wondering Christian 20-08-1997<div dir="ltr" style="text-align: left;" trbidi="on">
<b><i><strike>The Wandering Jew</strike> / The Wondering Christian </i> 20-08-1997</b><br />
<span style="font-size: x-small;">50 x used cast-iron shoe-lasts, wine glass, silver plated candle snuffer, two bronze castings of valves of a Venus'-shell, wooden alpenstock, </span><br />
<span style="font-size: x-small;">Collection Becht, Naarden</span><br />
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<span style="font-size: xx-small;"><b><span style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">The </span><i style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">Metamorphoses</i><span style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;"> (The Golden Ass)</span> <span style="background-color: white; color: #252525; font-family: sans-serif; line-height: 22.4px;">Lucius Apuleius Madaurensis. </span></b></span><b style="background-color: white; color: #252525; font-family: sans-serif; font-size: x-small; line-height: 22.4px;">Ref., VENUS</b><br />
<span style="background-color: white; line-height: 22.4px;"><span style="color: #252525; font-family: sans-serif; font-size: xx-small;"><b><a href="https://en.wikipedia.org/wiki/The_Golden_Ass">https://en.wikipedia.org/wiki/The_Golden_Ass</a></b></span></span><br />
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<i><b><strike>The Wandering Jew</strike> / The Wondering Christian</b></i></div>
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<i><span style="font-size: x-small;">edited by Felix Villanueva, Joseph Semah</span></i></div>
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<i><span style="font-size: x-small;">University Leiden, LAK GaLLERY, 1998</span></i></div>
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<i><span style="font-size: x-small;">272 Pages</span></i></div>
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<i><span style="font-size: x-small;">Edition 1200</span></i></div>
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<i><span style="font-size: x-small;">ISBN 90-9012574-4</span></i></div>
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<i><span style="font-size: xx-small;"><a href="http://www.josephsemah.nl/?q=node/101">http://www.josephsemah.nl/?q=node/101</a></span></i></div>
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josephhttp://www.blogger.com/profile/11239542386253563601noreply@blogger.com0tag:blogger.com,1999:blog-8838177399985185504.post-29978611726348500682016-04-25T00:55:00.002-07:002016-04-25T00:57:33.511-07:00HaVDaLaH<div dir="ltr" style="text-align: left;" trbidi="on">
<b>HaVDaLaH (Separation) </b><b style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;">הבדלה</b><b> 1985</b><br />
<b><span style="font-size: x-small;">Steel, glass, in wax casted hare, source of light, 400 cm. x 50 cm x 50 cm.</span></b><br />
<span style="font-size: x-small;">Collection, Rijksmuseum Twenthe, Enschede, The Netherlands</span><br />
<a href="https://en.wikipedia.org/wiki/Havdalah">https://en.wikipedia.org/wiki/Havdalah</a><br />
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josephhttp://www.blogger.com/profile/11239542386253563601noreply@blogger.com0tag:blogger.com,1999:blog-8838177399985185504.post-43028287264075002072016-04-24T14:39:00.000-07:002016-04-24T23:21:23.240-07:00From the Chair (Made Ready)<div dir="ltr" style="text-align: left;" trbidi="on">
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<b>From the Chair (Made Ready), 1979 </b><br />
Wooden chair (Originated from a synagogue), 22x in bronze casted mouses, 62 cm.</div>
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<b style="font-size: 10pt;">But the hand of the LORD
was heavy upon them of Ashdod, and he destroyed them, and smote them with
emerods, even Ashdod and the coasts thereof. (King James Bible, 1 Samuel 5: 6)</b></div>
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<span style="font-size: 10.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><b>And these are the golden
emerods which the Philistines returned for a trespass offering unto the LORD;
for Ashdod one, for Gaza one, for Askelon one, for Gath one, for Ekron one; And
the golden mice, according to the number of all the cities of the Philistines
belonging to the five lords, both of fenced cities, and of country villages,
even unto the great stone of Abel, whereon they set down the ark of the LORD: which
stone remaineth unto this day in the field of Joshua, the Bethshemite. (King
James Bible, 1 Samuel 6: 17-18) <o:p></o:p></b></span></div>
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<span style="font-size: 10.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><b>Emerods (emeroids)
Hemorrhoids; tumors; raised up; swellings, protuberances <o:p></o:p></b></span></div>
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<span style="font-size: 10pt;"><b>The word Emerods means OPHeL or TeChOR in Hebrew</b></span><!--EndFragment-->
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<span style="font-size: 10pt;"><b><br /></b></span>
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<span style="font-size: 10pt;"><b>Please note: </b></span><span style="font-size: 13.3333px;"><b>כיסא אליהו </b></span><b style="font-size: 13.3333px;">Elijah’s Chair</b><br />
<span style="font-size: 10pt;"><b>A chair is prepared and a
cup of wine poured for Elijah at every
Pesach (Passover) celebration. He is also
believed to be present at every Brit Milah
(circumcision) ceremony, and a special
chair – Elijah’s chair – for his invisible
presence is placed next to that of the
Sandak (godfather) holding the male
baby. </b></span><br />
<span style="font-size: 10pt;"><b><br /></b></span>
<span style="font-size: 10pt;"><b>This particular belief may be due to
Elijah’s angelic status (having ascended
to heaven) and the prophet Malachi’s
reference to him as the “angel of the
covenant”. </b></span><br />
<span style="font-size: 10pt;"><b>Consequently one must not forget Elijah’s
eschatological role in Jewish tradition,
namely, his role of precursor of the
Messiah, for he is the messenger
announcing his advent. </b></span><br />
<span style="font-size: 10pt;"><b><br /></b></span>
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A late-18th century’s Elijah’s Chair in the niche in the Carpentras synagogue, France; “this is the chair for Elijah, blessed be his memory”</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6SnF6ANeq_ja87L53U_zigyv3TusTulom8uWTg7Ra_ggV7im2Msd9-zIU3H3jZxPo42vir3shYeS7GvNAJeHYtpLw9HUXOOYDCJOhXttWkxE1E6rCqQf2BPhUN53_y9OyRVDAv-u6rXqa/s1600/03853408dc80d40b66beeb0066da707c.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6SnF6ANeq_ja87L53U_zigyv3TusTulom8uWTg7Ra_ggV7im2Msd9-zIU3H3jZxPo42vir3shYeS7GvNAJeHYtpLw9HUXOOYDCJOhXttWkxE1E6rCqQf2BPhUN53_y9OyRVDAv-u6rXqa/s320/03853408dc80d40b66beeb0066da707c.jpg" width="239" /></a></div>
<span style="font-size: 10pt;"><span style="background-color: white; color: #444444; line-height: 18px;"><b>Synagogue de Cavaillon Rue Hebraique, 84300 Cavaillon, France</b></span></span><br />
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<span style="font-size: 13.3333px; font-weight: bold;"><br /></span></div>
<span style="font-size: 10pt;"><b><br /></b></span>
<span style="font-size: 10pt;"><b><br /></b></span>
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josephhttp://www.blogger.com/profile/11239542386253563601noreply@blogger.com0tag:blogger.com,1999:blog-8838177399985185504.post-13820722948574199472016-04-23T04:21:00.001-07:002016-04-25T00:42:36.777-07:00Breathing in Proximity (in this sense, then, Jerusalem remains the source of that energy which drives our intellectual engagements with Culture and Politics)<div dir="ltr" style="text-align: left;" trbidi="on">
<b>Breathing in Proximity </b><br />
<b>(in this sense, then, Jerusalem remains
the source of that energy which drives our intellectual
engagements with Culture and Politics), 1984</b><br />
<span style="font-size: x-small;"><i>This work is based on the ground plan of a synagogue; namely, the one that was destroyed in Germany in Kristallnacht, 9 November 1938.</i></span><br />
<br />
22 sawhorse, wood, corten steel, steel grate mat, a cast bronze Hare (being placed on the floor, underneath the <span style="font-size: x-small;"><b>'TABLE'</b></span> ) , sand, 4 x fluorescent tubes, electrical wire 104 meters, a wooden bench - 90cm. 500 cm<br />
<b>Please note: the wooden bench is originated from a destroyed synagogue.</b><br />
<b><br /></b>
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josephhttp://www.blogger.com/profile/11239542386253563601noreply@blogger.com0tag:blogger.com,1999:blog-8838177399985185504.post-32339387350628655862016-04-20T10:00:00.000-07:002016-05-16T00:12:39.841-07:00Notes from the Diary of the Architect (An enquiry concerning the principles of Tradition and Modernity, in the realm of 'Black Fire upon White Fire')<div dir="ltr" style="text-align: left;" trbidi="on">
<b>Notes from the Diary of the Architect</b><br />
<b>(An enquiry concerning the principles of Tradition and Modernity, in the realm of 'Black Fire upon White Fire') 2000</b><br />
80cm x 300cm. 2x sawhorse, white thread, copper, wood, white cotton fabric,<br />
<span style="font-size: x-small;">Photo: Ilya Rabinovich</span><br />
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<span style="font-family: "arial black" , sans-serif;">“Notes from the Diary of the the Architect” </span></div>
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<span style="font-family: "arial black" , sans-serif;">(An enquiry concerning the principles of Tradition and Modernity in the realm of ‘Black Fire Upon White Fire’)</span></div>
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<span style="font-family: "comic sans ms" , sans-serif;"><b><i>“The Torah that the almighty granted to Moses gave him white fire embossed in black fire, that is the fire enclosed in fire hewn from fire and engulfed in fire, as it is written: ‘from his right hand went a fiery law for them’” </i></b></span></div>
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<span style="font-family: "comic sans ms" , sans-serif;"><b><i>Jerusalem Talmud, “ Shekalim, chap. 6: </i></b></span></div>
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<span style="font-family: "comic sans ms" , sans-serif;"><b><i>“The Torah was given in flames of fire, and everything in it is fire and written in white fire upon black fire, and the letters float and rise into the air” Zohar, Pikudei, 226, B</i></b></span></div>
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<span style="font-family: "arial black" , sans-serif;">As will be clear already, on the simple level the black fire refers to all those visible letters, which were inscribed in black ink unto the scroll, and the white fire symbolizes the empty spaces, the uncovered areas in between the black words. Furthermore, the black fire represents the literal meaning of the text, while the white fire represents ideas that go beyond the literal, beyond interpretation, beyond application and teaching. So, as at other times, we can put forward that only jointly, the black fire together with the white fire can make our reading complete. But this ‘inclusive reading’ is in effect our awareness of the idea behind the idea of Space and Perception.</span></div>
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<span style="font-family: "arial black" , sans-serif;">To begin with, Black Fire and White Fire together make up a dynamic totality, that is in reading, in displaying, and in all other phenomena in our experience. Here, admittedly, it is nothing more than a revelation of all-inclusive space. And it is precisely such an all-inclusive space which forms the vital structure of the public’s knowledge, in so far as knowledge is not what it appears to be; for this reason the public’s knowledge is also synchronized with the ever altering vision of the world around us. Equally, knowledge is our fear of change, which is first and foremost being formed by the advancement of someone else’s promise. At the same time, as soon as the other’s promise has been displayed in a close proximity to the present public space, the impossible becomes possible. Afterwards, in the background of the public space, the public’s perception of its space is functioning as a delay in its awareness of the artist’s promise. And more, the delay is never very far from the public responsibility to grant the artwork with a particular space. </span></div>
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<span style="font-family: "comic sans ms" , sans-serif;"><b><i>Undoubtedly, it is all too evident, the artist’s promise is now known as the ‘artwork’ on display. And the art-work on display is not without a particular name in the public space. </i></b></span></div>
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<span style="font-family: "arial black" , sans-serif;">But for the public, to state its own fear implies a most frequent criticism of the artist’s promise which is currently moving towards the public. Here, the public does not formulate a new morality, but it most insistently questions the art-work on display. This, then, is the general act in response, namely: if the meaning of a public space is given to it in the knowledge of its impossibility, then the vitality of the artist’s promise is as much a layout of an innovative private physical space, as well as a certain private narrative space, which gives the public its future reading, that is including its future symbolic identity. But again, the trouble is, that the effect of the artist’s promise on the public space is primarily to reverse the direction of the public awareness. So, it is not hard to understand why it is a skilfully developed process, in any case, it is always already being closely allied to the authority of inclusive reading. In this activity, then, we can say that any given space is already synchronized with the intrinsic reading of the other. And that the process of awareness is in the end more real than the promise which causes it. </span></div>
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<span style="font-family: "comic sans ms" , sans-serif;"><i>At this moment, and despite the attempt of the artist to evoke the idea of certainty, his promise remains nonetheless paradoxical and therefore doubtful. </i></span></div>
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<span style="font-family: "arial black" , sans-serif;">Still, the promise is equally accurate, because, whatever is to be displayed must first exist. And it will always precede the obligation of the public to provide space, for it is in a certain way, the task of the artist to link his private space to the unique originality of the public’s past dream. And so, the artist’s promise is nothing else but the impact of the potential change on the revitalization of the public space. Namely, that the promise in itself is the only possible approach left for the public to uphold that its entry to any given space and the authority of perception, are both a textual plea for its future proximity to modernity. In so far, as Tradition makes a conscious bid for fighting the rebellion of the ‘authentic’ artist. </span></div>
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josephhttp://www.blogger.com/profile/11239542386253563601noreply@blogger.com0tag:blogger.com,1999:blog-8838177399985185504.post-66616839272899960462016-04-18T03:29:00.001-07:002019-06-11T00:32:10.826-07:00.....after ARMILUS<div dir="ltr" style="text-align: left;" trbidi="on">
.....after ARMILUS, 1986<br />
Bronze, aluminium, wine glass<br />
180 cm. 80 cm.<br />
<a href="https://www.blogger.com/goog_62673059"><br /></a>
<a href="http://www.jewishencyclopedia.com/articles/1789-armilus">http://www.jewishencyclopedia.com/articles/1789-armilus</a><br />
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josephhttp://www.blogger.com/profile/11239542386253563601noreply@blogger.com0tag:blogger.com,1999:blog-8838177399985185504.post-30749746923816904742016-04-18T03:19:00.000-07:002018-11-19T00:55:28.105-08:00Measurement in מועד MOED<div dir="ltr" style="text-align: left;" trbidi="on">
<b>Measurement in <span style="background-color: white; font-family: "georgia" , serif;">מועד </span>MOED, 1999 </b><br />
<b>22 x Copper objects, bronze</b><br />
<b>+- 800 cm. hight 50 cm.</b><br />
<b>Collection: </b><span class="st"><i>Gemeentemuseum </i></span><span class="st">The Hague, </span><span class="st"><span class="st"><i>The Netherlands</i></span></span><br />
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<b><span style="background-color: white; font-family: "georgia" , serif;"></span></b><br />
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<b><span style="background-color: white; font-family: "georgia" , serif;"><span style="color: black; font-family: "arial black" , sans-serif;"><b style="line-height: 19.32px;">To begin with, the construction of '<i>Measurement in MOED </i>'<span style="font-family: "arial black" , sans-serif;">, </span></b></span></span></b><b><span style="background-color: white; font-family: "georgia" , serif;"><span style="color: black; font-family: "arial black" , sans-serif;"><b style="line-height: 19.32px;"><span style="font-family: "arial black" , sans-serif;"><span style="background-color: white; font-family: "georgia" , serif;"><b><span style="color: black; font-family: "arial black" , sans-serif;"><span style="line-height: 19.32px;">in GaLUT </span></span></b><span style="color: black; font-family: "arial black" , sans-serif;"><b style="line-height: 19.32px;">is simultaneously a passion and </b><span style="line-height: 22.4px;">a state of indifference. </span></span><span style="line-height: 22.4px; text-align: right;"><span style="color: black; font-family: "arial black" , sans-serif;">It is the exasperation of GaLUT, the </span></span><b style="color: black; line-height: 19.32px;"><span style="color: black;"><span style="font-family: "arial black" , sans-serif;">haunting fascination with its failure to abolish itself.</span></span></b></span></span></b></span><b><span style="color: black;"><span style="line-height: 19.32px;"><span style="font-family: "arial black" , sans-serif;"> </span></span></span></b></span></b><br />
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<b><span style="background-color: white; font-family: "georgia" , serif;"><b><span style="color: black;"><span style="line-height: 19.32px;"><span style="font-family: "trebuchet ms" , sans-serif;">( </span></span></span></b><b><span style="color: black;"><span style="line-height: 19.32px;"><span style="font-family: "trebuchet ms" , sans-serif;"><b><span style="background-color: white; font-family: "georgia" , serif;">the word מועד MOED in Hebrew means:</span></b> A Time or a Place planned in advance, appointed time ; specific
time, specific date; meeting, commemorative date; festival במועדו - at
the right time, to trip, to stumble, i</span></span></span></b><b><span style="color: black;"><span style="line-height: 19.32px;"><span style="font-family: "trebuchet ms" , sans-serif;"><b><span style="background-color: white; font-family: "georgia" , serif;"><b style="color: black;"><b><span style="font-family: "trebuchet ms" , sans-serif;">n time to lose one's balance, to trip, to stumble, </span></b></b></span></b>pesichah, מעד; Presence; Witness;) - </span></span></span></b></span></b><br />
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<span style="background-color: white; font-family: "georgia" , serif;"><b style="color: black;"><b><span style="font-family: "trebuchet ms" , sans-serif;"> </span><span style="font-family: "arial black" , sans-serif;">- </span></b></b></span></div>
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josephhttp://www.blogger.com/profile/11239542386253563601noreply@blogger.com0