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A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs.
(J. The Jewish News of Northern California via JTA) — Tucked in the far corner of a large, brightly-lit exhibition hall on the ground floor of the Contemporary Jewish Museum in San Francisco, there is a delicate-looking piece of art with a strong political message.
At first glance, it appears to be three circular vases with flowers in them. The ceramic vases sit on shelves attached to the wall, and colorful collages hang above them. On closer inspection, visitors will notice that the flowers are made out of paper and that affixed to each vase is an image of the Palestinian flag printed on foam board.
A nearby label written by the curators of the exhibit, titled “Tikkun: For the Cosmos, the Community, and Ourselves,” explains that the piece was inspired by a conversation the artist, Tosha Stimage of Berkeley, had with a Palestinian man. He told Stimage about the plants that are native to Palestine — “a place which he can no longer access due to the ongoing conflict in the region,” the curators write.
The label also includes a note about the flag: “Some may find its presence at The CJM troubling or confusing, while others may find it appropriate and forthright. Stimage recognizes the potential for these divergent responses and hopes to use them as a means of generating dialogue.”
On a Sunday afternoon in October, Maury Ostroff read the label and walked away without inspecting the artwork.
Visitors to the “Tikkun” exhibit are encouraged to share their responses to the artwork via comment cards. (Andrew Esensten)
Asked how the presence of the flag made him feel, Ostroff, who is Jewish and lives in Muir Beach, in Marin County, replied, “Unhappy.”
Why?
“It’s not offensive to me in the same way that a swastika is. My skin is a little bit thicker than that. But I wish it weren’t here.”
He added, “What’s so Jewish about this? What’s so ‘tikkun olam’ about all of this?”
For the “Tikkun” exhibit, which opened Feb. 17 and runs through Jan. 8, the CJM invited both Jewish and non-Jewish Bay Area artists to contribute new works on the theme of repair, however they chose to interpret it. “No one is listening to us,” the piece by Stimage, who is not Jewish, is the first work of art featuring the Palestinian flag to be shown at CJM in recent memory; the museum could not say when or if the flag has been displayed on its walls before.
The piece prompted several internal conversations among CJM staff when it was first submitted and, since it has been on display, has generated a variety of responses from museumgoers who have left comments in a box at the entrance to the exhibit. Intentionally or not, Stimage has raised numerous questions with the artwork, including: Does a work of art that is sympathetic to the Palestinian struggle for statehood belong in a Jewish museum? And what is the role of a contemporary Jewish museum, anyway?
“To truly be a contemporary art museum, meaning embedded in the contemporary issues of our day, our job is to provide a platform for dialogue and to share a diversity of perspectives on our walls,” said Chad Coerver, CJM’s executive director since September 2021. “If any institution [like ours] took the path of withholding artwork that troubled our staff, our board or our community, it would be very difficult to mount exhibitions.”
CJM is a member of the Council of American Jewish Museums, a network of 76 museums across the country. CAJM does not have guidelines about the kind of art its member museums can and cannot display, according to Executive Director Melissa Yaverbaum.
J. reached out to several CAJM member museums in New York, Los Angeles and other places by email to ask if they had ever shown artwork with Palestinian iconography or works by Palestinian artists. The museums declined to answer or did not respond.
In recent years, two Jewish museums have been embroiled in controversy over issues relating to the Israeli-Palestinian conflict. The Spertus Institute for Jewish Learning and Leadership in Chicago staged an exhibit in 2008 on Israeli and Palestinian concepts of homeland that included maps and portraits of Palestinians. Following outcry from members of the local Jewish community who felt the exhibit presented Israel in a negative light, the museum decided to close the exhibit after only a few weeks. And in 2019, the director of the Jewish Museum Berlin resigned after the museum tweeted a link to a pro-BDS article in a German newspaper. (The museum previously came under fire for welcoming anti-Zionist scholar Judith Butler and representatives of Iran.)
In a joint interview with J., two CJM staffers who worked on “Tikkun” — co-curator Qianjin Montoya, who is not Jewish, and a Jewish senior curator who served in an advisory role, Heidi Rabben — shared the story of how Stimage’s piece came to be in the exhibit. (Montoya’s co-curator for the exhibit, Arianne Gelardin, no longer works at the museum.)
Since 2009, CJM has invited local artists from different backgrounds to create new work as part of the museum’s annual Dorothy Saxe Invitational. The idea for “Tikkun” was hatched before the pandemic put the planning process on hold. Once the CJM and Saxe — a local philanthropist and art collector — agreed on the theme, the co-curators invited artists “already engaged in healing through their relationship to community or in their practice of daily life,” Gelardin told J. last February.
The 30 artists who accepted the museum’s invitation were given only four months to conceive of and submit new works. That was likely the shortest timeline in the history of the invitational, which has been held 11 previous times, according to the museum. Each artist received a packet of materials compiled by CJM staff, with input from the Shalom Hartman Institute, a non-degree granting Jewish education center, to guide their thinking on “tikkun.”
Stimage was invited to participate because she is “very active” in the Bay Area and because “her work reflects ideas of community and connection,” Montoya said.
The curators said Stimage’s inclusion of the Palestinian flag in her submitted piece came as a surprise and prompted challenging conversations. However, they noted that they found the content of some of the other artists’ work surprising, too, and that it’s not unusual for contemporary artists to push the envelope in their work.
“I wouldn’t say we expected to receive a piece about the Israeli-Palestinian conflict, but we weren’t steering anyone away from that, either,” Rabben told J., adding that the submission guidelines did not place any topic off limits. “That’s a commitment from the museum to authentically represent the creative spirit of the artists that we’re working with,” she said.
Still, the curators said they engaged in a dialogue with Stimage in order to better understand each aspect of her piece and her overall intentions. Through those conversations, the curators learned that Stimage wanted to explore a moment of “rupture,” and that through her piece she hoped to communicate “that before healing or repair might happen, you have to first acknowledge that rupture,” Rabben said.
The Contemporary Jewish Museum in San Francisco is showing “Tikkun,” an exhibit of works by Jewish and non-Jewish artists on the theme of repair. (Andrew Esensten)
Coerver, who was involved in some of the conversations, stressed that “careful consideration” was given to including the piece in the exhibit. “We felt an artwork addressing the plight of the Palestinians was appropriate in an exhibition on healing and repair,” he said. (No work submitted as part of the Dorothy Saxe Invitational has ever been outright rejected, the museum said.)
Stimage did not respond to interview requests from J. According to a CV on her website, she was born in Jackson, Mississippi, and earned an MFA from California College of the Arts in 2016. She is a past fellow at the Yerba Buena Center for the Arts in San Francisco and was an artist-in-residence at Facebook in 2018. She also owns a floral gift shop in Oakland called Saint Flora.
Her work often touches on Black identity; she created a piece honoring Sandra Bland, an African-American woman whose 2015 arrest and death in a Texas jail cell sparked protests, and contributed to a 2019 San Francisco Art Institute exhibit on the Black Panther Party.
“I have a responsibility to create things that will, to the best of my present knowledge, do more good than harm, heal, inspire and uplift other humans,” she told the San Francisco Bay View National Black Newspaper in 2015.
Stimage’s precise views on Israel are unknown. CJM referred J. to her artist statement for “No one is listening to us,” which reads: “Olive, sage, and sumac are flowering plants native to the Mediterranean (including regions of Gaza and the West Bank) that have a direct relationship to contested ancestral land and affect the livelihood of so many Palestinian farmers and families caught in the conflict. They are positioned in the space of The Contemporary Jewish Museum as a metaphor for the ongoing conflict over land rights and the desperate need for restoration and healing of an age-old wound.”
The curators told J. that during their conversations with Stimage about her piece, they asked her why including images of the Palestinian flag was important to her but did not request that she remove them.
“We determined that none of [the piece’s] components in and of themselves signified something problematic or concerning,” Rabben said. “Of course, we had the awareness that the symbol [of the flag] will be read in a variety of ways by a variety of people.”
(Rabben pointed out that the exhibit includes other works with national symbols rendered in provocative ways, such as a black-and-white photograph of an American flag that was torn apart and partially reassembled by Mexican-American artist Jose Arias.)
The Palestinian flag — which contains the Pan-Arab colors of black, white, green and red — was adopted by the Palestine Liberation Organization in 1964. Since then, it has been the primary symbol of Palestinian nationalism.
For decades, the PLO was considered an enemy organization by Israel, and anything associated with it “had no place in Israeli public life,” said Eran Kaplan, an Israeli-born professor of Israel studies at San Francisco State University. Israel never went so far as to ban the flag. However, during the First Intifada, which lasted from 1987 to 1993, Israeli soldiers sometimes followed orders to confiscate the flag from protesters in the West Bank and Gaza.
With the signing of the Oslo Accord in 1993, Israel and the PLO recognized each other as negotiating partners. Yet the Palestinian flag remains a contentious symbol in Israel today. Kaplan noted that it recently served as a flashpoint during the funeral procession of Shireen Abu Akleh, the Palestinian American broadcaster who was killed in the West Bank in May. (The IDF conducted a review and admitted that the Israeli soldier who shot her had most likely misidentified her as an armed militant.) After warning Abu Akleh’s family not to display the flag, Israeli police attacked mourners in East Jerusalem, ripping flags out of their hands and off of the vehicle carrying her casket.
Today, the flag holds different meanings for Israelis and American Jews from different generations and political persuasions.
“There are large segments in Israeli society who view any form of Palestinian national identity as a threat to the existence of Israel,” Kaplan said. “There are others who view the PLO as legitimate partners in any form of negotiations [over the creation of a Palestinian state], but there’s an absolute split over those questions.”
Given the sensitive nature of Stimage’s work and others in the exhibit, the curators decided to solicit feedback from visitors via comment cards available at the entrance to the hall. Rabben said the museum has received a number of comments specifically about “No one is listening to us,” most of which were positive. “The majority of those comments were ‘Thank you for offering space for this topic at the museum,’” she said.
Last month, a security guard sitting in the “Tikkun” exhibition hall told a reporter that he had not witnessed any expressions of outrage or protest through the first nine months of the exhibit. “When we opened we were afraid of negative reactions, but they’re not stressed about it,” he said of visitors. “We have shown worse things here.” The guard, who has worked at the museum since it opened in 2008, mentioned a 2010 exhibit, “Our Struggle: Responding to Mein Kampf,” which included a copy of Hitler’s autobiography. “Some people were cussing us out” for displaying the book, he recalled.
Meanwhile, on the same floor as “Tikkun,” there is another, smaller exhibit containing potentially offensive art. A sign outside of the room warns visitors that inside is a Hitler marionette created by the parents of puppeteer Frank Oz. “Our intention in displaying this object is to keep the memory of the Holocaust alive through the objects and firsthand stories of those who experienced its persecution, and to encourage conversation and education about the ongoing horrors of antisemitism and authoritarianism today,” the sign says.
Coerver, CJM’s executive director, said he was proud that the museum’s three current exhibits — “Tikkun,” “Oz is for Oznowicz: A Puppet Family’s History” and “Gillian Laub: Family Matters,” which includes photographs that Laub took of her Trump-supporting relatives — are raising “challenging questions” and providing opportunities for both visitors and museum staff to “expand our horizons.”
“We’ve been wading into some issues that I think are a little thicker than maybe we’ve been confronting in the past,” he said, “and I hope that continues.”
A version of this piece originally ran in J. The Jewish News of Northern California, and is reprinted with permission.
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The post A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs. appeared first on Jewish Telegraphic Agency.
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Jewish cuisine in Warsaw, 1938
ס׳איז לעצטנס אַרויס אַ העברעיִשע איבערזעצונג פֿון בני מערס בוך וועגן דעם פֿאַר־מלמהדיקן ייִדישן כאַראַקטער פֿון סמאָטשע־גאַס אין וואַרשע. דאָס נײַע בוך, „מורה דרך: ורשה היהודית 1938“, דינט ווי אַ מין וועגווײַזער פֿאַר ישׂראלדיקע לייענער פֿון יענעם באַרימטן ייִדישן קוואַרטאַל, באַטאָנענדיק זײַנע באַזונדערע מנהגים, מאכלים, לשון, ליטעראַטור, קולטור און רעליגיע. קיין שום פּרט אין בוך איז נישט אויסגעטראַכט – אַ חוץ דעם וואָס דער וועגווײַזער אַליין איז געשריבן געוואָרן הײַנט, און נישט אין 1938. אָט איז אַ טייל פֿון דעם קאַפּיטל וועגן דער ייִדישער קיך אין וואַרשע.
אינעם ייִדישן קוואַרטאַל פֿון וואַרשע געפֿינען זיך נישט קיין באַזונדערע מאכלים. די ייִדן וואָס זײַנען אַהין געקומען האָבן מיטגעבראַכט זייערע אייגענע שפּײַזן, און דערפֿאַר קאָן מען דאָ עסן אַלץ, הכּל-בכּל. נישט אומזיסט האָבן מיר אַ שם פֿון „וואַרשעווער פֿרעסערס“, און אויך איר, טײַערע געסט, וועט נישט אַרויס חלילה הונגעריקע.
טרינקען טרינקט מען דאָ קודם-כּל די בײַערישע ביר „האָבערבוש און שילע“ (וואָס ווערט פּראָדוצירט נישט ווײַט פֿון דער „גמינע“ — דאָס קהילה-הויז — אויף גזשיבאָווסקע גאַס), און דערצו טרינקט מען פֿאַרשיידענע וואָדקעס און ספּירט. לשם מצוות-אכילה עסט מען דערבײַ הערינג מיט ציבעלע, האַרטע אייער, אייער-קיכלעך (זיסע אָדער געזאַלצענע), וואַסער-פּלעצלעך, געפֿעפֿערטע אַרבעס (געלע) און אַ שטיקל פּינטאָשוו קעז. אין די קאָנדיטערײַען און קאַפֿעען גיט מען קרעם-, שאָקאָלאַדע- און עפּל-טשאַסטקעס (קוכנס), ווי אויך לעקעך.
אונדזער קיך האָט אַ שם געמאַכט מיט אירע שבתדיקע און יום-טובֿדיקע דעליקאַטעסן. אויפֿן וואַרשעווער שבתדיקן טיש וועט איר געפֿינען יויך, גענדז אָדער בעפֿשטיק, געפֿילטע פֿיש (כאָטש מיר האָבן ליב אויך ליטוואַקעס, דאָ זײַנען זיי צימעס זיס). שבת אין דער פֿרי עסט מען טשאָלנט (ד״ה טשונט, אויף אונדזער לשון), קישקע און פֿאַרשיידענע קוגלען און קאָמפּאָטן.
יעדן יום-טובֿ האָט זײַנע אייגענע מאכלים. פּורים, למשל, עסט מען יויך מיט קרעפּלעך, געפֿילטע פֿיש, אייער-חלה, קיכלעך פֿון האָניק און צימרינג, מאַנדלען-קיכלעך, המן־טאַשן, אונגערישן ווײַן און מעד. פּסח עסט מען זיסע מצה-מעל-קיכלעך געטונקען אין ווײַן.
פֿײַנשמעקערס וועלן דאָ אויך געפֿינען די פֿראַנצויזישע קיך מיט אַ ייִדישן טעם. אין אונדזער רעפּרעזענטאַטיווסטן קרוין־רעסטאָראַן, „פּיקאַדילי“, וואָס געפֿינט זיך אויף ביעלאַנסקע 5 (טעל׳ 23-116), לעבן טעאַטער נאָוואָשטשי, דערלאַנגט מען אַ גענדזענעם לעבער, געפֿילטע פּאָמידאָרן, געגליווערטן קאַרפּ, שוואַרצן און רויטן קאַוויאַר (פֿון דרײַ זלאָטעס אַ מיטאָג). אין די מער פּאָפּולערע רעסטאָראַנען (ווי די פֿון י’ עלקענבוים אויף סמאָטשע 27, טעל׳ 77-162) באַקומט איר פֿיש מיט קליסקעלעך, וועמפּלעך מיט קישקע, קרופּניק מיט פֿלייש, קאָטלעטן, זופּן, קלאָפּסקאַלעך מיט פֿערפֿל — און אַלץ פֿאַר איין זלאָטע, מער אָדער ווייניקער. אויך די רעסטאָראַנען „יאַגאָדע“ (טווואַרדע 26, טעל׳ 34-205), „A la minute“, אויף דער שוויינטאָקזשיסקע־גאַס 43 43-341), יעקבֿ אַרבעס, נאַלעווקעס 9 – וועט אײַך גאָרנישט שאַטן.
שפּאָרעוודיקע טוריסטן וועלן הנאה האָבן פֿון פֿאַרשיידענע מיטאָגן וואָס ווערן פֿאַרקויפֿט אין פּריוואַטע דירות. געוויינטלעך וועט איר נישט זען קיין שום שילד; די אינפֿאָרמאַציע געפֿינט זיך אין דער צײַטונג „אונזער עקספּרעס“ אָדער אין די מעלדונגען וואָס ווערן געטיילט צו די פֿאַרבײַגייערס. למשל: אַ מיטאָג פֿון פֿיר שפּײַזן מיט קאָמפּאָט קאָסט דאָ נאָר זיבעציק גראָשן (זאַמענהאָף 26, וו. 11).
די וואַרשעווער אָרעמעלייט עסן נעבעך הערינג, אָדער אַפֿילו שילאַווקעס — פּיצלדיקע גערויכערטע פֿיש. שילאַווקעס קאָסטן אַ פּאָר גראָשן, און מע פֿאַרקויפט זיי אין די הויפֿן (זומערצײַט פֿאַרקויפֿט מען אין די הויפֿן אויך פֿרוכטן און גרינס — בפֿרט אַרבוז און אוגערקעס). אויב איר בלײַבט נאָך הונגעריק מחמת חסרון-כּיס, קאָנט איר עסן „שיריים“ אין איינער פֿון די 400 וואַרשעווער שולן און בתּי-מדרשים.
אויך וועגעטאַריער האָבן דאָ וואָס צו עסן. אין „יענע גאַסן“, די גויִשע וואַרשע, זײַנען פֿאַראַן צוויי וועגעטאַרישע רעסטאָראַנען, אָבער אין דער אמתן זײַנען מיר גיכער מקנא די ייִדישע וועגעטאַרישע רעסטאָראַנען אין לאָדזש און ווילנע („וועגאַ“ און פֿאַני לעוואַנדאָס רעסטאָראַן).
ווי עס איז, וועט איר זען און הערן די בייגעלעך־הענדלערס: ייִנגלעך און מיידלעך, און אַמאָל אויך זייערע מאַמעס און טאַטעס וואָס האָבן נישט קיין אַנדערע ברירה ווי אַרויסצוגיין טאָג און נאַכט אין די גאַסן און פֿאַרקויפֿן צוויי ביז פֿינף בייגעלעך פֿאַר צען גראָשן. זײַט אַזוי גוט און קויפֿט-זשע בייגעלעך, איידער די פּאָליציי וועט קאָנפֿיסקירן זייערע סחורה. אין די קריזיס-יאָרן האָבן אַ סך סוחרים באַנקראָטירט, און זייערע קראָמען זײַנען פֿאַרוואַנדלט געוואָרן אין געשעפֿטן פֿון סאָדע-וואַסער אָדער לאָדעס — קויפֿט זשע אויך פֿון זיי.
די וואַרשעווער ייִדן האָבן ליב צו טרינקן טיי – בפֿרט מיט קאַנדל-צוקער און ציטרין, און אַ טיי פֿון אַ גרויסן סאַמאָוואַר איז ממש אַן עונג-שבת. נישט ווייניקער האָבן מיר ליב צו טרינקען קאַווע און זיצן אין קאַפֿעען. „לעצטנס האָט זיך דער מנהג צו גיין אין קאַוויאַרניעס איבערהויפּט פֿאַרשפּרייט אויך בײַ פּוילישע ייִדן,“ שרײַבט ד״ר א. גליקסמאַן, „און פֿיל אַזעלכע ייִדן, וואָס פֿלעגן אין אַמאָליקע צײַטן גיין בטלען אין בית-מדרש — בטלען איצט אין קאַוויאַרניע אויף אַ ציוויליזירטן אופֿן.“(„היינטיגע נייעס“, 13.1.1936).
די קאַוויאַרניעס פֿון דער גוייִשער וואַרשע זײַנען שיין און עלעגאַנט ווי אין אַנדערע גרויסע שטעט אין אייראָפּע. זיי זײַנען קלאַסישע אָדער מאָדערנע, און אויך די קליענטן זײַנען שיינע און עלעגאַנטע. איין חסרון נאָר: זיי האָבן נישט אַזוי ליב אַז מע רעדט ייִדיש, און בפֿרט אויף אַ קול. איז וואָס? איר האָט דאָך צענדליקער ייִדישע קאַפֿעען, ווי למשל די דרײַ קאַפֿע-קאָנדיטאָרײַען פֿון די ברידער סטודניאַ; די קאָנדיטערײַ בומאָוויטש (רינקאָווע 11, טעל׳ 66-405), אָדער פֿלידערבוים (טוואַרדע 26). זיי זײַנען אפֿשר נישט אַזוי פּרעכטיק ווי „אַדריִאַ“ אָדער „בריסטאָל“, אָבער איר וועט זיך דאָרטן פֿילן אין דער היים. ווי זאָגט מען: „וואָס דאַרפֿסטו ריידן גויִיש, מע זאָל זען אַז דו ביסט אַ ייִד?“ אין אונדזערע קאַפֿעען דערלאַנגט מען נישט נאָר פֿריש געבעקס, נאָר אויך לײַכטע מאכלים, ווי למשל הערינג אין אַ זעמעלע פּוטער.
דאָס ייִדישע וואַרשע בענקט אַ ביסל נאָך די אַמאָליקע ליטעראַרישע קאַפֿעען, ווי למשל יחזקאל קאָטיקס קאַוויאַרניע אויף די נאַלעווקעס, וואָס שלום עליכם האָט פֿאַראייביקט אין זײַן „מנחם-מענדל“. אָבער אויך הײַנט צו טאָג האָבן מיר אַ ליטעראַרישן אָלימפּוס: דאָס איז דער בופֿעט בײַ דעם ליטעראַרישן פֿאַראיין, אויף טלאָמאַצקע 13. און וואָס איז שלעכט מיט טרינקען סתּם אַ קאַווע אין רובענטשיק-קאַפֿע, וואָס געפֿינט זיך אין מיטן דער ייִדישער גאָרטן, ד״ה קראַשינסקיס פּאַרק?
****
לאָמיר פֿאַרענדיקן מיט אַ תּפֿילה פֿון אַ וואַרשעווער ייִדענע, אַז דאָס קוגל זאָל איר געראָטן (אויף איר אייגן לשון):
קיגל קיגל יאַך מאַך דיך געטרײַ,
געטרײַ וועל יאַך דיך מאַכן,
מע זאָל אויס מיר נישט לאַכן.
אין אויוון זאָלסטע שטײַן,
אין מויל זאָלסטע צעגײַן,
גיט זאָלסט זײַן ווי יעקבֿ
און רויט ווי עשׂו.
The post Jewish cuisine in Warsaw, 1938 appeared first on The Forward.
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JD Vance continues to minimize right-wing antisemitism as fringe influencers gain ground
(JTA) — Vice President JD Vance again downplayed the idea that conservatives should safeguard their ranks against antisemitism, a week after his ally Tucker Carlson hosted yet another antisemitic conspiracy theorist on his web show.
Vance’s latest brief comments, made Tuesday during an interview with conservative radio host and CNN pundit Scott Jennings, came in response to Jennings asking, “Does the conservative movement need to warehouse anybody out there espousing antisemitism in any way?”
“No it doesn’t, Scott,” the vice president replied, toward the end of their interview.
Vance continued by asserting that conservatives, drawing on Christian influences, were welcoming of all backgrounds.
“I think we need to reject all forms of ethnic hatred, whether it’s antisemitism, anti-Black hatred, anti-white hatred,” he said. “And I think that’s one of the great things about the conservative coalition, is that we are, I think, fundamentally rooted in the Christian principles that founded the United States of America.”
He added, “And one of those very important principles is that we judge people as individuals. Every person is made in the image of God. You judge them by what they do, not by what ethnic group they belong to.”
Vance’s comments follow a series of similar remarks by the vice president over the past month as major right-wing groups such as Turning Point USA and the Heritage Foundation grapple with the growing influence of Nick Fuentes and other openly antisemitic forces. Vance has also indicated his own skepticism in the U.S.-Israel relationship and stated that stopping immigration is the best approach to fighting antisemitism.
One Jewish conservative analyst still employed with Heritage — after a slew of employees left for a competing group — criticized Vance’s latest comments.
“Need a better answer from @JDVance on why the conservative movement should not tolerate antisemitism than what is effectively the equivalent of @TheDemocrats’ ‘…and Islamophobia’ response,” Daniel Flesch, a Heritage policy analyst for the Middle East and North Africa, posted on the social network X.
Flesch referenced his contention that Democratic leaders’ stock answer to addressing antisemitism is that it must be paired with addressing Islamophobia, rather than treated as its own unique problem.
Among Jewish conservatives’ biggest areas of consternation within the party right now: Carlson, the media figure who has platformed Fuentes and other conspiracy theorists while also maintaining close ties with Turning Point, Heritage and Vance himself. This week in Israel’s Knesset, a lawmaker in Prime Minister Benjamin Netanyahu’s Likud party denounced Carlson and fellow podcaster Candace Owens by name in an English-language speech.
Last week Carlson continued to fan the flames by hosting Ian Carroll, a conspiracy theorist who has proclaimed “Israel did 9/11”; that “Israel did their best to embellish and enflame the history books” on the Holocaust; and that sex trafficker Jeffrey Epstein was “working on behalf of Israel.”
Carroll has made inroads in the conservative media sphere for a while. He appeared on Joe Rogan’s mega-popular podcast last year and, in 2024, moderated a campaign event for then-presidential candidate Robert F. Kennedy Jr., today President Donald Trump’s secretary of health and human services. Carroll’s appearance on Carlson’s show came after both Trump and Vance refused to denounce Carlson for his friendly interview with Fuentes last year.
In their Jan. 2 interview, Carroll and Carlson primarily discussed the 2017 mass shooting at a music festival in Las Vegas. Carroll shared numerous conspiracy theories about the events of that evening, during which the shooter also fired rounds at a jet fuel tank stored at a nearby airport.
“And then there’s things happening at the airport that are strange, that there’s some shooting happening at the airport. So it’s like, is this a gang war between the Italian mob and the Jewish mob? Is this a CIA operation that went wrong?” Carroll muses at one point. “Is this, like, a Mossad operation? Any of those things would need to fit the facts.”
Carroll continued, “In lieu of enough facts, you can try to fit a perpetrator to the facts and invent explanations that will work.”
Later in the interview, Carlson muses about Carroll directly to him, “I’ve never seen anybody come to prominence faster, ever, in our world. And that’s led to a lot of speculation that you’re, like, a CIA officer in disguise.”
Carroll then offers, “Or I’m like, Mossad.”
To which Carlson concludes, “My personal explanation is you’re just an amazing explainer and a diligent researcher, and you’re really interested in what’s true. And those are the three qualities that make a successful person in our world.”
The post JD Vance continues to minimize right-wing antisemitism as fringe influencers gain ground appeared first on The Forward.
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EU-Funded NGO Backed Online Platform Targeting Jewish Businesses in Catalonia
Supporters of Hamas demonstrate outside the Israeli Embassy in Madrid, Oct. 18. Photo: Reuters/Guillermo Yllanes Gonzalez
The controversial online platform mapping Jewish-owned businesses, schools, and Israeli-linked companies in Catalonia, a region in northeastern Spain, was promoted by an EU-funded non-governmental organization.
On Tuesday, NGO Monitor — an independent Jerusalem-based research institute that tracks anti-Israel bias among nongovernmental organizations — released new information showing that Engineers Without Borders – Catalonia (ESF-C) and Universities with Palestine (UAP) jointly promoted the BarcelonaZ project on social media, identifying themselves as its primary backers.
First reported by the local Jewish outlet Enfoque Judío, the interactive map was launched by an unidentified group claiming to be “journalists, professors, and students” on the French-hosted mapping platform GoGoCarto.
As a publicly accessible and collaboratively created online platform, the map marked over 150 schools, Jewish-owned businesses — including kosher food shops — and Israeli-linked as well as Spanish and international companies operating in Israel, labeling them as “Zionist.”
“Our goal is to understand how Zionism operates and the forms it takes, with the intention of making visible and denouncing the impact of its investments in our territory,” the project’s website stated.
According to NGO Monitor’s newly released report, ESF-C is a European Union–funded NGO running a Youth Internship Program subsidized by the Public Employment Service of Catalonia, with 40 percent co-financing from the European Social Fund Plus — the EU’s primary program for funding employment, education, and social initiatives.
The EU Financial Transparency System shows that ESF‑C partnered on two EU grants worth about $2.8 million from 2019 to 2023 and received at least $164,000 in funding.
Jewish leaders in Spain have strongly denounced the BarcelonaZ initiative, warning that it fosters further discrimination and hatred against the community amid an increasingly hostile environment in which Jews and Israelis continue to be targeted.
“The mapping and boycotting of Jewish businesses in Catalonia is an echo of some of the darkest chapters in history, including the prelude to the Holocaust in Nazi Germany,” the Combat Antisemitism Movement’s Director of European Affairs, Shannon Seban, said in a statement.
“The organizers of this initiative put a target on the backs of Spanish Jews, at a time when Jews are being hunted across the globe, as seen so horrifically in Australia just three weeks ago,” she said, referring to the deadly attack on a Hanukkah celebration at Sydney’s Bondi Beach, which killed 15 people and wounded at least 40 others.
“Clear incitement to violence of this nature must not be platformed or tolerated by internet companies or government authorities,” Seban continued.
On its website, ESF-C describes its mission as promoting “a fair international society, which does not exclude anyone,” and highlights its commitment to “non-denominationalism and non-partisanship.” Yet, the NGO’s 2024 annual report also asserts that it “cannot ignore the Palestinian resistance, a clear expression of the struggle for freedom of all oppressed peoples.”
In a social media post, the NGO also accused Israel of “genocide” during its defensive campaign against the Palestinian terrorist group Hamas, describing its platform as “a resource designed to inform, raise awareness, and mobilize the educational and student community in Catalonia.”
“The attacks that began on Oct. 7 have involved water and electricity cuts, the boycott of essential water infrastructure, and the contamination of Palestinian water sources,” ESF-C wrote in an Instagram post, without mentioning the Hamas-led invasion of and massacre across southern Israel on Oct. 7, 2023, which triggered the war in Gaza.
“The violation of these basic rights is a key weapon used by the State of Israel to perpetuate genocide,” the statement read.
NGO Monitor also revealed that UAP is a network of Catalan faculty- and student-led anti-Israel organizations that co-sponsored the BarcelonaZ project.
Last year, UAP organized a “People’s Court” at Complutense University of Madrid on what it called the “Palestinian genocide,” with attendance from several terror-linked NGOs and individuals, including Samidoun, Masar Badil, Al-Haq, and Raji Sourani, NGO Monitor reported.
Several community organizations have filed complaints with GoGoCarto, demanding the site’s removal and arguing that it violates French laws against hate speech and discrimination.
Earlier this week, GoGoCarto announced it had removed the BarcelonaZ project from its website after local groups denounced the initiative as blatantly antisemitic and dangerous.