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A Chilean-Jewish artist strives to capture the entire Torah in massive murals

(JTA) — As a child, Mauricio Avayu wasn’t allowed to pursue art — his father thought he should study something more practical, like math or engineering. Avayu grew up in the conservative Jewish community of Santiago, Chile, the capital city home to most of the country’s 18,000 Jews.

But by now, Avayu has seen his paintings — many of them Jewish-themed — shown in galleries around the globe, put on the walls in the homes of former presidents around the world and presented to Pope Francis.

Today he’s working on his most ambitious project yet: capturing the key moments of the Torah in 40 large murals.

“Forty is a sacred number in Judaism,” Avayu told the Jewish Telegraphic Agency. “Forty years in the desert, 40 days and nights to receive the Torah.”

He has already finished the eight murals that comprise his depiction of Genesis, the Torah’s first book. The murals, two meters tall, were shipped two years ago to Taipei, where they will be permanently displayed at the Jeffrey D. Schwartz & Na Tang Jewish Taiwan Cultural Association.

Avayu, 55, explained that each book of the Torah takes him about two years to complete. So with four books to go, the project will be complete 8-10 years from now. He already has buyer interest for the entire set.

The majority of Chile’s Jews belong to the Masorti movement, but Avayu didn’t always know that much about Judaism, let alone the Torah. Several years ago he wanted an artistic challenge, and his lack of knowledge intrigued him.

“When I paint now, I always paint with a kippah,” he said. “But even though I come from a home where everyone is Jewish, I didn’t come from a religious family.”

Rather than be intimidated by the vastness of the text, Avayu said he was drawn to its many “hidden messages” and the variety of commentary available for every passage.

And when he looked at past master painters’ depictions of biblical scenes, he was struck by the inaccuracy. For example, in the Sistine Chapel, Michelangelo famously painted God as giving life to Adam by touching his finger. However, the verse in Genesis says God created man through his breath: “And the Lord God formed man of dust from the ground, and He breathed into his nostrils the soul of life, and man became a living soul.”

Avayu gifted one of his Torah paintings to Pope Francis. (Courtesy of Mauricio Avayu)

Driven to be more accurate in his work, Avayu called the leader of Santiago’s Chabad-Lubavitch community and began intensively studying the Torah. He was drawn to Kabbalah too, and studied for about four years at a Kabbalah center in Chile.

“When we think we understand something about a certain passage of the Torah, it’s only at that level,” explained Avayu. “But then suddenly, at a different time, we are able to understand the same passage but at a completely different level.”

To illustrate this point, he gave the example of Moses at Mount Sinai. In Exodus 3:5, God tells Moses to take off his shoes because “the place upon which you stand is holy soil.”

Originally Avayu understood the passage to mean that the taking off of shoes symbolized leaving one’s current path, to pursue the path of God. But upon further study, he believed that taking off the shoes represents Moses leaving the physical body, which was necessary to do as, according to the Torah, Moses fasted for 40 days and nights. So in Avayu’s interpretation of the scene, Moses is barefoot and points towards the sky.

Before he sets out to paint a new work, Avayu not only consults his rabbi but also reads multiple biblical commentaries, from scholars such as Rashi and Maimonides, and chooses the one that resonates most deeply.

When he painted the tree in the Garden of Eden, for example, he consciously did not do what many other famous artists have done: depict the “forbidden fruit” as an apple. Some commentators posit that the fruit is an etrog, others a grape; Avayu prefers the interpretation that it was a fig.

“There’s not only one truth,” he said. “There are a lot of true interpretations.”

Upon seeing Avayu’s art for the first time, Gabriel Goldstein, chief curator at the Yeshiva University Museum, was reminded of the work of Archie Rand — a Jewish artist from Brooklyn who has also painted biblical murals in synagogues across the United States. Goldstein also places Avayu’s artwork in the historic tradition of artists painting “exhaustive series” of the bible.

“There have been for centuries illustrations done for biblical text,” Goldstein told JTA. “Both from very early periods in illumination to much later… in the 19th and 20th centuries.”

When asked if being from Chile has influenced his art, Avayu said that being a Jewish artist who paints Jewish themes from a small country like Chile made his career more difficult, seeing as there isn’t much of a market for his artwork in his native country. But Goldstein found aspects of Avayu’s art that he believes are influenced by his country of origin.

Avayu calls each of his works a self portrait of himself. (Courtesy of Avayu)

“At the museum, we’ve worked with Latin American artists frequently and have them in our collection,” Goldstein said. “I think that it’s a vibrant community with a vibrant artistic and cultural life. In [Latin American-Jewish art], there is a flavoring that comes from the local culture…as well as from traditional Jewish culture. And I think you can see that in his work — there’s a certain kind of vividness and palette and exuberance that may be more frequently found, but not exclusively found, in Latin American art.”

Since around 2012, Avayu has completed more than 120 paintings and has at least 30 more in the works. Not all of his art involves the Torah: He has also painted ketubahs, Jewish marriage certificates, and he has produced fantastical interpretations of mythological creatures, like the Greek Pegasus. Chilean businessman Tomas Munzer recently gave one of Avayu’s works to Argentina’s ambassador to the Holy See, who presented it to the pope.

Avayu doesn’t have a favorite painting — he calls each his “son” and described the pain he feels when he has to part with one of his children. But now Avayu is creating a different kind of “child,” by opening a studio in Florida where he now teaches aspiring painters. At the Mauricio Avayu Gallery and Fine Art Academy in Aventura, his classes incorporate lessons from the Torah and Kabbalah. And his students — mostly from the United States, but also from Russia, Argentina and Chile — don’t mind the mixing of Judaism and fine art, as almost all of them are Jewish.

“Regardless of my daily goal to be a better artist, to be as perfectionist as possible, I am never satisfied with a painting. I always try to see how I can make it a little better next time. The same always happens with the study of Kabbalah, where you learn something on a related topic, and over time, you realize you’ve learned a deeper level of that same topic,” he said.

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The post A Chilean-Jewish artist strives to capture the entire Torah in massive murals appeared first on Jewish Telegraphic Agency.

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The BBC Documentary That Paints Every Israeli as an Extremist

The Jewish community of Beit El in Judea and Samaria. Photo: Yaakov via Wikimedia Commons.

Louis Theroux first visited the West Bank in 2011 to film a documentary titled Louis and the Ultra-Zionists, part of his long-running series for the BBC. Back then, he at least seemed to possess a trace of journalistic curiosity. Even the title signaled a degree of editorial caution — framing his subjects as a small, ideological fringe rather than representative of Israeli society as a whole.

At the time, Theroux made an effort to clarify that he was profiling a narrow segment of Israelis. He showed legally purchased Jewish homes (sold by Arab landowners, no less) and acknowledged the regular — and at times deadly — terror attacks faced by Israeli civilians living in the area, often requiring military protection. There was condescension, certainly. But there was also context.

Fast-forward to 2024, and the curiosity is gone — though the bemused, slightly smug expression remains. His new BBC documentary, Louis and the Settlers, drops even the soft qualifiers. No “ultra.” No nuance. Just “settlers.” And with that, Theroux makes it clear: half a million Israelis living in the West Bank are one and the same — extremists who, we’re told, want every last Palestinian removed from the land.

This time, the documentary doesn’t begin with questions. It begins with conclusions. And Theroux uses a brief, unrepresentative snapshot of life in the West Bank to draw sweeping indictments of the entire Israeli state.

The message is unmistakable: Israel is the problem. Settlers are the villains. And Palestinians are passive, blameless victims of a colonial project.

Within the opening minutes, Theroux plants his ideological flag. He refers to the West Bank as “Palestinian territory” and describes every Israeli community within it as illegal under international law — a sharp departure from his more qualified approach 14 years earlier.

And while his personal views seep in throughout the film, they become crystal clear during one exchange at a checkpoint, where an Israeli soldier casually refers to their location as “Israel.” Theroux shoots back: “We’re not in Israel, are we?”

And just like that, the BBC and Louis Theroux have redrawn Israel’s borders. No Knesset debate needed.

Erasing History to Blame the Massacre

The timing of this return trip is no accident. The film comes in the shadow of the October 7 Hamas massacres — the day 1,200 Israelis were slaughtered, families were burned alive in their homes, and children were dragged into Gaza. And yet, Theroux barely mentions it.

The few passing references to October 7 serve not to inform the audience — but to imply that Israel may be exploiting its own dead to justify further expansion. It’s not an investigation. It’s an accusation. And it allows him to skip over thousands of years of Jewish history in order to frame the current war in Gaza as a convenient cover story for Israeli “aggression.”

Take Hebron, for example. Theroux tells viewers that “in 1968, the year after [the West Bank] was occupied by Israel, a community of Jewish settlers moved in illegally. They now number some 700.” He fails to mention that in 1895 — decades before the modern state of Israel existed — Hebron had a Jewish population of 1,429.

Jews have lived in Hebron since antiquity — it’s where, according to Jewish tradition, Abraham purchased the Cave of the Patriarchs. Modern records date the community back centuries, despite discrimination under Ottoman rule and bans on Jewish prayer at holy sites. In 1929, Arab rioters carried out a massacre, wiping out Hebron’s Jewish population. Dozens were murdered; the rest were expelled. Under Jordanian rule from 1948 to 1967, Jews were banned from the city entirely. When they returned after the Six-Day War — not as colonists, but as a displaced community coming home — Theroux picks up the story there and calls it “illegal.”

On the Six-Day War itself, Theroux offers no context. No mention of the Arab armies preparing to destroy Israel. No mention of Israel’s preemptive strike against an existential threat.

According to The Settlers, Israel simply “occupied” — full stop.

Palestinian Terrorism? Not Even a Footnote.

Theroux visits Evyatar, a small Jewish community near the Palestinian town of Beita, and uses it as a stand-in for the entire West Bank. Beita is depicted as a symbol of peaceful resistance: a proud, ancient Palestinian village standing firm against violent settlers backed by IDF soldiers.

It’s a neat story. Too neat. Because missing from the story are years of organized, violent riots from Beita — complete with Molotov cocktails, burning Stars of David, and Nazi swastikas. All carefully omitted to preserve the narrative: Palestinians peaceful, settlers aggressive. Facts that don’t fit? Left on the cutting room floor.

Meanwhile, Israeli nationalism is treated as something sinister and unsettling — a moral aberration to be examined. The notion that Jews might want sovereignty or security is met with thinly veiled suspicion. Yet Hamas’ goal of a Jew-free Palestine, explicitly laid out in its charter, is never mentioned. Nor is the Palestinian Authority’s “pay-for-slay” policy, which literally incentivizes terrorism by rewarding those who murder Israelis — including women and children.

These aren’t fringe details. They’re central to understanding the region. And Theroux knows it. He just doesn’t care.

The BBC’s Complicity

That The Settlers aired on the BBC — a publicly funded broadcaster once seen as a gold standard of global journalism — says plenty. Not just about Louis Theroux’s agenda, but about the institutional direction of the BBC itself. This wasn’t a rogue filmmaker sneaking bias past the editors. This was bias built into the foundation — signed off, packaged, and broadcast under the banner of credibility.

There is, of course, no problem with scrutinizing Israeli policy, and no issue with questioning the settlement enterprise or highlighting the tensions in the West Bank. But journalism — real journalism — demands context. It demands precision. It demands at least a passing familiarity with the full scope of the story.

Theroux offers none of that. He arrives with a predetermined script and casts his roles accordingly: Hero. Villain. Victim. Oppressor. And when reality refuses to cooperate? It’s left out.

Louis Theroux didn’t return to Israel to understand it. He returned to flatten it. To reduce its complexity to a morality play — and to ensure everyone knows the antagonist is.

The Settlers isn’t a documentary. It’s a hit piece. And the BBC handed him the camera — then applauded the performance.

The author is a contributor to HonestReporting, a Jerusalem-based media watchdog with a focus on antisemitism and anti-Israel bias — where a version of this article first appeared.

The post The BBC Documentary That Paints Every Israeli as an Extremist first appeared on Algemeiner.com.

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Indian Army Kills Islamist Terrorist Linked to 2002 Murder of Jewish-American Journalist Daniel Pearl

Jewish-American Wall Street Journal journalist Daniel Pearl was kidnapped and murdered by Islamist terrorists in Pakistan in 2002. Photo: Screenshot

The Indian government announced on Thursday that its military forces had killed “Pakistan’s most wanted terrorist,” who was connected to the 2002 murder of Jewish-American Wall Street Journal journalist Daniel Pearl.

On Wednesday, India launched “Operation Sindoor,” which the ruling Bharatiya Janata Party (BJP) claims is targeted at dismantling “terrorist infrastructure” in Pakistan and Pakistan-administered Kashmir.

The operation came after Pakistani terrorists killed 26 Hindu tourists in Kashmir last month amid escalating tensions between the two countries.

In a post on X, the BJP confirmed that during this week’s operation, the Indian army killed Islamist terrorist Abdul Rauf Azhar, who was involved in numerous terrorism plots, including the 1999 hijacking of an Indian Airlines flight, the 2001 terror attack on the Indian Parliament, and the 2016 Pathankot Air Force base attack.

Azhar’s involvement in the 1999 hijacking led to the release of Ahmed Omar Saeed Sheikh, a British-born al-Qaeda member with close ties to Pakistan’s intelligence services, who later was involved in the kidnapping and subsequent murder of 38-year-old Pearl, who was covering the war on terror as a journalist when he was abducted.

In a statement on X, Pearl’s father, Judea, addressed initial reports regarding Azhar’s death and his connection to his son’s murder.

“I want to clarify: Azhar was a Pakistani extremist and leader of the terrorist organization Jaish-e-Mohammed. While his group was not directly involved in the plot to abduct Danny, it was indirectly responsible. Azhar orchestrated the hijacking that led to the release of Omar Sheikh — the man who lured Danny into captivity,” he said.

In 2002, the Jewish-American journalist was abducted and killed by a group of Islamist terrorists connected to Azhar’s militant network, which had ties to al-Qaeda and Jaish-e-Mohammed, a terror group aiming to separate Kashmir from India and incorporate it into Pakistan.

On Jan. 27, 2002, an email was sent to several Pakistani and US media organizations, which included several photos, stating that Pearl was being held in “inhumane” conditions to protest the US treatment of Taliban and al Qaeda prisoners in Cuba. Photo: Screenshot

Originally stationed in New Delhi as the South Asia bureau chief for The Wall Street Journal, Pearl later moved to Pakistan to investigate terrorism following the Sept. 11, 2001, terrorist attacks in New York City.

After kidnapping Pearl at a restaurant in Karachi, southern Pakistan, the Islamist terrorists, who identified themselves as the National Movement for the Restoration of Pakistani Sovereignty, accused him of being an Israeli spy and sent the United States a list of demands for his release.

However, Washington did not meet their demands, and Pearl was ultimately executed after being held captive for five weeks.

His wife, Mariane Pearl, gave birth to a baby boy, Adam D. Pearl, in Paris later that year. On the Daniel Pearl Foundation website, she said, “Adam’s birth rekindles the joy, love, and humanity that Danny radiated wherever he went.”

The post Indian Army Kills Islamist Terrorist Linked to 2002 Murder of Jewish-American Journalist Daniel Pearl first appeared on Algemeiner.com.

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Jewish Jewelry Shop Owners Brutally Assaulted in Tunisia Days Before Annual Pilgrimage

A Jewish jewelry shop owner in Djerba, Tunisia, was brutally attacked by a man wielding a machete. Photo: Screenshot

A Jewish jewelry shop owner in Djerba, Tunisia, was brutally attacked by a man wielding a machete just days before the Tunisian island was set to host its annual Jewish pilgrimage, which is expected to draw thousands of visitors.

On Wednesday morning, two Jewish men — owners of a jewelry shop in the center of the island, located off Tunisia’s southeast coast — were physically assaulted by a man carrying a large knife.

Although the attack was halted when one of them screamed — alerting members of the local Jewish community who subdued the assailant — one of them was left severely injured.

According to local media reports, the attacker had surveyed the island the day before, visiting several stores to identify those owned by Jews. Local police arrested him shortly following the assault.

After the attack, one of the owners was admitted to the hospital with severe injuries. The 50-year-old Jewish man had his fingers severed during the assault and underwent surgery to reattach them.

Israeli Foreign Minister Gideon Saar condemned the attack and expressed his wishes for a swift recovery to the victims.

“This attack comes two years after the previous deadly assault that claimed Jewish lives and the lives of security personnel during the Lag BaOmer celebration,” the top Israeli diplomat wrote in a post on X.

“I call on the Tunisian authorities to take all necessary measures to protect the Jewish community,” Saar continued.

Djerba is home to the majority of Tunisia’s Jewish community, numbering about 2,000 people, and is also where the renowned El Ghriba Synagogue, one of North Africa’s oldest synagogues, is located.

The attack comes just a week before Jewish pilgrims are expected to arrive on the island for the Lag B’Omer holiday, when thousands gather annually for three days of festivities. The annual pilgrimage to El Ghriba Synagogue, scheduled for May 15 and 16 this year, draws visitors from around the world.

The synagogue has been targeted in multiple terrorist attacks over the years, including in 1985, 2002, and 2023.

Two years ago, a shooting at the synagogue claimed the lives of two Jewish cousins and three police officers. Aviel Hadad, a 30-year-old Israeli goldsmith, and Ben Hadad, a 42-year-old Frenchman who had traveled to join the festivities, were among the victims.

The post Jewish Jewelry Shop Owners Brutally Assaulted in Tunisia Days Before Annual Pilgrimage first appeared on Algemeiner.com.

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