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Immersive Balloon Experience From Israel Comes to NYC Featuring Large-Scale Masterpieces

Inside “Balloon Story.” Photo: Shiryn Ghermezian

A balloon art installation that was conceived in Israel and brought to life in New York City has attracted visitors of all ages to Manhattan after a successful but smaller run in Tel Aviv last year.

“Balloon Story” is an immersive experience set up across different exhibit rooms at the Park Avenue Armory, one of the largest venues in New York. The “balloon wonderland,” as described on its website, features larger-than-life and intricately detailed balloon monuments — quite literally, including recreations of the Eiffel Tower and Statue of Liberty — as well as balloon installations in the shape of animals, various landscapes, astronauts, musical instruments, food, and more. Each piece is made using environmentally friendly latex balloons.

The exhibit is also interactive, complete with a ball pit that is part of a jungle-themed room, where visitors see more than a dozen wild animals made of balloons in every color and size. Sound effects and mechanics add to the experience — a lion opens its mouth and roars, a parrot flutters its wings, and a gorilla waves hello as visitors pass by it. Visitors then walk through a tunnel that is covered floor to ceiling in balloons that recreate an under the sea experience and afterwards head into a balloon maze that is themed around music, featuring balloon-made musical instruments.

One room is dedicated to outer-space and another is themed around winter, complete with balloon installations of penguins, icebergs, and a snowman. Another area provides different photo opportunities. “Balloon Story,” which ends Saturday, has had over 100,000 visitors so far of all ages. It also broke the world record for the biggest balloon installation ever made with close to 700,000 balloons, “Balloon Story” collaborator Dvorah Leah Schneerson-Jacobson told The Algemeiner.

World-renowned certified balloon artist Kobi Kalimian is the art director of “Balloon Story.” In 2023, he created the first “Balloon Story” exhibition at Tel Aviv’s Hanger 11 venue and it attracted over 200,000 visitors. After seeing the exhibit’s success in Israel, he wanted to bring it to New York and made it happen with help from Zev Eizik, CEO of Hanger 11, as well as Jacobson, a Brooklyn resident who is the owner of the New York-based balloon decorating company Balloon Van Gogh. Jacobson was approached about the collaboration while attending a balloon convention.

Together, they recruited roughly 100 balloon artists from around the world, including Brazil, Australia, Argentina, and Canada. The team included Jewish, religious female balloon artists from South Africa and a significant number of professionals came from Israel, some of whom worked on Balloon Story when it ran in Tel Aviv last year, Jacobson told The Algemeiner. Kalimian created the balloon designs and directed the team of balloon artists in constructing the masterpieces, which took about 10 days to complete in total. Eizik also brought to New York his entire production team that helped assemble Balloon Story in Tel Aviv. “The whole place was speaking Hebrew when you walked in while it was being built,” Jacobson said

Welcoming visitors at the entrance of “Balloon Story” is the exhibit’s biggest and most intricate piece: a giant-sized, 20-foot bald eagle hanging overhead that was created using 9,000 balloons in the colors of the American flag. That one piece took an entire week to build “from morning to night,” Jacobson explained.

“Balloon Story” runs in New York City at the Park Avenue Armory until Aug. 24. Organizers will host on Aug. 25 a “Balloon Popping Party,” where ticketholders are invited to help deflate all of the balloons. The destroyed latex balloons will be repurposed into dog toys. “Balloon Story” is also running again in Tel Aviv, until Aug. 31. Jacobson said it’s too soon to tell what the future holds for “Balloon Story” and where — or if — it will go on the road again. “But the dream is to bring it all over the world,” she added.

Photo: Shiryn Ghermezian

Photo: Shiryn Ghermezian

Photo: Shiryn Ghermezian

Photo: Provided

Photo: Shiryn Ghermezian

Photo: Shiryn Ghermezian

Photo: Shiryn Ghermezian

Photo: Shiryn Ghermezian

Photo: Shiryn Ghermezian

Jacobson is a relative by marriage of The Algemeiner‘s chairman and publisher, Rabbi Simon Jacobson.

The post Immersive Balloon Experience From Israel Comes to NYC Featuring Large-Scale Masterpieces first appeared on Algemeiner.com.

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Swiss Museum Compensates Jewish Heirs of Nazi Looted Painting for Pissarro Artwork

A partial view of Camille Pissarro’s “La Maison Rondest, l’Hermitage, Pontoise” (1875). Photo: Provided by the Kunstmuseum Basel

A museum in Basel, Switzerland, said on Thursday it will compensate the heirs of the late German-Jewish textile entrepreneur Richard Semmel for a Camille Pissarro painting he was forced to sell due to Nazi persecution.

Kunstmuseum Basel said that, together with Semmel’s heirs, they decided upon the compensation payment as a “just and fair solution” regarding Pissarro’s “La Maison Rondest, l’Hermitage, Pontoise” (1875). The painting will remain a part of the museum’s permanent collection in its main building and will be displayed alongside a sign that explains the origins and history of the artwork. The exact amount of the compensation payment was not revealed.

“The Kunstmuseum is delighted to be able to retain the work in its collection and the heirs are satisfied with the solution,” the museum stated in a press release.

The Pissarro artwork was donated to the museum in early 2021. It was part of the collection of the late Dr. Klaus von Berlepsch and was set to appear as a loan in an exhibition at the museum about the famed artist. However, even before the exhibition opened, von Berlepsch decided to donate the work to the Kunstmuseum Basel. The museum and von Berlepsch were both unaware of the painting’s provenance at the time of the donation. The Swiss institution researched the painting’s provenance only after it joined the museum’s collection and “prior ownership by the Jewish entrepreneur Richard Semmel was quickly revealed,” the museum said.

Semmel owned a Berlin-based linens manufacturing company called Arthur Samulon, which he led as sole shareholder starting in 1919. In June 1933, Semmel he and his wife emigrated to the Netherlands, which was not yet under Nazi occupation. The couple had no children. Semmel himself said that he left Germany not only due to “racial” persecution by the Nazis, but also because he was accused of having ties to the Social Democratic party.

He managed to transport a large portion of his art collection of more than 100 works to the Netherlands and the Pissarro painting was sold at auction in Amsterdam in June 1933. In October of that same year, it was displayed at a gallery in Basel, where it was quickly sold to the collector Walther Hanhart. Around 1974, Hanhart passed the painting on to his daughter, who was married to von Berlepsch.

Proceeds from the sale of his art were used by Semmel to mitigate financial difficulties his linens company faced in Berlin and was also spent on salaries, debt repayments, and taxes. The Kunstmuseum Basel explained that the National Socialist Factory Cell Organization, which was a worker’s union controlled by the Nazi Party, ordered that despite a decrease in orders from Semmel’s company, no employees could be dismissed, so Semmel was forced to continue paying them and keeping the business afloat from abroad.

“From the point of view of Semmel’s heirs, the sales [of his art] were a direct consequence of Richard Semmel’s persecution, regardless of where they took place, and thus represent a loss of assets due to Nazi persecution,” according to the Kunstmuseum Basel. “Richard Semmel could not remain in Germany or could do so only at great risk to his life. He used the proceeds from the sale of his paintings to try to keep the linens business in Berlin operational. The art sale proceeds therefore flowed into the German Reich.”

“Semmel thus fought for economic control of his companies in Germany while on the run and outside the Nazis’ immediate sphere of influence, albeit in vain and most likely with no chance of success to begin with. For this reason, the Kunstmuseum and the Kunstkommission [Art Commission] agree that the heirs’ claim to the work is justified.”

In June 1939, Semmel and his wife fled again but this time to New York via Chile. They lived in the US in poverty and with poor health. After his wife’s death in 1945, Semmel was taken care of by an acquaintance from Berlin, Grete Gross née Eisenstaedt (1887-1958). As thanks, he appointed her as his sole heir. When she died in 1958, her daughter Ilse Kauffmann became Semmel’s heir. Kauffmann is now deceased and her two daughters will receive the compensation payment from the Kunstmuseum Basel.

The Swiss institution said several museums  have also determined that Semmel was forced to sell his art collection due to Nazi persecution. Some have restituted arworks to Semmel’s heirs — such as The National Gallery of Victoria, in Melbourne, Australia — and others have paid his heirs compensation for the artwork, including a Dutch museum in 2021. Kunstmuseum said that privately, there have been “numerous” out-of-court settlements with Semmel’s heirs about artwork that he formerly owned.

In 2022, a landscape painting by Claude Monet was auctioned by Christie’s for $25.5 million and portions of the sale were divided between Semmel’s heirs and a French family who are the painting’s current owners.

The post Swiss Museum Compensates Jewish Heirs of Nazi Looted Painting for Pissarro Artwork first appeared on Algemeiner.com.

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Reclaiming Jewish Pride on Campus: Lessons from an Israeli Reserve Captain

An Israeli soldier stands during a two-minute siren marking the annual Israeli Holocaust Remembrance Day, at an installation at the site of the Nova festival where party goers were killed and kidnapped during the Oct. 7 attack by Hamas terrorists from Gaza, in Reim, southern Israel, May 6, 2024. Photo: REUTERS/Ammar Awad

I recently traveled across the United States with Olami, a global organization committed to building Jewish identity and ensuring Jewish continuity. My goal was to connect with Jewish students on campus, and share my experiences as a reserve captain in the Israeli Defense Forces (IDF) on and after October 7th. 

This was my first trip to the US, and I came simply expecting to tell my story: On that black Saturday, I mobilized two of my sergeants and headed straight to the Nova music festival, where one of my soldiers was trapped. We began the rescue mission for him, but ultimately saved over 100 civilians. During the operation, I found my own father’s body, yet I pressed on, driven by our duty to protect others. Afterward, I continued my service in Gaza, spending months defending my country and rooting out the terrorists who had taken so much from us.

When I spoke with American students on campuses and in communities across the East Coast, I realized that something vital was missing: their confidence. Over the past year, they had faced such vicious attacks for being Jewish that they were left with a deep struggle, rooted in uncertainty, fear, and hesitancy regarding their Jewish identity.

In Israel, strength and pride in our identity are ingrained. It’s part of who we are — passed down through generations and fortified by a shared history. In the US, I encountered a very different reality.

At each event hosted by Olami, a large group of students gathered, and many expressed a deep insecurity about standing up for themselves or even speaking openly about being Jewish. They seemed paralyzed in the face of campus hostility, unsure of how to respond or confront the negativity they encountered. For the first time in my life, I saw young Jews unsure of their own strength, something I’d never encountered among my peers in Israel, where Jewish pride is second nature.

I realized my focus for the speaking tour had to shift. This trip was no longer just about sharing my story, it was about helping these students find confidence as Jews.

I wanted to address the fear and hesitation they felt in expressing their Jewish identity, and impart some of the pride that, for us in Israel, is part of our national DNA. We are raised to face daunting challenges head-on because there’s simply no alternative. We are taught from a young age that if we stand up, others back down. This strength isn’t just a mindset; it’s essential to who we are as Israelis and as Jews.

I felt compelled to share this message with the students I met. I wanted them to understand that even though American campuses may feel hostile, they don’t need to compromise their pride or dilute their identity to fit in or avoid conflict. When we stand proudly as Jews, our presence itself — as a united community — is a powerful shield against hate and prejudice. This sense of unity is something deeply ingrained in Israeli society, where we rely on one another not just for support but for survival. It’s a powerful source of resilience that I believe can be shared with Jewish communities everywhere.

To my fellow young Jews in America, I say this: you must reclaim your confidence. You have the right to be unapologetically Jewish, to speak out and stand firm against hate. It’s not easy, but when we remember that we are not alone — that Jews around the world are standing with us — our strength becomes undeniable. The challenges we face may be different, but the need for unity and Jewish pride is the same. 

I left those US campuses with a renewed understanding of the work we must do together. We need to build bridges within and between Jewish communities, creating spaces like Olami does, where students can strengthen their identity and learn to develop resilience in the face of hostility. This effort should involve meaningful dialogue between Israeli and Diaspora Jews, along with regular cultural gatherings, Shabbat meals, and holiday celebrations. These experiences reinforce our shared history, deepen our bonds, and create a supportive foundation for students to confidently embrace their Jewish identity.

Yhoni Skariszewski is a VP of Sales and a reserve deputy commander in the Givati unit of the Israeli Defense Forces. He is a graduate of Olami-Nefesh Yehudi Jerusalem University chapter.

The post Reclaiming Jewish Pride on Campus: Lessons from an Israeli Reserve Captain first appeared on Algemeiner.com.

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‘Globalize the Intifada’ Becomes Reality as Amsterdam Erupts in Fresh Wave of Antisemitic Riots

Pro-Palestinian protesters face Dutch police while taking part in a non-authorized protest in Amsterdam, Netherlands, Nov. 10, 2024. Photo: REUTERS/Anthony Deutsch

“Globalize the Intifada.”

It’s the chant that has become a staple at anti-Israel protests sweeping across the West after the Hamas-led October 7 attacks ,and throughout Israel’s subsequent war against the terrorist group in Gaza. The phrase is a call for Israel’s destruction, and a thinly veiled invitation to target Jews worldwide.

Unfortunately,“Globalize the Intifada” is fast becoming a reality. On Monday night in Amsterdam, violence erupted again. Rioters, reportedly “youth claiming solidarity with Palestinians,” attacked police with fireworks and projectiles, destroyed property, and set a tram ablaze.

This time, there were no Israeli sports fans in sight and no alleged provocation. Just a city under siege, with attackers chanting “Cancer Jews” into the night.

What’s more, the violence appears to be escalating, with Belgian police announcing on Monday the arrest of five people in Antwerp as calls spread on social media for a “Jew hunt” in the city, which was already grappling with a surge in antisemitic assaults.

The scenes in Amsterdam last week hinted at what was to come: Israeli soccer fans were ambushed in what we now know was a coordinated attack planned in advance and unleashed after the Maccabi Tel Aviv versus Ajax match.

And yet, many media outlets were predictably reluctant to call it what it was: antisemitic violence.

Meanwhile, media pundits like Mehdi Hasan and Owen Jones rushed to rationalize the attacks, implying Israelis “brought it on themselves” by singing offensive songs before the game — as if that justified being hunted down by a baying mob (and ignoring that he attack was planned.)

This, despite the Mayor of Amsterdam condemning the attacks as perpetrated by “antisemitic hit-and-run squads,” and Dutch police confirming evidence of premeditation.

In other words, Israeli fans were targeted not for their chants, but simply for being Israeli.

So, how are the media covering Monday’s fresh wave of violence? Mostly, they’re not.

The Associated Press and BBC are among the few major outlets to report on it in any capacity, and even they avoid linking it to the recent antisemitic surge — ignoring footage of rioters screaming “Cancer Jews.”

The conclusion? “No Jews, no news.”

If there’s no angle to subtly blame Jewish victims, the mainstream media doesn’t seem interested.

The attacks in Amsterdam last Thursday night, reminiscent of Nazi-era pogroms, are the direct result of the “Globalize the Intifada” movement that anti-Israel protesters have been championing for over a year. This slogan isn’t just a catchy chant; it’s a blatant call for violence against Jews, mirroring the atrocities of the First and Second Palestinian Intifadas.

Just days before Israelis were hunted down in the streets of Amsterdam, reports emerged from the Netherlands revealing that some Dutch police officers were refusing to guard Jewish sites, citing “moral dilemmas.” Such inaction and moral equivocation effectively serve as a green light for the violence we’ve witnessed, both last week and this week.

Welcome to the “globalized intifada” — it didn’t begin in Amsterdam, and it certainly won’t end there.

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 ‘Globalize the Intifada’ Becomes Reality as Amsterdam Erupts in Fresh Wave of Antisemitic Riots first appeared on Algemeiner.com.

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