Uncategorized
American rabbis, wrestling with Israel’s behavior, weigh different approaches from the pulpit
(JTA) — Rabbi Sharon Brous began a sermon at her Los Angeles synagogue last month with a content warning. “I have to say some things today that I know will upset some of you,” she began.
That same morning, across the country in New York City, Rabbi Angela Buchdahl was confessing something to her congregants, too: The sermon they were about to hear “kept me up at night.”
Both women — among the most prominent and influential Jewish clergy in the United States — went on to sharply criticize Israel’s new right-wing government, which includes far-right parties that aim to curb the rights of LGBTQ Israelis, Arabs and non-Orthodox Jews.
In taking aim at Israel’s government from the pulpit, the rabbis were veering close to what many in their field consider a third rail. “You have a wonderful community and you love them and they love you, until the moment you stand up and you give your Israel sermon,” Brous told the Jewish Telegraphic Agency. The phenomenon even has an informal name, she said: “Death by Israel sermon.”
Brous would know: A decade ago, she was the target of sharp criticism after she encouraged her congregants at IKAR, a nondenominational congregation, to pray for Palestinians as well as Jews during a period of conflict in Israel. The incident didn’t end her pulpit, but she has come to understand why many rabbis choose what she called “the path of silence” when it comes to Israel.
Now, she said, American Jews must depart from that path. “I want you to hear me,” she said in her sermon. “There is a revolution that is happening, and this moment demands an awakening on both sides of the sea, an honest reckoning.”
All over the country, non-Orthodox rabbis are making similar calculations in response to Israel’s new governing coalition, which has drawn widespread protests over its policy moves. (Orthodox communities, including their rabbis, tend to be more politically conservative and skew to the right of non-Orthodox communities on Israel issues.) Israel’s government is advancing an overhaul of the legal system that would sap the power of the Supreme Court, and is also contending with an escalating wave of violence.
Some rabbis feel more emboldened to speak aloud what they have long believed. Others are finding themselves reconsidering their own relationship to Israel — and bringing their congregants along on their journey. A few still feel that criticizing Israel from the pulpit is a misguided and even dangerous venture, one that could splinter American Jewish communities.
What cuts across the spectrum is a belief that Israel has been discussed too little from the synagogue pulpit. Brous said the tendency of liberal rabbis not to talk about Israel lest they anger their more conservative congregants has resulted in a painful reality: “American Jews have not developed the muscle that we now need to respond to this regime.”
Rabbi Ammiel Hirsch of the Stephen Wise Free Synagogue in New York City launched a new program called Amplify Israel, which he hopes will encourage Reform movement leaders to embrace Zionism even as they navigate a “deeply problematic and even offensive” new Israeli government. (Shahar Azran/Stephen Wise Free Synagogue)
Rabbi Ammiel Hirsch, meanwhile, believes today’s rabbis must be vocal in fending off the influence of “competing values” about Zionism from “various organizations that are either cool on Israel or don’t like Israel or just downright anti-Zionist.”
Last year, angered by a letter signed by dozens of rabbinical students denouncing Israel’s actions during its 2021 conflict with Hamas in Gaza, Hirsch launched an initiative based at his New York City Reform synagogue to equip rabbis with tools to counter what he said was “the growing influence of an anti-Zionist element” in the next generation of Jewish clergy.
The initiative, Amplify Israel, is housed at his Stephen Wise Free Synagogue, and employs another rabbi, Tracy Kaplowitz, to work full-time to galvanize leaders from across the Reform movement to support Israel. Kaplowitz jokes that her new job won’t be complete “until every Reform Jew is a Zionist.”
Hirsch knows the new coalition is complicating his task. “The new government is going to make our promotion of Israel more difficult in the United States,” he said, noting that the government “has elements in it that are deeply problematic and even offensive to most American Jews.”
He and Kaplowitz contend that it is possible, in their view, for rabbis to criticize aspects of the Israeli government from the pulpit while still remaining broadly supportive of the Jewish state and encouraging their congregants to be the same. They also say the need to build Zionist sentiment within the American rabbinate transcends any particular moment, including this one.
“If we have to transform how we connect to Israel each time there’s an election, we’ll be driving ourselves a little bit batty,” Kaplowitz said.
Rabbi Tracy Kaplowitz is a full-time Israel Fellow at the Stephen Wise Free Synagogue in New York City. She jokes that her job won’t be finished “until every Reform Jew is a Zionist.” (Ryen Greiss/Stephen Wise Free Synagogue)
Hirsch sits on the advisory board of another new pro-Israel initiative, the Zionist Rabbinic Coalition. Helmed by Stuart Weinblatt, senior rabbi at Conservative Congregation B’nai Tzedek in Potomac, Maryland, the group is an interdenominational network of more than 200 rabbis who advocate to ”strengthen the ties between American Jewry and the State of Israel.”
Weinblatt hews to an early generation’s view of how rabbis should approach Israel from the pulpit. He told JTA that he believes his colleagues should always be supportive of Israel in public, even if they choose to pressure the Israeli government and advocate against certain policies in private — which, he says, is “the appropriate vehicle” for voicing concerns. “My position has always been that support for Israel should be unconditional,” he said.
“If we as rabbis are sharply critical of Israel, the result can often lead to a distancing from Israel, which ultimately may diminish the connection people feel to Judaism and the Jewish people,” he added. “People do not always distinguish and differentiate between opposition to a particular policy and broader criticisms of Israel which can do lasting damage.”
Asked whether the Israeli government could ever conceivably take a step that would necessitate a public response from American rabbis, Weinblatt ruminated for days. He ultimately told JTA that the current debate around proposed changes to the Law of Return, the Israeli policy that allows anyone with at least one Jewish grandparent to claim citizenship, would be such an example, as that is a policy that would have a direct effect on Diaspora Jews.
Tightening who is eligible under the Law of Return is in fact a goal of some elements of Israel’s governing coalition, although the Diaspora minister assured an audience in the United States that, unlike with the proposed changes to the government’s judicial system — which have earned criticism across the political spectrum — there would be an effort to build consensus and no changes would happen overnight.
Still, the prospect of such a change so alarmed Rabbi Hillel Skolnick of Congregation Tifereth Israel in Columbus, Ohio, that he traveled to Jerusalem to address the Knesset, Israel’s lawmaking body.
“The members of my congregation and my movement have a spiritual connection with Judaism and also a political connection because we live in a democracy, so they see a Jewish democracy as an ideal that they can look to as a light unto the nations,” he said, in a speech he delivered as a representative of the Conservative/Masorti movement.
“By even questioning the idea of the Law of Return,” he went on, Israel “takes away from both the Jewish connection and the democratic connection they have with this country.”
Skolnick suggested that he was unsure of how to speak to his congregation about the new government and its agenda. “My question to you is, what message can I go home with?” he asked.
Rabbi Stuart Weinblatt, founder and chair of the Zionist Rabbinic Coalition, shown with Israeli President Isaac Herzog. Weinblatt believes American rabbis’ “support for Israel should be unconditional,” and that disagreements with its government should be hashed out in private. (Courtesy of Stuart Weinblatt)
This week, hundreds of American rabbis will be returning to their congregations with messages honed by a week in Israel. The Reform movement just concluded its biennial convention, which was held there for the first time since before the pandemic. Their visit coincided with major developments in the country’s twin crises: The Knesset advanced the judicial reform legislation, and three people were killed in a Palestinian shooting and subsequent settler riot in the West Bank.
In a sign of the balancing act that American rabbis are navigating, the Reform movement’s leader, Rabbi Rick Jacobs, who has been among the earliest and most outspoken critics of the new Israeli government, will also be a featured speaker at Amplify Israel’s conference this May aiming to encourage Zionist sentiment among Reform Jews.
At the convention, the leader of the Central Conference of American Rabbis called for Reform clergy to move away from defining Israel in stark black-and-white terms — an apparent reference to Jews who speak of “pro-Israel” and “anti-Israel” forces.
“In order to connect better with those in our communities around Israel in a nuanced and meaningful way, we must be able to move beyond the pro/con dichotomy which only serves to divide us in ways that are a distraction to the actual issues at hand,” Rabbi Hara Person told the attendees. During the conference, the rabbis attended and voiced support for Israeli protests against their government.
“We are seeing a shift for the better, in my opinion, about how Jews are feeling comfortable critiquing Israel’s policies,” Rabbi Sarah Brammer-Shlay told JTA last fall, before the Israeli elections. Brammer-Shlay was a signer of the 2021 rabbinical students’ letter who graduated from the Reconstructionist Rabbinical College and today is a rabbi and chaplain at Grinnell College.
That kind of shift has Weinblatt worried. “Sometimes, rabbis are actually out of sync and out of touch with their congregations, who do want to hear messages of support of Israel,” he said.
That may well be the case, particularly at synagogues with aging populations, but survey data suggests that American Jews are moving to the left on Israel at the same time that Israel itself has shifted to the right. The most recent Pew Research Center survey of American Jews, in 2021, found that most have a negative opinion of Israel Prime Minister Benjamin Netanyahu; only one-third think Israel is making a sincere effort to achieve peace with Palestinians; and 10% support the Boycott, Divestment, Sanctions movement against Israel.
While rabbis typically consider what they think their congregants want to hear, they aren’t bound to say it. And some rabbis say this moment is a time to take a stand, even if there is blowback.
Rabbi Jeremy Kalmanofsky of Congregation Ansche Chesed, a Conservative congregation on Manhattan’s Upper West Side, announced in December that his congregation would no longer recite the Prayer for the State of Israel, part of most congregations’ Shabbat morning liturgy since 1948. He said the extremism of Israel’s leadership meant the words no longer applied, and replaced the prayer with the more generally worded Prayer for Peace in Jerusalem.
”I couldn’t just say, ‘God, please guide our leaders well,’” Kalmanofsky said, pointing specifically to the fact that extremist politicians Itamar Ben-Gvir and Bezalel Smotrich were now government ministers who would be the beneficiaries of such prayer. “The things that they’re saying cannot possibly represent the Israel that I want to support.”
Kalmanofsky had not previously been outspoken as a critic of Israeli policy. He said he has faced some tough feedback from some in his community, including from those who believe this is a moment that demands more, not less, prayer for Israel — “not an unreasonable response,” he said. But a month into the liturgy change, he said he is confident he has made the right decision.
“Something really meaningful had changed in the public life of the state of Israel,” he said. “That deserved real recognition, and a real response.”
Continuing to focus on preserving a Jewish connection with Israel without “dealing like grown-ups” with its “very serious problems” would render the rabbinical voice irrelevant, Kalmanofsky said. “At best, we’re kind of like, ‘blind love, blind loyalty.’ And at worst, we’re totally obtuse, and have nothing meaningful to say about the real world.”
“If you’re going to have a pulpit,” Kalmanofsky added, “you’re going to have to use it once in a while.”
—
The post American rabbis, wrestling with Israel’s behavior, weigh different approaches from the pulpit appeared first on Jewish Telegraphic Agency.
Uncategorized
A century-old Jerusalem photo album sparks search for forgotten images of the Western Wall
(JTA) — When David Freedman discovered a long-forgotten photo album in his parents’ Montreal basement last year, he found nearly 100 pages of century-old photographs from his grandfather’s year in British Mandate Palestine, capturing Jerusalem street scenes, market stalls and holy sites.
The photographs were not only century-old and in near-perfect condition, but included figures who would later become central to Jewish medical and political history, among them Israel’s future first president Chaim Weizmann, Jerusalem ophthalmologist Abraham Ticho, malaria researcher Israel Kligler, future British prime minister Winston Churchill and Herbert Samuel, Britain’s first high commissioner for Palestine.
David Freedman said he knew he had “struck gold” when he found the album, which had been untouched for decades. “I realized in disbelief I was looking at extraordinary images of Jerusalem,” he said.
Though Freedman said the album showed his grandfather’s “passion for skillful, impromptu photography,” it was images of a site that epitomizes endurance that are having the broadest impact.
Freedman’s pictures of the Western Wall has inspired a public appeal by the Tower of David Jerusalem Museum, which is asking people to look through old albums and attics for photographs, postcards and other visual material that could help expand the historical record of Judaism’s holiest site.
The request comes ahead of a major exhibition opening in 2027 marking 60 years since the 1967 Six-Day War brought the wall, known in Hebrew as the Kotel, under Jewish control for the first time in nearly two millennia.
Although the Western Wall is now one of the most photographed sites in the world, museum curators say the visual record of earlier decades remains surprisingly fragmented, with many of the most intimate images likely still tucked away in private collections and family albums.
“The Western Wall, the Kotel, in its simplest form, is a structure of ancient stones. Yet its true meaning has never resided in the stones alone — it has been shaped and elevated by the countless individuals who have stood before it over the centuries,” Eilat Lieber, the museum’s director and chief curator, said in a statement.
Next year’s exhibition, titled “Eyes on the Wall” and curated by Shimon Lev and Yael Brandt, will be the first large-scale exhibition dedicated entirely to the Western Wall, the museum said, and will trace its transformation over nearly 2,000 years. It will be one of the major exhibitions staged by the Tower of David Museum since it reopened in 2023 after a $50 million renovation of its ancient citadel complex.
The wall, the exposed section of an ancient retaining wall around the Temple Mount, the site of the biblical Jewish temples, has long been Judaism’s most sacred places of prayer and pilgrimage. From 1948 until the 1967 Six-Day War, when Israel captured the Old City and East Jerusalem from Jordan, Jews were barred from going there.
Among its most iconic images was David Rubinger’s photograph of three Israeli paratroopers standing at the wall shortly after its capture, looking upward in a mixture of awe and disbelief. The picture was taken 59 years ago this week.
Abraham Orkin Freedman, a Canadian physician and Zionist activist, took his photographs before the site was so contested. He arrived in Palestine in July 1920, just as Britain was replacing military rule with a civil administration, and stayed until 1922, serving during that period as managing director of Hadassah Hospital. His grandson David, also a doctor, said the album’s timing gives it much of its historical value, with photographs that capture people in the streets, as well as the terrain and buildings of Jerusalem during the nascent years of the British Mandate.
Among the images Freedman uncovered, the one that struck him most was a photograph of women praying side by side with men at the oldest part of the Western Wall, a scene far removed from the gender-separated prayer sections at the site today. The question of mixed-gender prayer at the Wall remains politically charged, with a recent High Court order to advance the egalitarian section followed by Knesset moves to strengthen Chief Rabbinate control over prayer at the site.
After recognizing the album’s significance, Freedman met with his family who decided collectively to give it to the Tower of David Jerusalem Museum for safekeeping, research and public access. Freedman said the family was proud the album had found “a new home, not many meters from where my grandfather once stood.”
Lev said he hoped the appeal would bring more discoveries like Freedman’s into public view, expanding the visual record of the Western Wall beyond official archives.
“There is something profoundly moving in the moment when an intimate private photograph transcends its original purpose and becomes an important historical testimony,” Lev said.
This article originally appeared on JTA.org.
The post A century-old Jerusalem photo album sparks search for forgotten images of the Western Wall appeared first on The Forward.
Uncategorized
5th man charged in March arson of London’s Hatzola ambulances
(JTA) — Britain’s Crown Prosecution Service announced Tuesday that an 18-year-old man has been charged in connection with the March arson attack that destroyed four ambulances owned by Hatzola, a Jewish volunteer emergency service.
Subhan Ahmed, a British national, was charged on Monday with “assisting an offender” in connection with the arson.
The ambulances were set ablaze in the early morning of March 23 in Golders Green, a heavily Jewish neighborhood in London. The incident spurred increased patrols in Jewish communities.
The charge is the latest development in an investigation being led by the Metropolitan Police’s counter-terrorism unit.
Four others have already been charged in connection with the attack.
Three British nationals — 20-year-old Hamza Iqbal, 19-year-old Rehan Khan and 18-year-old Judex Atshatshi — along with a 17-year-old dual British and Pakistani national were all charged in April with “committing arson, destroying or damaging property, and being reckless as to whether life would be endangered.”
The four have remained in custody ahead of a trial planned for January. Ahmed, meanwhile, was released ahead of a June 16 court date.
The ambulance arsons came at the early edge of a wave of incidents that have put London Jews on edge and induced the city’s police force to step up their presence in Jewish communities. The incidents have included multiple incendiary devices placed near synagogues as well as the stabbing in April of two Jewish men in Golders Green. The Metropolitan Police reported last week that antisemitic hate crimes in the capital rose 72% in May.
Following the announcement of Ahmed’s charge, the Community Security Trust, a Jewish organization, thanked the police and the Crown Prosecution Service “for their ongoing work investigating this attack and other arson incidents targeting the Jewish community.”
It added in a statement, “These are very serious allegations, and it is right that those responsible are being held accountable.”
This article originally appeared on JTA.org.
The post 5th man charged in March arson of London’s Hatzola ambulances appeared first on The Forward.
Uncategorized
Israel boycott battle intensifies at Venice Art Biennale, testing tradition of inclusion
The anti-Israel protests that disrupted the opening of the Venice Art Biennale continue to escalate, with more than 100 artists and curators declaring last week that they will bring legal action against Biennale authorities if their names are not removed from consideration for what in normal times are coveted awards for best artist and best national exhibition.
It’s just the latest battle between activists seeking to shut down Israel’s art exhibition in Venice and the Biennale’s administration who are committed to keeping it open.
Chaos erupted in the streets on the third day of the biennale’s opening last month as demonstrators engulfed the Via Garibaldi chanting Palestinian liberation slogans during their march toward an art exhibit hosted by Israel, held back by Italian police in riot gear. The demonstration was organized by the Art Not Genocide Alliance (ANGA), a coalition of artists and art industry workers campaigning to ban Israel from participating in the world’s most prestigious art show.
ANGA’s agenda is reverberating throughout the Biennale, which is structured around a main international show that this year is hosting 110 invited artists, 100 national exhibitions and 31 official art shows. Many of the artists now threatening legal action first signed a letter this past March demanding that the directors of the Biennale exclude Israel’s exhibition from the show.
Just before the exhibition opened, the Venice Biennale’s five-member international jury — which oversees the prestigious Golden Lion for best artist and best national pavilion — announced that, in keeping with the spirit of the main international exhibition curated by the late Cameroonian art impresario Koyo Kouoh, who appointed them, it would “refrain from considering those countries whose leaders are currently charged with crimes against humanity by the International Criminal Court” — namely, Russia and Israel.
Belu-Simion Fainaru, representing the Israeli pavilion, reportedly responded by threatening that if he were excluded from consideration for the awards, he would sue the Biennale in the European Court of Human rights on grounds of antisemitism and nationality-based discrimination. Facing potential legal liability, all five jurors took the unprecedented step of quitting. The Biennale administration then announced that the juried awards would be replaced with Visitor Lions Awards, a popular vote by visitors to the show.
It’s that substitute award that the ANGA-allied artists are now renouncing.
There also have been attempts from the other end of the political spectrum to silence artists representing South Africa and Australia because of alleged anti-Israeli biases. Indeed, the 2026 Biennale, which opened on May 9 and runs through November 26, has become a referendum on artistic freedom of expression and on the place in the cultural sphere of the movement to boycott Israel. “Boycott the Genocide Pavilion,” the brochure ANGA demonstrators handed out at their demonstration stated, “For decades, the Venice Biennale has handed Israel an international stage to culturewash its occupation of Palestine,” and stated that in doing so Biennale authorities are helping to “normalize the ongoing decimation of an entire population.”
The president of the Venice Biennale, Pietrangelo Buttafuoco, has refused to cede ground. “Closing the door to some means making openness to others more fragile,” he argued in an impassioned speech announcing the opening of the Biennale’s 61st International Exhibition, adding, “if the Biennale began selecting not works but affiliations, not visions but passports, it would cease to be what it has always been: a place where the world meets, especially when the world is torn apart.”
Serene space
When I stepped into the Israeli exhibition, it seemed to be an invitation to leave behind the fractious world outside. The transcendent artwork, inspired by Paul Celan’s poetry, consists of a large rectangular pool in a tranquil space where the only interruption is the soothing sound of dripping water.
Given Israel’s destructive bombing campaigns, first in Gaza and now in southern Lebanon, presenting Fainaru and his serene artwork to represent the country is a fraught choice. Fainaru lives in Haifa, one of Israel’s most culturally diverse cities, and is a professor at Haifa University, where he told me the rector is Palestinian and more than 50% of his students are Arabs. Fainaru said that his art is about bringing people together and “collective consciousness,” and he argued it should be viewed outside of the political prism that has roiled the Biennale in recent years. “This environment is becoming more and more about boycott, censorship, limitation of freedom, exclusion,” he said, adding “that’s changing the meaning and role of art.”
Some observers who study censorship say the national pavilions at the Venice Biennale have always functioned as cultural diplomacy and in many instances are a form of “artwashing,” a term that refers to the ways that governments and corporations utilize art exhibits to obscure or gloss over unethical policies.
“Clearly they are an attempt to make a country look better, but on the other hand there is something in the art that exceeds the national ambitions,” Svetlana Mintcheva, former director of programs at the U.S,-based National Coalition Against Censorship, said in a phone interview, adding: “It’s counterproductive to censor because it then homogenizes everyone in that particular country as holding particular ideas and that’s not the case.”
The censorship campaign against Israel and Russia took place against the backdrop of the main international exhibition “In Minor Keys,” which emphasizes anti-colonialist themes and the utility of art as a means of reconnecting to local and indigenous practices. The leitmotif of the show, which primarily emphasizes art from the African diaspora, chimes with ANGA’s agenda to give voice to a Palestinian culture that the group claims has been sidelined by Israel’s “colonial expansion.”
Some artworks in the international exhibition address the Palestinian displacement and trauma, while none deal with Hamas’s Oct. 7 massacre or Israel’s wounds.
Gazan artist Mohammed Joha, who signed a March 26 ANGA petition calling for the exclusion of the Israeli pavilion, is exhibiting No Shelter, which the artist made while witnessing the conflict in Gaza. The work consists of collages made from discarded paper, fabric and cardboard intended to call attention to the cycles of destruction and rebuilding that Palestinians endure. Haitian artist Manuel Mathieu’s Genocide portrays a dark sea alongside what looks like pummeled charred flesh. British Ethiopian artist Theo Eshetu’s Garden of the Broken Hearted includes a rotating dais with a live olive tree, a symbol of Palestinian resilience.
And Kouoh and her team gave pride of place in her show to artists who have been victims of Israel’s conflicts. The very first exhibit to greet visitors at the entrance of the massive Arsenale, a brick linear hall serves as the main exhibition space, which t originally was part of Venice’s Renaissance-era ship building complex, features the poem “If I must Die,” by Palestinian poet Refaat al-Areer, which he posted to social media in late 2023, about a month before he was killed along with several of his family members by an Israeli airstrike in Gaza. The poem, which has become a rallying cry for Palestinian activists, sits below a canvas portraying a disembodied face with penetrating eyes against a fractured background by Issa Samb, a Senegalese artist known for his anti-colonial themes.
The subsequent exhibition at the Arsenale is a monumental multi-media installation titled Khalil by Australian artist Khaled Sabsabi, a former refugee from the 1976 Lebanese Civil war. Sabsabi is also representing Australia at its national pavilion in the nearby Giardini fairground.
Khalil, which was originally intended to be displayed at the Australian Pavilion, was intended as a meditation on Sufi mysticism. It consists of digital projections on a canvas painted in acrylic with swirling shapes, accompanied by sonorous background music and the piped in scent of Oud, which is used in Middle Eastern perfumery.
But Kouoh’s invitation to Sabsabi to exhibit at the Arsenale, which she extended after he was temporarily disinvited from showing the work at the Australian Pavilion, appears to have as much to do with his notoriety as it does his artistic merit. Sabsabi’s commission to exhibit at the Australian Pavilion was canceled after conservative Australian members of parliament and right-wing newspapers denounced him as promoting antisemitism and terrorism over work he had produced in the past, notably YOU, a 2007 multimedia piece that portrays multiple images of former leader Hezbollah leader Hassan Nasrallah.
Australia’s Museum of Contemporary Art (MCA), where the You is on permanent display, originally described the artwork on its website as “obscuring Nasrallah’s face with beams of light that shine from his eyes and mouth, suggestive of a divine illumination.” But last year, after Sabsabi was dropped from representing the Australian Pavilion, the MCA engaged in an act of self-censorship by removing the section of text deifying Nasrallah and updating the description of the artwork to inform viewers that: “The Australian Government listed the entirety of Hezbollah as a proscribed terrorist organization in 2021.”
Meanwhile, subsequent larger furor in the international arts community over Sabsabi’s being censored led to an independent review, which resulted in the reinstatement of his invitation to show at the Australian Pavilion, greatly raising his profile.
Another controversial figure is Gabrielle Goliath, the video and performance artist invited to represent South Africa, was the only artist to be officially banned. Elegy, the work she had planned to show, is a performative piece about gender and LGBT violence that has also addressed the killing and displacement of Palestinian women. But Goliath’s commission was canceled and the South African pavilion shuttered by the country’s culture minister Gayton McKenzie, a vocal supporter of Israel, who reportedly deemed Elegy “highly divisive in nature and relates to an ongoing international conflict that is widely polarizing.”
After an unsuccessful lawsuit accusing the South African government of unlawfully revoking her commission, Goliath was relegated to presenting Elegy in a rented church in Venice. This version of the work she exhibited there features eight “funereal screens,” with women singing and commemorating female victims of violence, including a murdered South African student and the Palestinian poet Heba Abunada, who was killed in an Israeli airstrike on Gaza in 2023.
The closing of the South African pavilion didn’t stifle Goliath’s voice and, as with Sabsabi, the controversy over her being canceled may have given her a larger platform. After Venice, Elegy will be traveling to London before moving onto Milan.
It’s difficult to imagine Fainaru’s message of “collective consciousness” finding a similar welcome in arts venues throughout Europe and the United States.
Recent events in Venice and elsewhere suggest that the cultural boycott campaign is gaining momentum, putting freedom of expression under increasing strain. And it’s not just principles that are at stake. Closing Israel’s exhibition in Venice and further marginalizing Israeli artists works at cross-purposes with efforts to achieve mutual understanding and peace in the Mideast. “The price of cultural boycotts is quite high, says Mintcheva of the National Coalition Against Censorship, “because you limit any kind of exchange and you limit understanding of dissent within a country like Israel.”
The post Israel boycott battle intensifies at Venice Art Biennale, testing tradition of inclusion appeared first on The Forward.
