Aritsts: Sala-manca<\/p>\n

Invited Artists: Hadas Ophrat, Wanja Schaub. Invited Performance: Uri Katzenstein<\/p>\n

\u201cIf Mount Herzl is the mountain of remembrance or the mountain of Zionist historical consciousness, by way of the line stretching between Yad Vashem and Israel\u2019s national cemetery, then in the topography of Israeli remembrance, Ein Karem is the wadi of oblivion or the valley of Zionist historical subconscious. The New Museum of the Contempora
\nry constitutes a new point on the map of institutions of Israeli consciousness, illustrating its three-dimensional triangle. Of the three points, the museum is the deepest point.\u201d (Rodriguez, from\u00a0the curatorial text of the museum\u2019s inaugural exhibition)<\/em><\/p>\n

$\"\"$ <\/a>The first exhibition produced at the Museum of the Contemporary\u2019s physical space is an exhibition of Sala-Manca group. This is the group\u2019s first exhibition since 2006. The exhibition wi $\"_MG_7264\"$ <\/a>ll feature new sculptures, sound works and performances created especially for the exhibition, in conjunction with works created in collaboration with Hadas Ophrat, Wanja Shaub and Mamuta collective. The exhibited works serve as a comment on local history, urban politics and the architectural structure in which the exhibition is held \u2013 an Arab house in Ein Karem located midway along the pilgrimage trail to the Church of the Visitation. The building was declared absentee property by the State of Israel in 1948 and purchased by the artist Daniela Passal in 1972 who later donated it towards the establishment of an art centre \u2013 the Mamuta at the Daniela Passal Art and Media Centre, which have been operating on site since October 2009.<\/p>\n

The Collection \u2013 The Storage Room<\/strong>
\nThe collection features complete exhibitions that are available for download, which underwent a process of digitalization so as to gain their full quality after they have been downloaded in their respective formats (video, sound, photography, text etc.). After they have been downloaded, the exhibitions could then be displayed in the venu $\"_MG_7169\"$ <\/a>es available to the secondary curators (those who chose to download the exhibitions) and the conditions they have at their disposal. The same exhibition could be displayed simultaneously by agents of completely dissimilar nature and financial means: as the exhibition will be displayed differently, and convey cultural and curatorial perceptions that reflect not only the perception of the exhibition\u2019s curators, but also those of the secondary curators displaying it.<\/p>\n

$\"IMG_4129\"$ Press and Articles<\/p>\n

Smadar Sheffi, Haaretz<\/a><\/p>\n

Graham Lawson, The Jerusalem Post<\/a><\/p>\n

Chaim Noy, Narratives and Counter-Narratives: Contesting a Tourist Site in Jerusalem<\/a><\/p>\n

Rut Patir, To Be in the Present (in Hebrew)<\/a><\/p>\n

Pics<\/p>\n