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Since then, they managed to produce some multidisciplinary and multilingual performances, to display some exhibitions, to set up the art magazine \u201cHearat Shulaym\u201d, and to organize some of the most interesting artistic events of the year&#8230;<\/span><span style=\"font-family: Verdana, Arial, Helvetica, sans-serif; font-size: small;\">Sergei Eisenstein considered cinema as an art that would free the latent strength by creating a united collective conscience that would allow the public to experience the channel as if it was one single man&#8230;Without drowning their public, Rotman and Mauas succeed in raising questions about the ability of the public to experience a revolutionary instant, refined like the one Sergei Eisenstein talked about&#8230;<\/span><span style=\"font-family: Verdana, Arial, Helvetica, sans-serif; font-size: small;\">Their affection for the proud and revolutionary modernism of the beginning of the 20\u2019s century is reflected in all their works, from \u201cPotiomkin Village\u201d to \u201cHearat Shulaym\u201d and a cultural avant-garde Yiddish evening, even through the conception of an exhibition of fax works made of ephemeral thermal paper&#8230;<br \/>\nThe following scene, taken from one of their performances, illustrates best the cat and mouse game that Rotman and Mauas run with modernism: on the ground of a big black and white slide, of two \u201csticks players\u201d and a square pixel ball, Rotman declares \u201cDelgado and Borges play tennis in Wimbledon\u201d and erases in a second all what extends between \u201cthe garden of the divided paths\u201d and the Atari. Something in that humor and in their readiness to integrate in their work a reference to their immediate environment, in their ability to break the abysmal seriousness that froze the dada, the surrealism, and the futurism into the glass of the museum, raises the suspicion that their faithfulness is divided.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-611\" src=\"http:\/\/old.sala-manca.net\/wordpress\/wp-content\/uploads\/2015\/01\/42MAALOTPAGE2-236x300.gif\" alt=\"42MAALOTPAGE2\" width=\"236\" height=\"300\" srcset=\"https:\/\/old.sala-manca.net\/wordpress\/wp-content\/uploads\/2015\/01\/42MAALOTPAGE2-236x300.gif 236w, https:\/\/old.sala-manca.net\/wordpress\/wp-content\/uploads\/2015\/01\/42MAALOTPAGE2-210x267.gif 210w\" sizes=\"auto, (max-width: 236px) 100vw, 236px\" \/><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-610\" src=\"http:\/\/old.sala-manca.net\/wordpress\/wp-content\/uploads\/2015\/01\/42MAALOTPAGE1-199x300.gif\" alt=\"42MAALOTPAGE1\" width=\"199\" height=\"300\" srcset=\"https:\/\/old.sala-manca.net\/wordpress\/wp-content\/uploads\/2015\/01\/42MAALOTPAGE1-199x300.gif 199w, https:\/\/old.sala-manca.net\/wordpress\/wp-content\/uploads\/2015\/01\/42MAALOTPAGE1-680x1024.gif 680w, https:\/\/old.sala-manca.net\/wordpress\/wp-content\/uploads\/2015\/01\/42MAALOTPAGE1-210x316.gif 210w\" sizes=\"auto, (max-width: 199px) 100vw, 199px\" \/> <img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-612\" src=\"http:\/\/old.sala-manca.net\/wordpress\/wp-content\/uploads\/2015\/01\/42MAALOTPAGE3-236x300.gif\" alt=\"42MAALOTPAGE3\" width=\"236\" height=\"300\" srcset=\"https:\/\/old.sala-manca.net\/wordpress\/wp-content\/uploads\/2015\/01\/42MAALOTPAGE3-236x300.gif 236w, https:\/\/old.sala-manca.net\/wordpress\/wp-content\/uploads\/2015\/01\/42MAALOTPAGE3-210x267.gif 210w\" sizes=\"auto, (max-width: 236px) 100vw, 236px\" \/><\/p>\n<p>Click to enlarge<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; &nbsp; Latest Convention Breakers, Pil&amp;Galia, 42 maalot, July 2002 Lea Mauas and Diego Rotman, members of the group Sala-Manca, immigrated to Israel from Buenos Aires seven years ago. Since then, they managed to produce some multidisciplinary and multilingual performances, to display some exhibitions, to set up the art magazine \u201cHearat Shulaym\u201d, and to organize &hellip; <a href=\"https:\/\/old.sala-manca.net\/?p=615\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">The Latest Convention&#8217;s Breakers, Pil&#038;Galia Kollectiv, 7.2002<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":612,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13],"tags":[57],"class_list":["post-615","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-press-and-articles","tag-pilgalia-kollectiv"],"_links":{"self":[{"href":"https:\/\/old.sala-manca.net\/index.php?rest_route=\/wp\/v2\/posts\/615","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/old.sala-manca.net\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/old.sala-manca.net\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/old.sala-manca.net\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/old.sala-manca.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=615"}],"version-history":[{"count":3,"href":"https:\/\/old.sala-manca.net\/index.php?rest_route=\/wp\/v2\/posts\/615\/revisions"}],"predecessor-version":[{"id":618,"href":"https:\/\/old.sala-manca.net\/index.php?rest_route=\/wp\/v2\/posts\/615\/revisions\/618"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/old.sala-manca.net\/index.php?rest_route=\/wp\/v2\/media\/612"}],"wp:attachment":[{"href":"https:\/\/old.sala-manca.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=615"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/old.sala-manca.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=615"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/old.sala-manca.net\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=615"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}