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In anticipation of the international Holocaust Memorial Day, the Embassy of Spain in Israel hosted a private screening of the film “The Angel of Budapest,” about Sanz Briz, a Spanish diplomat who saved thousands of lives during World War II.



Following refreshments, H.E. Manuel Gomez-Acebo, the ambassador of Spain, opened the evening by greeting the guests and explaining the importance of what they were about to watch. The ambassador highlighted the importance of preserving the past for future generations to learn about, quoting Spanish author and philosopher George Santayana “Those who cannot remember the past are condemned to repeat it.” Ambassador Gomez-Acebo pointed out that we must remember both the darkness, and those who had the courage to stand up to the evil around them and take a stand for morality.

The ambassador told the audience that in addition Briz, there were many other diplomats who courageously used their positions to save lives during the Holocaust, with a recent book by Spanish academic José Antonio Lisbona listing 18 Spanish diplomats in 7 countries who had played roles in rescuing refugees. The movie he told the audience, offers a different perspective on the task of a diplomat.

“The Angel of Budapest” is a Spanish film which illustrates the story of Sanz Briz, the Charges D’Affaires of Spain in Budapest during World War II, who used his position, and Spain’s formal status of neutrality, to protect Jews within Hungary. As it became clear that the Nazis were losing the war, the situation became more dire for the Jews, and efforts to deport Jews increased. Sanz utilized a little-known or used statute promising Spanish citizenship to anyone of Sephardic descent to enable Jewish refugees to escape the Nazis as Spanish citizens. Although the actual number of Jews of known Sephardic descent in Hungary was quite small, Sanz and his staff managed to save more than 5,000 refugees this way. As the film shows, Sanz used creativity, ingenuity, and diplomatic savviness to protect thousands of Jews from under the noses of the Hungarian authorities and the Nazis.

Ambassador Gomez-Acebo told Diplomacy that Sanz had gone on to a long and distinguished diplomatic career. He said that today Sanz was well-known in Spain, especially in light of the film’s success. When Yad Vashem began recognizing Righteous Among the Nations in 1963, Sanz Briz was one of its very first honorees, being inducted in 1936.


Photo Silvia Golan

Steven Aiello



The Israel Netanya Kibbutz Orchestra’s third concert of the 2017-2018 season - “Maestro Elbaz’s World of Wonders” - remained true to the current season’s “north-south-east-west” theme, as usual, also including Israeli content. The NKO hosted the Gilad Ephrat Ensemble (Gilad Ephrat-double bass, Keren Tannenbaum-violin/vocals, Hilla Epstein-’cello and Shmuel Elbaz-mandolin). Shmuel Elbaz, the orchestra’s house conductor directed the orchestra and played as a member of the quartet, also soloing on the mandolin. This writer attended the event in the Recanati Auditorium of the Tel Aviv Museum of Art on December 30th 2017.

The three works by European composers took the listener to different points of the compass, beginning with the Overture to French composer Adrien Boieldieu’s (1775-1834) opera “The Caliph of Baghdad”.(1800), eastern in subject matter, but definitely European in musical style, although Boieldieu’s vibrant use of percussion would have been an association or the orient for European audiences of that time. Charming and joyful, albeit conventional, the piece was good concert fare, setting the scene for an evening of genial music. Gioachino Rossini’s Overture to “The Italian Girl in Algiers” (South) (Rossini wrote the opera at age 21!)  was a fine opportunity to hear one of Rossini’s most sparkling overtures and some of the NKO’s finest players in solo moments, a substantial amount of the solo work was played by Hila Zabari-Peleg, the orchestra’s very fine 1st oboe. Taking us westwards, Jewish-Hungarian composer Leó Weiner’s (1885-1960)  “Three Hungarian Folk Dances” were originally written for piano solo. Arrangements for piano duet and for violin and piano exist. Shmuel Elbaz has arranged the work for mandolin and orchestra. Opening with the lively “Fox Dance”, Elbaz and his players present the vivacious dances, each from a different region of Hungary, with much zest and exuberance, With the wink of an eye, Maestro Elbaz challenges the audience to follow him through the whimsical rubato of the “Ronde from Marossék”, as he pulls out all the plugs in the virtuosic abandon of the “Peasants’ Dance”,  a type of fast Csárdás.

Following the above whirlwind world trip, the rest of the concert all comprised contemporary Israeli repertoire. Oded Zehavi (b.1961) composed his Fantasy for mandolin and orchestra (Concerto No.2) in 2017 for the Israel Netanya Kibbutz Orchestra. This concert was the work’s world premiere.  Prof. Zehavi’s program notes discuss where he stands as regards Israeli music and the elements that go to make up this work: modal patterns, sounds heard in music of this region and outside of it, rhythms taken from the debka and hora dances and the concept that a symphony orchestra can sound somewhat informal. Opening with a long oboe solo, the first movement, with its octave melodies and homophonic utterances, bristled with associations of Arabic music. The Andante (2nd movement), communicating a sense of well-being, took on a more western character, with the final Rondo allegro seeming to bring east and west together in a seamless, busy soundscape. The piece sits well on the mandolin, with Elbaz articulately addressing its challenges and fine details and the mandolin easily heard at all times. Oded Zehavi speaks to his listeners through sounds and gestures that are intelligible, accessible and indeed pleasurable and with which they can identify.

Continuing the NKO’s project of presenting short new works by students of both Jerusalem and Tel Aviv Academies of Music, we heard “The Sun Was Dark at Givon” by Naama Zafran (b.1988), a masters student of the Jerusalem Academy of Music and Dance. Composer, arranger, pianist and teacher, Zafran’s already comprehensive oeuvre includes chamber music, works for orchestra, for theatre, for video art and cinema. “The Sun Was Dark at Givon”, a program work set in 1207 B.C., describes a solar eclipse. “A solar eclipse is perhaps the most  spectacular natural event people will see”, writes the composer. “During the day, the sun is hidden by the moon, with the stars briefly seen in a sky illuminated with the pink light of dusk…” A mysterious violin melody leads the listener into Zafran’s rich, intense and dramatic musical canvas, wrought of maqam associations, but not just, of articulate melodic strands, energy and compelling orchestral writing.

For the rest of the program, the Gilad Ephrat Ensemble joined the Netanya Kibbutz Orchestra in a selection of Israeli and other numbers arranged by Eugene Levitas. The pieces featured the four ensemble members, with the NKO mostly joining them in tutti support. The quartet’s upbeat, polished and understated style and individual solo improvisations made for sophisticated performance, be it in the sultry, typically Spanish “Murcia”, “Iri-An” with its Irish motifs and pizzazz, Chick Corea’s bouncy, jazzy “Sea Journey” or Ephrat’s “Stockholm”, (dedicated to the NKO’s musical director Maestro Christian Lindberg) the latter weaving folk-like motifs with jazzy sounds. In Moshe Vilensky’s “Lighthouse” and the caressing, nostalgic “Song of the Valley” (Marc Lavry/Rafael Eliaz), Keren Tannenbaum’s low-key singing and more folk-like use of the violin added spontaneity to the performance. Established by composer and double bass player Gilad Ephrat, the ensemble’s virtuosic artists perform music of a style that brings together jazz, classical music,ethnic- and Israeli music. The ensemble recently returned from a concert tour of Brazil and South Korea.

The Israel Netanya Kibbutz Orchestra goes for different and daring programming, with Israeli music high up in its priorities. It is much to the NKO’s credit that its audiences are curious and open to new ideas. And they were kept on their toes at this unusual concert, examining and enjoying the less familiar, the surprises and the challenges of the program. Maestro Elbaz certainly invested much thought and work into the concert.

Photo: Kfir Bolotin








 Baruch Elron's  "The Magic of The Paintbrush"  Art exhibition was successfully launched !

Over 100 people arrived to the festive launch of "The Magic of The Paintbrush" Art exhibition at the Tel Aviv brunch of The Romanian Culture Institution (ICR) with the presentation of 22 different works of the late artist

People of art & culture, intellectuals, colleagues, public figures, art lovers, family and friends came to honor the special art exhibition of one of the most unique and honorable paint artist Israel ever had

Baruch Elron (1934 – 2006) became one of the most important contemporary Israeli paint artist of our time – famous abroad as well as in Israel – who created in an esteemed Fantastic-Realism style

The exhibition is in fact a magical time travel in Elron's dream world which includes paintings of different sizes from different periods of his artistic life – starting from his time as a student at the Art Academy in Bucharest (Already then called by many "Maestro") till his late works of art

After a brief welcome by the ICR manager, Andrea Shemesh, who is hosting the art exhibition, Dr. Dalia Hacker explained about Elron's uniqueness style and work and shared with the guests well remembered experiences from the times they worked and teached together at the biggest art   academies around.  Also, The 08th book written about the art of Baruch Elron was 

launched by Mr. Adrian Graunfels, the writer – this time in the Romanian language

(Other 7 very impressive and notable books about Elron's work with explicit art analysis and fine pictures were published in the past few years in other 4 different languages: English, Spanish, Russian and Hebrew and got acknowledged by art academies throughout the world)

As a final part of the opening event, a special 30 minutes movie was screened about Elron's life and biggest works that was specially prepared by Mr. Shari Rabbi – an art specialist – for this occasion and got very big applaus

Baruch Elron got recognition all his life both in Romania – his birth place – as well as in Europe, USA, Africa and Israel

Since he immigrated to Israel at the age of 30 till his death, he never stopped painting and presenting his works in over 100 (!!!) art exhibitions around the world

Elron's art always managed to garner much interest due to his special vision of reality capture and his interpretation to it

His widow, Mrs. Lydia Elron, who takes care of his inheritance, seeks to provide for the art lovers in Israel (this time) and abroad another opportunity to

get familiar with Baruch Elron's work


       The art exhibition will be displayed in Tel Aviv till 

                                                                                 January 19th 2018

Place: ICR – Romanian Culture Institute
Address : 8 Shaul HaMelech blvd., 6th floor – T.A

Schedule : Monday to Friday between 10.00 to 16.00


Photo Lydia Elron   





Among the finds uncovered in the excavation, conducted by the Israel Antiquities Authority in a joint operation with Tel Aviv University, are hundreds of flint hand axes used by prehistoric humans


An astonishing discovery in Jaljulia: a rare and important prehistoric site, roughly half of a million years old, extending over about 10 dunams, was uncovered during the last few months in a joint archaeological excavation conducted by the Israel Antiquities Authority in cooperation with the  Archaeological Department in Tel Aviv University. The archaeological excavation was funded by the Israel Land Authority, towards the expansion of Jaljulia.

The excavation revealed a rich lithic industry, including hundreds of flint hand axes, typical tools of the ancient Acheulian culture.

According to Maayan Shemer, the excavation director on behalf of the Israel Antiquities Authority, and Prof. Ran Barkai, head of the Archaeology Department at Tel Aviv University: “The extraordinary quantity of flint tools uncovered in the excavation provides significant information about the lifeways of prehistoric humans during the Lower Paleolithic period. It seems that half a million years ago, the conditions here in Jaljulia were such, that this became a favored locality, subject to repeated human activity.  We associate the industry found on site to the Homo Erectus – a direct ancestor of the Homo Sapiens Sapiens, the human species living today. A geological reconstruction of the prehistoric environment,  shows that the human activity took place in a dynamic environment,  on the banks of an ancient stream ( possibly Nahal Qaneh, which now flows approximately 500 m' south of the site). This environment is considered to have been rich with vegetation and herding animals, a ‘green spot’ in the landscape. In this place, three basic needs of the ancient hunter gatherers were met: clear water, a variety of food sources (plants and animals) and flint nodules, of which tools were made. 

The fact that the site was occupied repeatedly indicates that prehistoric humans possessed a geographic memory of the place, and could have returned here as a part of a seasonal cycle.”

Handaxes, found at the site in relatively large quantities, are very impressive tools, their shape somewhat reminding a teardrop. The production of these tools require careful and meticulous work, and a deep familiarity of the raw material in use. In Jaljulia handaxes were made of a variety of flint types, and we also observe a differentiation in the production quality. Almost as if some of the handaxes were made by a master craftsmen and others- by someone less qualified.

 Hand axes were used as dominant tools by prehistoric humans for more than a million years. Yet, its particular use is still debated. Some scholars suggest that these were the tools used to dismember large animals such as elephants. Others say that handaxes were the “Swiss Army knife” of the Stone Age and had additional uses such

as hunting, hide working and the working plant and vegetal material. Large quantities of additional flint artifacts attest to technological innovation, development and creativity

  Maayan Shemer, the excavation director on behalf of the Israel Antiquities Authority, said: “Coming to work in Jaljulia, nobody expected to find evidence of such an ancient site, let alone one so extensive and with such impressive finds. There are only two sites whose estimated age is close to Jaljulia in the Sharon, or central Israel: one in Kibbutz Eyal, approximately 5 km to the north, and the other, dated to a slightly later cultural phase, at Qesem Cave located approximately 5 km to the south. The findings are amazing, both in their preservation state and in their implications about our understanding of this ancient material culture. We see here a wide technological variety, and there is no doubt that researching these finds in-depth will contribute greatly to the understanding of the lifestyle and human behavior during the period in which Homo Erectus inhabited our area.

Prof. Ran Barkai, head of the Archaeology Department of Tel Aviv University: “It’s hard to believe that between Jaljulia and highway 6, five meters below the surface, an ancient landscape some half of a million years old has been so amazingly preserved. This extraordinary site will enable us to trace the behavior of our direct prehistoric ancestors, and reconstruct their lifestyle and behavior on the very long journey of human existence. The past of all of us, of all human beings, is buried in the earth, and we have a one-time opportunity to travel back half a million years and better get to know the ancient humans who lived here before us, between Jaljulia and road 6.”

Photo Hundreds of hand axes were uncovered in the excavation. Photographer : Samuel Magal, Courtesy of the Israel Antiquities Authority


 Video clip (English) https://www.youtube.com/watch?v=4EHlIcJtcv0 . Photographer: Shmuel Magal, courtesy of the Israel Antiquities Authority


























Petach Tikva Museum of Art is pleased to present 4 new exhibitions:


Benni Efrat, Doom's Path, Winter 2065

Curators: Drorit Gur Arie, Avshalom Suliman

A new exhibition at Petach Tikva Museum of Art

Opening: Thursday, 11 January 2018

Closing: 12 May 2018

Benni Efrat's works wage a harsh offensive against the viewer's senses, consciousness, and beliefs. They engage with current issues pertaining to life in this planet, rather than with intra-artistic concerns. "Art deals with life, but my art deals with the very possibility to survive, to stay alive," says Efrat, who since 1982 has been dating all of his works using a timeline beginning with his estimated year of death, 2030. The video installation Doom's Path, Winter 2065, created especially for the current show, offers an all-embracing experience, engulfing the viewers with blown-up images of environmental destruction and ecological disasters.

The exhibition sheds light on the consistent, continuous progression of Efrat's work over more than five decades. It indicates how Efrat's engagement with the relativity of human perception evolved in the early 1980s into a pioneering engagement with moral issues regarding ecological destruction and exploitation of weaker species. The show also features two of Efrat's video sculptures, which illustrate his work as a sculptor who uses light as a raw material, addressing the failures and illusions of the viewer's visual perception. Requiem for the Last Leopard in the World is a new installation-performance created in collaboration with poet Ronny Someck, celebrating twenty years since the two first collaborated in the exhibition "Nature's Factory, Winter 2046." The new piece presents a collaboration between a visual artist and a poet which goes beyond the conventional text/illustration relationship, blending with the apocalyptic air inspiring the exhibition as a whole.

The exhibition also presents an anthology spanning six of 140 experimental films created by Efrat in 1968–1975 (curator: Adi Englman), which represent his thinking and work modes in that period. Efrat began making his films without prior experience or professional knowledge in the field, to illustrate a concept, an idea, or an action, and introduce them as preceding form and medium. The films, which underwent restoration as part of a comprehensive project of cataloging Efrat's entire video oeuvre, are presented without any post-production editing or manipulation, in a desire to represent truth rather than illusion in art.

A conceptual artist who belongs to the second generation of post-minimalist artists who began working in the 1960s, Efrat earned international acclaim for his painting performances on film projections, which were groundbreaking at the time and addressed the gap between representation and action. Following an encounter with renowned scientists, among them Carl Sagan, and trips to Ruanda and Cambodia, Efrat turned to explore social and environmental issues, a rare stance among artists at the time, which proves itself to be more relevant than ever these days.

Guy Goldstein:

Once, a Beat, Second Hit

Curator: Drorit Gur Arie


A new exhibition at Petach Tikva Museum of Art

Opening: Thursday, 11 January 2018

Closing: 12 May 2018


Guy Goldstein's work engages with transitions in medium between sound, form, color, and time, and the by-products of this translation. As a visual artist who also writes and composes music, and a former member of the Israeli rock band Reines Girls, his work draws on the affinities between the visual and the sonic, employing materials and tools of music and sound.

Music is a major player in the exhibition, as background, subject, and character. The show originated in a record (Memorable Equinox) created by Goldstein during his residency in a Curfew Tower in Northern Ireland in the autumn of 2015. His research on the "colors of noise" was expanded to the violence- and strife-ridden environment and the local color of life in it. In the three-channel video installation Silence Isn't Very Much, created especially for the current exhibition, the album's songs are played alongside texts, actions, characters, and landscapes associated with questions of "noise" and "interruption"; the noise, however, does not emerge as a strident disruption, but rather as an atmosphere imbued with pain, hardship, and trauma. The music is also present in Theme Tonight …—an independent production by Goldstein for Samuel Beckett's radio play Words and Music, in which he played the two characters entitled "Words" and "Music", in addition to composting and performing the music (in collaboration with producer Avichai Tuchman). The play addresses the tools of the radiophonic medium, the tension between words and music evolving into a song. Another musical means in the exhibition is the pianola—a music-playing device which preceded the gramophone, whereby piano keys are moved using a mechanism operated according to musical data on a perforated paper roll (piano roll).

Goldstein's variegated body of work scrutinizes narrative configurations which stretch over different, distorted temporal axes. Music joins text and image in such media as drawing, video, and animation. Layers of data are superimposed, eliciting questions about sequence and order, truth and fiction. Goldstein patches and crosses data and tenses while oscillating between sounds and silences on his way to a solution or a resolution. The viewer's senses wriggle between listening and viewing, "Once, a Beat, Second Hit."

An Archive of the Moment:

Tali Navon Following Drawings by Ze'ev Tishbi

Curator: Irena Gordon


A new exhibition at Petach Tikva Museum of Art

Opening: Thursday, 11 January 2018

Closing: 17 March 2018

Tali Navon's exhibition was inspired by Ze'ev Tishbi's (1915–1953) sketchbooks, held in the Petach Tikva Museum of Art collection. It focuses on drawing as a medium and as an act which signifies existence, linking past and present. Navon uncovers Tishbi's drawings, most of which depict intimate portraits and the daily life of the soldiers with whom he served during World War II. Her own drawings, on the other hand, explore the intimacy resulting from the encounter between the attempt to capture a segment of reality and the search for the pure essence of the line, the rhythm of the drawing hand, and the interaction with the drawing surface.

Ze'ev Tishbi passed away prematurely, when he was only 37, the day before the opening of his exhibition at the Yad Labanim Museum, Petach Tikva, in 1953. Navon focused mainly on drawings he created during his service in the Jewish Brigade in the British Army. She conducted thorough research about him, using archival materials she found at the National Library of Israel and elsewhere.


Curator: Or Tshuva


A new exhibition at Petach Tikva Museum of Art

Opening: Thursday, 11 January 2018

Closing: 3 March 2018

The exhibition continues the Museum's scrutiny of its corpus and spaces. It relies on the duality typical of the work of active contemporary artists, who simultaneously work as instructors in the Museum's Education Department. Although museum visitor's and workers tend to disregard this prevalent phenomenon, it is, in fact, an intricate position which may impose a multiplicity of stances regarding the institution and the works of art displayed in it.

While the distinction between their role as mediators of art on behalf of the museum and their inner world as independent artists remains clear for the most part, in the current project the Museum's art instructors were asked to wear both hats at once. The works they were commissioned to create and exhibit allude to their pedagogical role in the museum, and are inspired by it.

The familiar art-making cycle, beginning in the artist's studio and ending in the encounter with the art work in the museum, is reversed in the exhibition: the encounter with the work, through the instructors' mediation, is the point of departure and the driving force. The show thus turns the spotlight on the occurrences and dynamics created in the museum, which usually remain out of sight as far as the audience is concerned, introducing the triangular relationship between instructors, audience, and art as a moment of contemplation worthy of observation and critical attention. This project is also a reminder that the interrelations between institution, audience, and artwork may and should be multidirectional. The audience observes, criticizes, and learns from our practice—but, in fact, we also observe, criticize, and learn from the encounter with it.

Participants (in alphabetical order): Netaly Aylon, Reut Ferster, Yifat Giladi, Tseela Greenberg, Dani Rosenberg, Gili Roman, Avshalom Suliman, Shira Tabachnik

Photo P.R.