A Poem:

A GLOBAL DISSIDENT ART PROJECT     2009
WOMEN WATCH RIGHT

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THE FILMS


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'THE PEACE INDUSTRY' 40 YEARS OF ART TENDENCIES DRIVING FOR PEACE 1968-2008

One of Israel greatest industrial achievement is its Military Plant Industries, which once in a while is demonstrating its capacity on field. Its latest achievement is the Gaza War of Jan. 2009 with its "bonfires' & massive fireworks (a continuous celebration of New Years' Eve) - 2009 has entered & with it Gaza War, which can be seen as a "celebration" to the exit of both President Bush & Prime Minister Olmert (of Israel), whose specification was W – A – R , whether justified as legitimate defense or war on terrorism. Two facts defines these acts; dehumanization of men (soldiers) & degradation of women by assigning them to their minor role at home where they might become victims of war, as well, they & their families, as it indeed happened. The estimate costs of this war is ca. 2-3 milliard dollars in a period where all cultural programs are reduced due to lack of funds. Not to mention our Projects for Peace, which were created despite the facts that no funds were available at all; neither for its making, nor for its showing, an art thriving to create an era without militarism expressing humanistic, egalitarian, non-racist or separatist values. That is relevant to actual proposals to show our work, however with no funds, neither for the artist work, nor for the show. Therefore, we declare all our projects & ECS* as "THE PEACE INDUSTRY," contrary to "WAR INDUSTRIES" & thus "commercialize" all our Art Projects. This is our struggle within a society that has totally militarized its essence; "Oh what a lovely war!" being its motive & "raison d'etre," insensitive to the suffering of the Other, who lost in the mentioned war some 1300 citizens mostly women & children. "Happy New Year 2009, Jan., M.S.

GLOBAL    ECO/COM/SYSTEM   ART PROJECT

12 ECS / 12 CITIES / +- 12 TIME ZONES / 12 MONTHS

-THE GLOBAL ART PROJECT - WOMEN WATCH RIGHTS - NON-PROFIT WOMEN RIGHTS

ECO/COM/SYSTEMS 1990-2008

2009

12 ART PROJECTS (ECS) WILL BE DIVIDED INTO 12 TIME ZONES WITHIN 12
MONTHS IN CITIES IN THAT SPECIFIC TIME ZONES. ECS WILL BE SCREENED IN THE EQUIVALENT TIME ZONE, SUCH AS ECS 1=TIME ZONE 1 and so on….EACH COUNTRY WILL SWITCH ITS SUITABLE ECS EQUIVALENT TO ITS TIME & MONTH (I.E. BUCAREST=ECS 2) EACH RESOLUTION-DATA WILL BE TRANSLATED & READ IN LOCAL LANGUAGES. THE SCULPTURE/WATCH WILL BE A COLLECTIVE CREATIOM OF ITS CITY-CITIZENS & WILL BE DEDICATED TO DISSIDENT WOMEN ARTISTS. JANUARY 2009 = 12.OO p.m. = ECS 1 = PARIS, VIENNA (dedicated to N. ELSAADAWI)

 

THE PHILOSOPHY OF ECS

Portrayed through Art History)  or "Rape of Europe" (from Art & Mythology, etc., etc.), which are comprehensible & seductive to the eye of the spectator; the works themselves are 3 dimensional  in space using all techniques & technologies for their realization (DVD's, photos, paintings, objects, texts , etc. & are shown as pictographic movies).  The 3rd stage being its activation on all its factors, that is creating one unity out of its plurality, thus transforming the original work into a work of art.  Like the previous Art Projects created in situ, which acted on two levels;  the work outdoor with participation & its art presentation being the learned message as brought to the public within the art establishment or institution.  The ECS relates to the final stage which is the abstraction of its images with the conclusion-data, which is the message not related to the actual text or subject-matter of installation  but deals with ethics & esthetics of behaviorism.  (Contrary to abstract photography portraying a photographed object or acts as a technical know-how & sees such works as art)  The final abstraction of  ECS, is the result of a process putting together  all it creative levels into an abstract unity, which is art…..

*ECS = Ecological Communication Systems
 

Dedicated to Dissident Women Artists.

1. ANNA  POLITKOVSKAYA - Russia                            2. NOWAL ALSAADAWI - Egypt
3.AUNG SAN SUU KYI - Burma                                                4.AARONDHATI ROY -India
5.Dr.HALIMA BASHIR - Sudan                                              6.AIYAN HIMSI ALI - Somalia
7.Miriam Sharon - Israel                                                                           8.Padua Tukan -Palestine
9.Ding Dze-Lin, China                                                                                        10.Sefi Atta, Nigeria
11.Nadia Neia, Afghanistan                                                    12. Natalia Astimirova, Tchechnia
 
ECO/COM/SYS No.12=TIME ZONE No.12=Dec.
ECO/COM/SYS No.11=TIME ZONE No.11=Nov.
ECO/COM/SYS No.10=TIME ZONE No.10=Oct.
ECO/COM/SYS No.9=TIME ZONE No.9=Sep.
ECO/COM/SYS No.8=TIME ZONE No.8=Aug.
ECO/COM/SYS No.7=TIME ZONE No.7=Jul.
ECO/COM/SYS No.6=TIME ZONE No.6=Jun.
 
ECO/COM/SYS No.5=TIME ZONE No.5=May
 
ECO/COM/SYS No.4=TIME ZONE No.4=Apr.
 
ECO/COM/SYS No.3=TIME ZONE No.3=Mar.
 
ECO/COM/SYS No.2=TIME ZONE No.2=Feb.
 
ECO/COM/SYS No.1=TIME ZONE No.1=Jan.

 


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ECO/COM/SYS/MULTIMEDIA INST. WORKS/ or THE 4th D

While computer-art needs technical-data in order to work out a "work of art," the Ecological Communication System is a personal work, the accumulation of private and political information, as well as art, researched and worked out from an analytical and critical point of view.  Thus the data of Eco/Com/Systems are the conclusion-facts of such a work of art.  A computerized-technological society is an invasion of information, news, data; High-Tech society, is the abolishment of human capacities; physical & intellectual, involving participants in situ (as well as artists; since early '70's).  Home Made Computer was installed in 92 in Vendee, France (though, the first one was created already in 87).

FEMINIST CONSTRUCTIVISM=DECONSTRUCTIVISM

Art has stopped developing as an art-language since the beginning of this century with its last revolutionary movements; Cubism, Constructivism & The Bauhaus.  Last centuries' inventions: the cinema, T.V. and computers have not been taken in consideration as a challenge  and  not just as a mean, by to-days' artists.  For that reason, art remained behind the evolution of the media with its "entertainment business," growing beyond any proportion, while art remained orphan…The fact that women weren't present in art history has benefited us with a total freedom of exploration, in content, style and media; challenging art history; religion, society and the media. Thus the fourth dimension was born; a "stand-still-movie," a "living-T.V."  or Eco/Com/SYS."  While women's work is now being shown, the revolutionary work is omitted (being the continuation of the a.m. movements) a fact that demands changing the authoritarian art system.  M.S. 96*  (* M.S. was a founding member in mid '70's of an avant-garde decentralized feminist art group)

Le salon des Refuses & Documenta x ; 97

The greatest inventors in art, have been outcasts; unpopular, misunderstood & their art banned from fashionable art saloons; Carravagio, Van Gogh, Cezsanne, Manet, Courbet etc., not to mention the women artists banned altogether. This year’s Documenta, even though it stood for our norms in its concept, contradicted itself in its representation; under the moto of globalization all fields were put together under one roof ; architecture, films, bookstores & philosophers, while artists were used as mere illustrators to other’s ideas. The result was a poor visual presentation of objects mixed together, art & functional works; while feminism was present in politics, the artists were missing, Third World artists were present, but did not move away from their exotic stereotype. Film–Makers were commissioned & set up in specially designed space for Dx ( made by Dx people ). As an answer, we are opening the doors of LES REFUSES,* which, under one umbrella incorporates all issues, not as an illustration to an idea, but as theory & practice put together, from the perspective of arts. M.S. '97 * Our Multimedia Installation

 

 

EXILE   by Miriam Sharon / JUEDISCHE KUENSTLERINNEN* v. H. Brenner (January, 2005)

The importance of such a book, which came out this fall in Germany, is the Diaspora aspect of Jewishness in its global tendency; Multiculturalism, rather than nationalism, which led to the known Genocide in the Nazi era, H. Brenner asks in the introduction if artists will go on creating after Auschwitz; a question answered by the representation of women artists, who rehabilitated themselves spiritually & succeeded to undertake a reborn persona as creative artists, mainly in the Old New Land of Israel*, while carrying the burden of history, as I recalled in the following essay Exile, which tries to relate to the question of Homeland & Exile** in its up-to-date aspect. M.S., 05

*The nationalistic aspect of Zionism is the denial of diaspora, while accepting the native/Sabra one as the unique ism.
**The German group Women & Exile, mentioned in the book, have not yet acknowledged this new reality in Jewish creative art, which is the post Shoa era.

EXILE/ Jewish Women Artists

How can exile be associated to Israeli women artists with relation to Jewish women artists in general & American artists in particular ? Israeli women artists through their own choice &belief in their renewal in the land of Zion (Zionism) or through necessity had to, or dreamt of, an ideal place (a physical utopia) where they could become masters (mistresses) o their own fate & thus be able to rule their own lives without being a minority depending of the final decision-making of the ruling majority, as we have witnessed in the Final Solution decision-making at the Vensee Conference of Muenich, in 1942. The only way for survival for the German Jews was Palestine, where they were allowed to immigrate by the ruling Nazi regime, with their belongings (at a certain period, only); a fate not shared in Eastern Europe, where they were transferred to Ghetos first, to be followed by the well-known concentration camps. Thus more than 1500 villages & Jewish communities throughout Europe became extinct. Jewish women artists conscientiously & unconscientiously became impregnated by that fate that carried its marks & footsteps in today s contemporary art. Being a Jewish artists means working with the connotation of being a minority or with the specification of Jewish art & subject matters known as Judaica, or in a context of preservation. The Jewish women artists who have worked in a global Western manner (in this essay, we consider western aspects of art only) have gone beyond their Judaism as i.e. Frida Kahlo, & Louise Nevelson, or despite their Judaism, Nancy Spero; with their Judaism Mierele Ukeles-Laderman, etc. The Israeli women artists & American ones both represent the liberation from an oppressive past under European conventions, while differentiating in the matter of idealism or national liberation within the homeland, whose characteristic where those of exile per se. Israel thus meant the liberation to diaspora Jews, a haven to their endless tragedies, due to persecutions & dependence on oppressive rulers. The survivors of the European tragedy known as Holocaust, were brought to their ancient/new homeland, known as Erez Israel/Palestine, which by necessity became the liberating place of those survivors, who managed to exorcise a humiliating memory of decay & death into an eventual cultural revival. Here lies the paradox of survival & growth; oppression & renaissance; memory & forgetfulness leading to the abstraction of memory. All those facts created a new basis a foundation for a renewal of creativity, like a rebirth as represented by contemporary Israeli artists & with relation to Jewish women artists, who continued to live & work after the 2 WW. Personally, after having contributed in Israel & USA in feminist Avant-garde Art in the seventies, a committed art against sexism & racism, whose aim was to bridge among disparities, I had to find the path of exile, as that art was prohibited from being shown in Israel . M.S., 02

 

from:  Israeli Exile Group

PEACE PROPOSALS

From: THE COMMITTEE OF THE WISE ELDERLY WOMEN**

1. The Saoudien proposal: How should the real scenario have happened with relation to Arab summit in Beirut? Sharon should have accepted Arafat's travel, only if he had joined too. On return they should have started peace negotiations with American envoyee - Zini, instead of terrorist attacks and retaliations.

2. A Palestinian "Hostile State" to Israel in Gaza.
Arafat should move to his home in Gaza, where a State should be established; due to endless terrorist attacks only Gaza should be given as a Palestinian State, as it has proven to be hostile to Israel and there can't be two states as close as the West Bank and Israel, hostile to each other. The West Bank, on the other hand, should become a confederation together with Israel (as an example the United States of the Middle East) with Palestinian full rights and autonomy, as well as Israeli commitments to
refugees rights. All hostile Arab subjects would join in Gaza, with whom Israel will have no relations.

** M. Sharon In Exile; all artists have moved from one culture to another (compulsory) have been exiled, lived through Shoa and are now living through daily terror (in Israel) - therefore their message for peace is urgent and is a nucleus for further participation and extension of project. The peace proposals are brought by organizer and the MSAM (In Exile).

***  M. Sharon lives in exile, in a village in France, since 10 years, since her Multicultural - Art-Projects have been banned from art establishments in Israel;
she has issued a project and book "Changing the Art establishment System" on that issue, and has spent the last months in Israel experiencing daily terror.
This is a call for peace, against war! This project is in conjunction with H. Brenner's book; "Jewish Women Artists".

"EVENT" IS CALLED A TERRORIST ACT OF SUICIDE-BOMBERS. "EVENTS" WERE
CALLED MY ART-PROJECTS WHERE ART-WORKS WERE WORN ON BODIES AND
CARRIED OUT ART ACTIONS!!