Gaston Zvi Ickowicz

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	<title>Gaston Zvi Ickowicz</title>
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	<pubDate>Tue, 11 Mar 2025 16:00:30 +0000</pubDate>
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		<title>Home</title>
				
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		<pubDate>Wed, 27 May 2020 09:39:22 +0000</pubDate>

		<dc:creator>Gaston Zvi Ickowicz</dc:creator>

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		<title>Field</title>
				
		<link>https://gastonickowicz.com/Field</link>

		<pubDate>Mon, 17 Feb 2025 16:59:31 +0000</pubDate>

		<dc:creator>Gaston Zvi Ickowicz</dc:creator>

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&#60;img width="5906" height="8858" width_o="5906" height_o="8858" data-src="https://freight.cargo.site/t/original/i/a1e78f040c03f5fa5df3efb57e78f3ecdd623c26109cb715567536ff424d55c7/Object--3--2023-24.jpg" data-mid="226722704" border="0" alt="Object #3, 2023-24, Inkjet print, 30.5x45 cm" data-caption="Object #3, 2023-24, Inkjet print, 30.5x45 cm" src="https://freight.cargo.site/w/1000/i/a1e78f040c03f5fa5df3efb57e78f3ecdd623c26109cb715567536ff424d55c7/Object--3--2023-24.jpg" /&#62;
&#60;img width="5906" height="8859" width_o="5906" height_o="8859" data-src="https://freight.cargo.site/t/original/i/e54e4803bbbdfa52f1d85da3e755439bb5e6ebbe63ffa9687fa1c61e3f52c6fa/Object--4-2023-24.jpg" data-mid="226722705" border="0" alt="Object #4, 2023-24, Inkjet print, 30.5x45 cm" data-caption="Object #4, 2023-24, Inkjet print, 30.5x45 cm" src="https://freight.cargo.site/w/1000/i/e54e4803bbbdfa52f1d85da3e755439bb5e6ebbe63ffa9687fa1c61e3f52c6fa/Object--4-2023-24.jpg" /&#62;
&#60;img width="1772" height="2657" width_o="1772" height_o="2657" data-src="https://freight.cargo.site/t/original/i/262a1f0fc45d63223a2e2598cfc7e0e4edce115ad2621133743179f9cf537cc1/Object--5-2023-24.jpg" data-mid="226722708" border="0" alt="Object #5, 2023-24, Inkjet print, 30.5x45 cm" data-caption="Object #5, 2023-24, Inkjet print, 30.5x45 cm" src="https://freight.cargo.site/w/1000/i/262a1f0fc45d63223a2e2598cfc7e0e4edce115ad2621133743179f9cf537cc1/Object--5-2023-24.jpg" /&#62;
&#60;img width="2000" height="1334" width_o="2000" height_o="1334" data-src="https://freight.cargo.site/t/original/i/81fdd5007f0be62400bcaf0f6dbeb1f570ab0528aec0340efb3c766dac657db3/gaston_zvi_ickowicz13.jpg" data-mid="226722723" border="0" alt="Installation view, The Israel Museum, 2024-25. Photo: Tal Nisim" data-caption="Installation view, The Israel Museum, 2024-25. Photo: Tal Nisim" src="https://freight.cargo.site/w/1000/i/81fdd5007f0be62400bcaf0f6dbeb1f570ab0528aec0340efb3c766dac657db3/gaston_zvi_ickowicz13.jpg" /&#62;

	
	Field


In the months following October 7, photographer Gaston Zvi Ickowicz traveled repeatedly to the Gaza Envelope region, positioning his camera in the middle of a field. This was the field where participants of the Nova party fled from Hamas terrorists on that fateful morning, when sirens began blaring at 6:29 am. More than 1,200 people were massacred; 251 were abducted to the Gaza Strip, and as of this writing, many are still being held hostage there. In the field, Ickowicz turned his gaze to the rising sun – the dawn that was supposed to be the high point of the party but instead became the moment when terror engulfed the site. The place and time of the attack are the external points of reference of the exhibition Field, guiding the artist’s gaze at the landscape.


Since the early 2000s Ickowicz has been photographing the Israeli space in all its everyday complexity. Yet rather than documenting the destructive nature of the local political struggle, his work addresses the repercussions of the conflict on the landscape. He practices “landscape photography,” a seemingly objective form of expression that gains political meaning precisely from what is absent from it. It is this artistic strategy that Ickowicz applied to the wounded space left by the events of October 7. Unlike the brutal and psychologically overwhelming sequence of images etched in Israeli consciousness through news channels and social media, Ickowicz’s gaze is slow, measured, almost tranquil. The exhibition presents a “field” that is not only a physical space but also the site of a painful truth retained in the landscape, affording a different viewpoint on internal and external reality.


</description>
		
	</item>
		
		
	<item>
		<title>End of Hebron Road</title>
				
		<link>https://gastonickowicz.com/End-of-Hebron-Road</link>

		<pubDate>Tue, 11 Mar 2025 16:00:30 +0000</pubDate>

		<dc:creator>Gaston Zvi Ickowicz</dc:creator>

		<guid isPermaLink="true">https://gastonickowicz.com/End-of-Hebron-Road</guid>

		<description>End of Hebron Road
	
	
&#60;img width="2215" height="1772" width_o="2215" height_o="1772" data-src="https://freight.cargo.site/t/original/i/05d55915e58acb9210f7663cafc9a88225bc7219dd19eee75d6dc6f422fa083c/Gaston_1_5_22_2retouched-copy-2.jpg" data-mid="228052723" border="0" alt="End of Hebron Road, 2019-23, Inkjet print, 142x180 cm" data-caption="End of Hebron Road, 2019-23, Inkjet print, 142x180 cm" src="https://freight.cargo.site/w/1000/i/05d55915e58acb9210f7663cafc9a88225bc7219dd19eee75d6dc6f422fa083c/Gaston_1_5_22_2retouched-copy-2.jpg" /&#62;
&#60;img width="2362" height="1890" width_o="2362" height_o="1890" data-src="https://freight.cargo.site/t/original/i/2d4c3c50aa82ede135a3214c0275c1d42f00058ff0ced13190fe94560d5a65cb/Gaston_1_5_22_1Retouched-copy-2.jpg" data-mid="228052726" border="0" alt="End of Hebron Road, 2019-23, Inkjet print, 142x180 cm" data-caption="End of Hebron Road, 2019-23, Inkjet print, 142x180 cm" src="https://freight.cargo.site/w/1000/i/2d4c3c50aa82ede135a3214c0275c1d42f00058ff0ced13190fe94560d5a65cb/Gaston_1_5_22_1Retouched-copy-2.jpg" /&#62;
&#60;img width="2215" height="1772" width_o="2215" height_o="1772" data-src="https://freight.cargo.site/t/original/i/9841f32553b14675261413bfd9cc700cebed05fb286c6291dd757cacab4b9450/GastonMessi2-copy-2.jpg" data-mid="228052725" border="0" alt="End of Hebron Road, 2019-23, Inkjet print, 142x180 cm" data-caption="End of Hebron Road, 2019-23, Inkjet print, 142x180 cm" src="https://freight.cargo.site/w/1000/i/9841f32553b14675261413bfd9cc700cebed05fb286c6291dd757cacab4b9450/GastonMessi2-copy-2.jpg" /&#62;
&#60;img width="2215" height="1772" width_o="2215" height_o="1772" data-src="https://freight.cargo.site/t/original/i/e1344d294f25f84222dec4a1a057553a0935cb1dff35709b6646614dcd290486/GastonMessi1-copy-2.jpg" data-mid="228052724" border="0" alt="End of Hebron Road, 2019-23, Inkjet print, 142x180 cm" data-caption="End of Hebron Road, 2019-23, Inkjet print, 142x180 cm" src="https://freight.cargo.site/w/1000/i/e1344d294f25f84222dec4a1a057553a0935cb1dff35709b6646614dcd290486/GastonMessi1-copy-2.jpg" /&#62;
&#60;img width="2215" height="1743" width_o="2215" height_o="1743" data-src="https://freight.cargo.site/t/original/i/ae55f8d1283c74733dcdb74be39f42eecf21fd85f8a13709724e18bb7d27f6ba/1.jpg" data-mid="228054256" border="0" alt="End of Hebron Road, 2019-23, Inkjet print, 142x180 cm" data-caption="End of Hebron Road, 2019-23, Inkjet print, 142x180 cm" src="https://freight.cargo.site/w/1000/i/ae55f8d1283c74733dcdb74be39f42eecf21fd85f8a13709724e18bb7d27f6ba/1.jpg" /&#62;
&#60;img width="2215" height="1743" width_o="2215" height_o="1743" data-src="https://freight.cargo.site/t/original/i/b76e22b791aab60a1a2f15bea28f267c3d8987ce1779d82c4b40b7abb868ff00/2.jpg" data-mid="228054263" border="0" alt="End of Hebron Road, 2019-23, Inkjet print, 142x180 cm" data-caption="End of Hebron Road, 2019-23, Inkjet print, 142x180 cm" src="https://freight.cargo.site/w/1000/i/b76e22b791aab60a1a2f15bea28f267c3d8987ce1779d82c4b40b7abb868ff00/2.jpg" /&#62;

	
	End of Hebron Road

In the series End of Hebron Road, Gaston Zvi Ickowicz tells the story of the thousands of Palestinian laborers who cross from the West Bank into Israel each morning through Checkpoint 300 (Rachel Crossing). Rather than focusing on the workers, the checkpoint, or the soldiers, Ickowicz spends several years—sometimes shooting day after day—capturing a makeshift structure repeatedly built by one worker, Hamed Ahmed Saab Arhim Tura. The structure, constructed over and over again, is constantly dismantled by Israeli authorities, who prohibit construction in the area and the transfer of objects from the West Bank into Israel. Hamed arrives at the checkpoint around 2:30 AM to avoid the congestion and delays that follow. After crossing, he waits for hours until he is picked up for work in the morning. The structure serves as a temporary refuge during these long hours of waiting.


Like Hamed, who tirelessly rebuilds the temporary structure, Ickowicz returns again and again to photograph the same scene, capturing the structure after the workers have left the area. By choosing not to photograph the soldiers, workers, or the bustling checkpoint with its turnstiles and fences, Ickowicz shifts his focus away from the permanent elements of the checkpoint’s daily routine. Instead, he directs his gaze toward their reflections in the ever-changing images of the temporary structure, leaning against an olive tree.


The work was framed by a sound installation, a recording of Hamed’s monologue presenting his story in his own voice, describing his daily routine, arriving from his village to the tree. 


״Listen, I leave my house at 2:00, 2:30. By 3:00, 2:45, I'm already in the car. The car takes me from my house to here. Sometimes the road flows completely without any issues, and sometimes... sometimes there are heavy traffic jams. Sometimes we encounter a checkpoint, and they do inspections on us and let us through without any problems.


But where's the problem? The problem is at the crossing. We get here, to the crossing, early in the morning, sometimes it flows completely, and sometimes it's closed. When the crossing is closed, the workers start fighting. One breaks his arm, another breaks his ribs. Sometimes they close the gates, and then the problem arises. When the gate [where the workers enter] is left open, no problems occur at all. The workers pass through, and everything is fine. But where do we encounter the problem? We encounter the problem when they close the gate of the crossing. &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;


When they close the gate of the crossing, the workers—and I'm talking about 100,000 workers, 50,000 workers, 60,000, 70,000, I don't know exactly how many—enter, and a large crowd forms, and they start pushing each other. Then the workers create... create the chaos. The gate closure is the cause of the problem. We arrive here early, by 3:00 – 3:30, I'm already here, to avoid issues at the crossing. By 3:00 – 3:30, the crossing flows completely.


Now, as I said earlier, we come here to do a little... so we can provide for the children, [so we can] get by. That's our problem. Only the workers. Do you understand? Now we... when we enter from here... from here, the drive from my house to here takes between 40 to 50 minutes by car. Sometimes an hour, sometimes 30 minutes. It depends on the road situation.


After we leave the crossing, from here, we start on the way to work. We go down to [Begin Road], and from there, the boss's cars pick us up and take us to work. We usually work until 3:00 or 3:30. After 3:30, the boss picks us up from work and drops us off at the checkpoint here. Now, in the morning, at 3:30, he picks us up from here. At 4:00 or 5:00, he picks us up from here to work. We work until 3:00 – 3:30, and then we go back home.״ -&#38;nbsp;


Hamed Ahmed Saab


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	<item>
		<title>An Entirely Different Map of the Country</title>
				
		<link>https://gastonickowicz.com/An-Entirely-Different-Map-of-the-Country</link>

		<pubDate>Mon, 14 Nov 2022 19:01:18 +0000</pubDate>

		<dc:creator>Gaston Zvi Ickowicz</dc:creator>

		<guid isPermaLink="true">https://gastonickowicz.com/An-Entirely-Different-Map-of-the-Country</guid>

		<description>An Entirely Different Map of the Country


&#60;img width="2976" height="3000" width_o="2976" height_o="3000" data-src="https://freight.cargo.site/t/original/i/d799a38f79480f634210ad3766c14481d1e2c58754dfe891db250b6c7e2d73ed/stamp_1_9_.jpg" data-mid="159006476" border="0" alt="Landscape #2, (stamp printed circa 1970-1975), 2022, archival pigment print, 140 x 171cn" data-caption="Landscape #2, (stamp printed circa 1970-1975), 2022, archival pigment print, 140 x 171cn" src="https://freight.cargo.site/w/1000/i/d799a38f79480f634210ad3766c14481d1e2c58754dfe891db250b6c7e2d73ed/stamp_1_9_.jpg" /&#62;
&#60;img width="2976" height="3000" width_o="2976" height_o="3000" data-src="https://freight.cargo.site/t/original/i/c78785549253c35442fbc78024069f6aa89c96b1a20a2fd9ba1b994b46ec7be4/stamp_1_3.jpg" data-mid="159006474" border="0" alt="Landscape #5, (stamp printed circa 1970-1975), 2022, archival pigment print, 140 x 171cn" data-caption="Landscape #5, (stamp printed circa 1970-1975), 2022, archival pigment print, 140 x 171cn" src="https://freight.cargo.site/w/1000/i/c78785549253c35442fbc78024069f6aa89c96b1a20a2fd9ba1b994b46ec7be4/stamp_1_3.jpg" /&#62;
&#60;img width="2976" height="3000" width_o="2976" height_o="3000" data-src="https://freight.cargo.site/t/original/i/1b445fd041e65882b827df9271e784c65a05a83b951782683143839622b1cba4/stamp_1_5_.jpg" data-mid="159006475" border="0" alt="Landscape #1, (stamp printed circa 1970-1975), 2022, archival pigment print, 140 x 171cn" data-caption="Landscape #1, (stamp printed circa 1970-1975), 2022, archival pigment print, 140 x 171cn" src="https://freight.cargo.site/w/1000/i/1b445fd041e65882b827df9271e784c65a05a83b951782683143839622b1cba4/stamp_1_5_.jpg" /&#62;
&#60;img width="2000" height="1600" width_o="2000" height_o="1600" data-src="https://freight.cargo.site/t/original/i/dc2d94b02ad3b758589cce7ac32c681317dad5da8cb189309c3b10027cc529df/Gaston_17_8_22_0001_print2.jpg" data-mid="226718065" border="0" alt="Rachel&#38;rsquo;s Tomb, (Bethlehem) 2022, archival pigment print, 130 x 104 cm" data-caption="Rachel’s Tomb, (Bethlehem) 2022, archival pigment print, 130 x 104 cm" src="https://freight.cargo.site/w/1000/i/dc2d94b02ad3b758589cce7ac32c681317dad5da8cb189309c3b10027cc529df/Gaston_17_8_22_0001_print2.jpg" /&#62;
&#60;img width="2976" height="3000" width_o="2976" height_o="3000" data-src="https://freight.cargo.site/t/original/i/c4ef9dc37f4536a1ba534387c72f0e22973bdfc28a378a3b9a38f46ce47364da/stamp_1_2_.jpg" data-mid="159006473" border="0" alt="Landscape #3, (stamp printed circa 1970-1975), 2022, archival pigment print, 140 x 171cn" data-caption="Landscape #3, (stamp printed circa 1970-1975), 2022, archival pigment print, 140 x 171cn" src="https://freight.cargo.site/w/1000/i/c4ef9dc37f4536a1ba534387c72f0e22973bdfc28a378a3b9a38f46ce47364da/stamp_1_2_.jpg" /&#62;
&#60;img width="2000" height="1600" width_o="2000" height_o="1600" data-src="https://freight.cargo.site/t/original/i/a620b1102ee6aeff790e542868d6dc7ecb0210e6093d7b4ae81399e5bc3bebc3/Gaston_01_print2.jpg" data-mid="226718066" border="0" alt="At-Tur neighborhood (East Jerusalem) 2013, archival pigment print, 130 x 104 cm" data-caption="At-Tur neighborhood (East Jerusalem) 2013, archival pigment print, 130 x 104 cm" src="https://freight.cargo.site/w/1000/i/a620b1102ee6aeff790e542868d6dc7ecb0210e6093d7b4ae81399e5bc3bebc3/Gaston_01_print2.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/86648f295baf0982fb983d81ac4eb6f44862d61de90040a5a78ef0c372044b3d/--------------------3-copy.jpg" data-mid="159009880" border="0" alt="Installation view, An Entirely Different Map of the Country, Hamidrasha Gallery, The Aviv, 2021" data-caption="Installation view, An Entirely Different Map of the Country, Hamidrasha Gallery, The Aviv, 2021" src="https://freight.cargo.site/w/1000/i/86648f295baf0982fb983d81ac4eb6f44862d61de90040a5a78ef0c372044b3d/--------------------3-copy.jpg" /&#62;
&#60;img width="3000" height="2977" width_o="3000" height_o="2977" data-src="https://freight.cargo.site/t/original/i/a6438140f921d4bbaa0afcec3715865e8e3cec0807ca5e687d9463a8a6aa676e/SCAN_1_6.jpg" data-mid="159255423" border="0" alt="Landscape #4, (stamp printed circa 1970-1975), 2022, archival pigment print, 140 x 171cn" data-caption="Landscape #4, (stamp printed circa 1970-1975), 2022, archival pigment print, 140 x 171cn" src="https://freight.cargo.site/w/1000/i/a6438140f921d4bbaa0afcec3715865e8e3cec0807ca5e687d9463a8a6aa676e/SCAN_1_6.jpg" /&#62;
&#60;img width="3000" height="3009" width_o="3000" height_o="3009" data-src="https://freight.cargo.site/t/original/i/6b9eb816e778b975bfbf65032252924b8412f606fd816a2ed9055bb5711aaf51/SCAN_1_10.jpg" data-mid="159256566" border="0" alt="Landscape #6, (stamp printed circa 1970-1975), 2022, archival pigment print, 140 x 171cn" data-caption="Landscape #6, (stamp printed circa 1970-1975), 2022, archival pigment print, 140 x 171cn" src="https://freight.cargo.site/w/1000/i/6b9eb816e778b975bfbf65032252924b8412f606fd816a2ed9055bb5711aaf51/SCAN_1_10.jpg" /&#62;
&#60;img width="2951" height="2407" width_o="2951" height_o="2407" data-src="https://freight.cargo.site/t/original/i/15b7a5d287a85b9362dca04d90b03fa57f0bf6fbe3780f603fc3eccf8308b368/000047160006.jpg" data-mid="159264520" border="0" alt="Rachel&#38;rsquo;s Tomb, (Bethlehem) 2023, archival pigment print, 130 x 104 cm" data-caption="Rachel’s Tomb, (Bethlehem) 2023, archival pigment print, 130 x 104 cm" src="https://freight.cargo.site/w/1000/i/15b7a5d287a85b9362dca04d90b03fa57f0bf6fbe3780f603fc3eccf8308b368/000047160006.jpg" /&#62;
&#60;img width="2951" height="2407" width_o="2951" height_o="2407" data-src="https://freight.cargo.site/t/original/i/7364b45ac99fec95baad0b697ca61c65d496e7ff470a119efdc6ec3f00b61420/000047150001.jpg" data-mid="159264532" border="0" alt="Rachel&#38;rsquo;s Tomb, (Bethlehem) 2022, archival pigment print, 130 x 104 cm" data-caption="Rachel’s Tomb, (Bethlehem) 2022, archival pigment print, 130 x 104 cm" src="https://freight.cargo.site/w/1000/i/7364b45ac99fec95baad0b697ca61c65d496e7ff470a119efdc6ec3f00b61420/000047150001.jpg" /&#62;


	An Entirely Different Map of the Country

The starting point of Gaston Zvi Ickowicz's exhibit is a series of stamps/labels issued by the Popular Front for the Liberation of Palestine in the early 1970s, right after the 1967 occupation, when the first settlements began to be built. By scanning and printing, Ickowicz turned them from miniature items into large-scale landscape photographs. Unlike touristic postcards that usually focus on places and sites of religious, political or historic importance, such as the Al-Aqsa Mosque in Jerusalem or the Church of Annunciation in Nazareth, the creators of the stamps/labels chose to present generic and unidentified places, everyday landscapes like a neighborhood, orchard or field.

Alongside the enlarged stamps/labels, and in addition to two photos he took himself&#38;nbsp; - one at Rachel's Tomb, that was separated by a wall from Bethlehem and annexed to Israel, and the other in Jerusalem (the A-Tur neighborhood), facing the Jewish settlement in the middle of the neighborhood - Ickowicz displays on tables a number of items from his personal archive of stamps, labels and envelopes. Among the displayed items are envelopes produced by Israeli agencies in 1967 in honor of the opening of post office branches in the occupied territories, under the auspices of the Israel Defense Forces. These envelopes indicate the beginning of the military occupation and Israeli control of the territories of Judea and Samaria, and carry the stamp of the IDF. They show images of villages and the local population. Next to the Israeli envelopes are Palestinian stamps/labels from different time periods, from the 1970s through the Oslo Accords and the establishment of the Palestinian Authority and to the present. In most of the cases they are not ordinary stamps meant for use, but labels issued by official or private parties as a means of propaganda or fundraising.


Ickowicz presents a multilayered rather than linear picture of the visual conflicts over the landscape, the borders and the history of Israel/Palestine. He draws our attention to the fact that the Israeli-Palestinian conflict is expressed through an attempt to control the everyday landscape and not just the holy one, to establish outline plans, annex territories and occupy land in order to control the map, or, if we go back to Ariel Sharon's promise in the early 1980s, to leave "an entirely different map of the country.“


Curator: Avi Lubin 


</description>
		
	</item>
		
		
	<item>
		<title>Masada</title>
				
		<link>https://gastonickowicz.com/Masada-1</link>

		<pubDate>Fri, 08 Jul 2022 10:59:06 +0000</pubDate>

		<dc:creator>Gaston Zvi Ickowicz</dc:creator>

		<guid isPermaLink="true">https://gastonickowicz.com/Masada-1</guid>

		<description>Massada
	
	
&#60;img width="3000" height="2384" width_o="3000" height_o="2384" data-src="https://freight.cargo.site/t/original/i/43a527ee16b6e8e51490eb4ed2f3c0967aec716f68cbf9383fd4352b1a0aedf9/1.jpg" data-mid="158962595" border="0" alt="The Annual Exhibition (Masada Scouts Troop), 2010, archival pigment print, 98.4 x 121.4 cm" data-caption="The Annual Exhibition (Masada Scouts Troop), 2010, archival pigment print, 98.4 x 121.4 cm" src="https://freight.cargo.site/w/1000/i/43a527ee16b6e8e51490eb4ed2f3c0967aec716f68cbf9383fd4352b1a0aedf9/1.jpg" /&#62;
&#60;img width="3000" height="2384" width_o="3000" height_o="2384" data-src="https://freight.cargo.site/t/original/i/94347b73b59f4eabc039f0937fca857cb9862a4990101444bbd8898da739297d/2.jpg" data-mid="158962596" border="0" alt="The Annual Exhibition (Masada Scouts Troop), 2019, archival pigment print, 98.4x121.4 cm" data-caption="The Annual Exhibition (Masada Scouts Troop), 2019, archival pigment print, 98.4x121.4 cm" src="https://freight.cargo.site/w/1000/i/94347b73b59f4eabc039f0937fca857cb9862a4990101444bbd8898da739297d/2.jpg" /&#62;
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&#60;img width="3000" height="1987" width_o="3000" height_o="1987" data-src="https://freight.cargo.site/t/original/i/13409115b82fea0cbc01450345d413ae2db895ba45fc3631b22c78e8fcb53397/_DSC1978.jpg" data-mid="158962609" border="0" alt=" Installation view, Masada, Schechter gallery Tel Aviv, 2021" data-caption=" Installation view, Masada, Schechter gallery Tel Aviv, 2021" src="https://freight.cargo.site/w/1000/i/13409115b82fea0cbc01450345d413ae2db895ba45fc3631b22c78e8fcb53397/_DSC1978.jpg" /&#62;
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Masada, 2010-2020, three - channel video, single-channel sound, 05:02 min

	
	Masada
Every year, the members of the Masada scout tribe in Jerusalem spend several months planning a special Memorial-Day ceremony. Considered the climax of the tribe’s annual activities, the ceremony is attended by the bereaved families of former scouts fallen in Israel’s wars or killed in terrorist attacks; current members of the tribe; and residents of the surrounding neighborhood. In preparation for the ceremony, the adolescent scout members form think teams responsible for planning small exhibitions, staging a ceremony, and preparing fire inscriptions concerned with remembrance.

One past exhibition, concerned with the Hebrew word halal (which refers both to a soldier fallen in battle and to an empty space), was described as follows by one of the scouts: “This exhibition is concerned with the emptiness experienced by the family who has lost a soldier. It underscores the emptiness in the fallen soldier’s room, in contrast to the life that continues to unfold in the other rooms in the home.

”Over the course of the past decade, Gaston Zvi Ickowicz repeatedly visited the Masada tribe, located inJerusalem’s Valley of the Cross. He intentionally returned there on the day following Memorial Day – a day on which the exhibitions remained orphaned, the tightly stretched banners grew loose, the incinerated fire inscriptions were black with soot, and the wind was the only visitor at the site. His camera captured the remains of the ceremony and the exhibitions, constructed by amateur hands that had greatly invested in them. Among the captured exhibits is the site of a suicide bombing composed of sponges, Styrofoam and an abandoned bag, alongside a poem written by the scouts: “I understand that my father … / Can one say that he has grown? / Where can he be found? / In what dimension of time?” Another image captures silhouettes of armed soldiers, alongside an engraved poem by Yehuda Amichai: “A man leaves a house / but the house does not leave the man / it remains on his walls and accrues to what hangs on them . . . ” A number of the exhibits do not spare the audience – such as the decapitated solider standing with his hand still raised in the air, alongside the figure of a fallen soldier covered in a stretch of burlap. Also included is footage from the ceremony itself, in which the scouts appear standing formally, reading various texts or lighting memorial torches.

The images in this exhibition are suffused with Israeli symbols, which bespeak the powerful role of Israel’sMemorial Day in shaping local society through clearly defined behavioral codes designed to reinforce a sense of solidarity and collective responsibility. The uniforms worn by youth-movement members and soldiers, the Stars of David constructed out of wooden poles, and the ceremonial atmosphere are pervasive. The title of the exhibition, borrowed from the name of the scouts tribe – Masada – alludes to one of the central myths of heroism rooted in Israeli collective consciousness. The educational manuals printed by local youth movements in the early years of Israeli statehood discussed this myth by underlining the preference for dying as free men, rather than succumbing to a life of slavery and torture, which would have been the lot of the besieged Jews had they capitulated. The Valley of the Cross, where the scout tribe is located, adds another mythical, religious dimension to the exhibition themes. By means of the subtitles, based on comments that appeared on the online chat during last year’s memorial ceremony (broadcast on Zoom), Ickowicz undermines the decades-long message of solidarity and collective responsibility. The scouts, who are used to ceremonial formations, uniforms and discipline, chitchat on the screen in the course of the ceremony and complain of being bored. The counselors’ predictable response is to admonish the unruly participants, noting that their behavior does not accord with the gravity of the event.

This exhibition raises complex, difficult, painful questions that provoke an emotional response, especially among the members of bereaved families. The traditional Memorial-Day ceremonies conducted by the Masada Tribe in Jerusalem unequivocally represent the Zionist ethos: a soldier fallen while on duty is a hero, and his family is sanctified. How does this long-term concern with death impact the adolescent scout members? Do they not become apathetic to this tragic subject, turning all of their attention to the success of their commemoration project? And what about the possible role of critical thinking in preparing for Memorial Day, and its expression in the exhibitions themselves? Ickowicz’s artistic practice points to the traces of this event, combining different temporal moment sand observing its aftermath with a subtle gaze, one that implicitly calls for a discussion and a clarification of what is unfolding outside the frame.


Exhibition Curator: Shira Friedman

	
</description>
		
	</item>
		
		
	<item>
		<title>Whirlwind</title>
				
		<link>https://gastonickowicz.com/Whirlwind</link>

		<pubDate>Fri, 21 Aug 2020 12:48:08 +0000</pubDate>

		<dc:creator>Gaston Zvi Ickowicz</dc:creator>

		<guid isPermaLink="true">https://gastonickowicz.com/Whirlwind</guid>

		<description>Whirlwind


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&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/be9a841ce4e7dabd2d70603c77467a024fffb4622377a5459ed0e1fa9db73b20/2.jpg" data-mid="80482654" border="0" alt="Untitled (Simsim), 2018, archival pigment print, 90.5x134 cm" data-caption="Untitled (Simsim), 2018, archival pigment print, 90.5x134 cm" src="https://freight.cargo.site/w/1000/i/be9a841ce4e7dabd2d70603c77467a024fffb4622377a5459ed0e1fa9db73b20/2.jpg" /&#62;
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&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/f6aab87622e864fed613fe095d0c47eed45b3ba1cef09e9529748f1c69c220f7/10A.jpg" data-mid="80482933" border="0" alt="Whirlwind, 2018, archival pigment print, 26x39 cm" data-caption="Whirlwind, 2018, archival pigment print, 26x39 cm" src="https://freight.cargo.site/w/1000/i/f6aab87622e864fed613fe095d0c47eed45b3ba1cef09e9529748f1c69c220f7/10A.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/bb5d0b2f873c14970794e932131feaf84523f8daf31cabb669ac15b791e2f37b/11A.jpg" data-mid="80482934" border="0" alt="Whirlwind, 2018, archival pigment print, 26x39 cm" data-caption="Whirlwind, 2018, archival pigment print, 26x39 cm" src="https://freight.cargo.site/w/1000/i/bb5d0b2f873c14970794e932131feaf84523f8daf31cabb669ac15b791e2f37b/11A.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/8a7ab4ee9ec9e77a2db80b5ed31f9dd007a3d1033a3ee841e66b5ddd1d9a76c3/12A.jpg" data-mid="80482935" border="0" alt="Whirlwind, 2018, archival pigment print, 26x39 cm" data-caption="Whirlwind, 2018, archival pigment print, 26x39 cm" src="https://freight.cargo.site/w/1000/i/8a7ab4ee9ec9e77a2db80b5ed31f9dd007a3d1033a3ee841e66b5ddd1d9a76c3/12A.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/4df28ef3daf9a934a2817d524e7d1d3a1d3a786e006a69747f5f2059feab390b/8B0A4960-1.jpg" data-mid="80483306" border="0" alt=" Installation view, Whirlwind, Herzliya Museum of Contemporary Art, 2019" data-caption=" Installation view, Whirlwind, Herzliya Museum of Contemporary Art, 2019" src="https://freight.cargo.site/w/1000/i/4df28ef3daf9a934a2817d524e7d1d3a1d3a786e006a69747f5f2059feab390b/8B0A4960-1.jpg" /&#62;


Kites, 2018 (Excerpt)Single-channel HD Video, four sound channels, 6 min 45 sec, looped

	
Sunset Over Gaza, 2018 (Excerpt)Single-channel HD Video, 2 min 28 sec, loopedVideography: Roee Edan, Ynet
	

	Whirlwind

The “Whirlwind” project by Gaston Zvi Ickowicz (b. 1974) was created in a series of visits by the artist to the northern part of the “Gaza Envelope” area between March and October 2018. That period saw the beginning of a new stage in the struggle by the residents of the Gaza Strip against the Israeli siege of the area: tens of thousands of people took part in “marches of return” and demonstrations near the fence, in which Palestinian kites and balloons carrying flammable materials were released toward the Israeli side of the fence. After preliminary tours of the area, Ickowicz began photographing lands that had been set on fire by these burning kites near the kibbutzim Or Haner and Gvar’am, and the ruins of the Palestinian villages of Simsim, Najd and Al-Mansurah. The fire destroyed the vegetation surrounding the rubble and building ruins of the Palestinian villages, making them stand out; the scorched earth left behind by the fire gave them new visibility. A stray whirlwind of wind that suddenly passed by seemingly encapsulated the essence of the project: unexpected, at the mercy of the whims of nature and time, trying to capture the air currents and their attendant winds; a documentation of an event that is at once unfolding in real-time before the camera and eluding it; an attempt, through the image, to grasp the past and the present that co-exist at the same time.
The series of photographs, “Untitled (Simsim, Najd and Al-Mansurah),” documenting the ruins of the villages that were destroyed in 1948, was photographed by Ickowicz with a simple film camera, using film stock that he had collected over the years. The unexpected materiality of the film – a product of the length of time that has elapsed since its production and its storage conditions – is well suited to the material nature of photographed objects, as it gives the history of the destroyed buildings a grainy and tactile quality. The past is apparent in them not only as content, but as material. Although most of the surviving original inhabitants of the villages currently live in the Jabalia refugee camp (not far from their destroyed homes), Ickowicz’s photographs give the remains an a-historical status and metaphysical quality – much like many mid-nineteenth century photographs of ruins, or perhaps Roger Fenton’s seminal photograph, Valley of the Shadow of Death (1855). The history that emerges from these photographs appears to be inaccessible, seemingly detached from the present.
This mode of photography is at odds with the politically charged overtones that erupt from the pictured landscape: while Ickowicz was working on the project, the area in question was at the center of news attention in Israel. The burned tracts of land became the new front of the Palestinian struggle for liberation. Kites and balloons – which previously had been linked to notions such as childhood, innocence, and play – became devices of armed struggle. The here-and-now are present in the photographs, and convey a sense of unease. As historian Boaz Neumann notes, Ickowicz “knows how to focus his camera not only at geological, archeological, and historical time, but also at the conflict-ridden present. The emotional ambivalence and critical distance that characterize Ickowicz’s photographic work serve here to render present, in a single image, the tension between the past and the present.
The video work Kites (Simsim), intensifies this tension by explicitly alluding to the movement of a burning kite as it sets fire to a field. Here, the kite (an uncontrollable aerial device that is entirely at the mercy of the wind) is replaced by a UAV (unmanned aerial vehicle) – a remotely operated aerial device, equipped with vision technologies developed for military purposes, designed to monitor, supervise, and control a given space. In the video, we see it taking off from a well that stood at the center of the village – for a moment you can see the jets of air created by its small but powerful propellers – and surveying the scorched earth and the ruins of the houses with its camera, re-marking the impacted area. The view from above flattens several layers of history – an archeological mound of violence – while contrasting the tangible spatial features against the abstract image created by the aerial perspective. It is a view that orders the space for us as much as it conceals it.
The Whirlwind (Simsim) series of photographs traces the whirlwind of air that formed during the filming. We watch as it flits between the scorched land and adjacent agricultural areas. Chasing while being chased, it introduces a dimension of uncontrollable drama into the seemingly static space. The lingering nature of Ickowicz’s photography renders the whirlwind a kind of symbolic expression of invisible forces operating in the material space, among the ruins and scorched remains, overshadowed by signs of violence.
Ickowicz edited the video titled Sunset Over Gaza from one of the live broadcasts put out by the Israeli news website Ynet as part of its ongoing documentation of events along the border with the Gaza Strip and the surrounding region. These live broadcasts are characterized by unusually long duration, which allow unexpected elements to suddenly appear in the picture, without prior planning and completely unrelated to the event the broadcast sought to record. From the sequence of broadcasts, Ickowicz extracts certain shots which cannot be described as anything but landscape photography: a sunset over the Gaza Strip. Like the Whirlwind (Simsim) series, this work, too, is an observation of a scene of violence which seeks to render present precisely something that crops up seemingly at random and then slips away. Like the shimmering haze that rises from the ground, or like specters, the works in this exhibition create a whirlwind that swirls together the visible and the invisible, past and present, return and war.

Exhibition Curator: Gilad Reich

	
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		<title>Nesting</title>
				
		<link>https://gastonickowicz.com/Nesting</link>

		<pubDate>Fri, 21 Aug 2020 13:01:54 +0000</pubDate>

		<dc:creator>Gaston Zvi Ickowicz</dc:creator>

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		<description>Nesting

	
&#60;img width="3000" height="2414" width_o="3000" height_o="2414" data-src="https://freight.cargo.site/t/original/i/37d1bdfd68cca5abb06cef710a15885f8d05607c7a64ed014c3ed89c44d2ec5c/gaston_1433_07.jpg" data-mid="80484060" border="0" alt="Planting #9, 2016, archival pigment prints, 43.5x53.5 cm" data-caption="Planting #9, 2016, archival pigment prints, 43.5x53.5 cm" src="https://freight.cargo.site/w/1000/i/37d1bdfd68cca5abb06cef710a15885f8d05607c7a64ed014c3ed89c44d2ec5c/gaston_1433_07.jpg" /&#62;
&#60;img width="3000" height="2414" width_o="3000" height_o="2414" data-src="https://freight.cargo.site/t/original/i/c4a176b9b4522f5f362b74df8c2d34c826014cf631bdbf22e2c909d989211338/gaston_000_03.jpg" data-mid="80484052" border="0" alt="Planting #7, 2016, archival pigment prints, 43x53.5 cm" data-caption="Planting #7, 2016, archival pigment prints, 43x53.5 cm" src="https://freight.cargo.site/w/1000/i/c4a176b9b4522f5f362b74df8c2d34c826014cf631bdbf22e2c909d989211338/gaston_000_03.jpg" /&#62;
&#60;img width="3000" height="2414" width_o="3000" height_o="2414" data-src="https://freight.cargo.site/t/original/i/2fdfc2fd3c1fc912896d9454c4059130c0d633018e8a68b34aed771bd29097d9/gaston_0652_01.jpg" data-mid="80484058" border="0" alt="Planting #1, 2016, archival pigment prints, 43.5x53.5 cm" data-caption="Planting #1, 2016, archival pigment prints, 43.5x53.5 cm" src="https://freight.cargo.site/w/1000/i/2fdfc2fd3c1fc912896d9454c4059130c0d633018e8a68b34aed771bd29097d9/gaston_0652_01.jpg" /&#62;
&#60;img width="3000" height="2414" width_o="3000" height_o="2414" data-src="https://freight.cargo.site/t/original/i/ed83f821ca439fc1b0b93ffe824522599e8f787c5af3a17c0b1084ce27de3f05/gaston_1431_10.jpg" data-mid="80484059" border="0" alt="Planting #8, 2016, archival pigment prints, 43x53.5 cm" data-caption="Planting #8, 2016, archival pigment prints, 43x53.5 cm" src="https://freight.cargo.site/w/1000/i/ed83f821ca439fc1b0b93ffe824522599e8f787c5af3a17c0b1084ce27de3f05/gaston_1431_10.jpg" /&#62;
&#60;img width="3000" height="2414" width_o="3000" height_o="2414" data-src="https://freight.cargo.site/t/original/i/37fa626c4f020684163afbeb42429123665ad0cd1c781db50645dbc0042af808/gaston_01_05.jpg" data-mid="80484055" border="0" alt="Planting #3, 2016, archival pigment prints, 43x53.5 cm" data-caption="Planting #3, 2016, archival pigment prints, 43x53.5 cm" src="https://freight.cargo.site/w/1000/i/37fa626c4f020684163afbeb42429123665ad0cd1c781db50645dbc0042af808/gaston_01_05.jpg" /&#62;
&#60;img width="3000" height="2414" width_o="3000" height_o="2414" data-src="https://freight.cargo.site/t/original/i/a124a049cc8838e7f7b230add5c09337b865ae9704e71c79d7638538b039cb3e/gaston_1435_07.jpg" data-mid="80484061" border="0" alt="Planting #6, 2016, archival pigment prints, 43x53.5 cm" data-caption="Planting #6, 2016, archival pigment prints, 43x53.5 cm" src="https://freight.cargo.site/w/1000/i/a124a049cc8838e7f7b230add5c09337b865ae9704e71c79d7638538b039cb3e/gaston_1435_07.jpg" /&#62;
&#60;img width="3000" height="2414" width_o="3000" height_o="2414" data-src="https://freight.cargo.site/t/original/i/b03db0ee70fa2ca2bf1a3d39ff0f9d8390dac3c98442339288a41dad2e67da55/gaston_0651_03.jpg" data-mid="80484057" border="0" alt="Planting #2, 2016, archival pigment prints, 43x53.5 cm" data-caption="Planting #2, 2016, archival pigment prints, 43x53.5 cm" src="https://freight.cargo.site/w/1000/i/b03db0ee70fa2ca2bf1a3d39ff0f9d8390dac3c98442339288a41dad2e67da55/gaston_0651_03.jpg" /&#62;
&#60;img width="3000" height="2414" width_o="3000" height_o="2414" data-src="https://freight.cargo.site/t/original/i/ca06255cd7b81fb80a72c64f36d62da0fb1788ab6b80e71afa3c36128e40b6da/gaston_000_011.jpg" data-mid="80484053" border="0" alt="Planting #5, 2016, archival pigment prints, 43x53.5 cm" data-caption="Planting #5, 2016, archival pigment prints, 43x53.5 cm" src="https://freight.cargo.site/w/1000/i/ca06255cd7b81fb80a72c64f36d62da0fb1788ab6b80e71afa3c36128e40b6da/gaston_000_011.jpg" /&#62;
&#60;img width="3000" height="2275" width_o="3000" height_o="2275" data-src="https://freight.cargo.site/t/original/i/a991c8fef05c961c428581e0d6a5b662fd4750467852b2e5f01f193fc94e6c57/goblen_15.jpg" data-mid="80484989" border="0" alt=" Embroidery Patterns, 2016, archival pigment print, 87x112 cm The Dome of the Rock &#38;ldquo;The windows with 833, the contours at the base of the building with 3022, the lines on both sides of the dome with 747, the window-line with 3021, the lines on top of the dome with 725&#38;rdquo;" data-caption=" Embroidery Patterns, 2016, archival pigment print, 87x112 cm The Dome of the Rock “The windows with 833, the contours at the base of the building with 3022, the lines on both sides of the dome with 747, the window-line with 3021, the lines on top of the dome with 725”" src="https://freight.cargo.site/w/1000/i/a991c8fef05c961c428581e0d6a5b662fd4750467852b2e5f01f193fc94e6c57/goblen_15.jpg" /&#62;
&#60;img width="3000" height="2275" width_o="3000" height_o="2275" data-src="https://freight.cargo.site/t/original/i/b3cf8ca54892ae8be2c372c4b42851caf0aada2a4d384a70f35dea1e66e53533/goblen_03-line-fix.jpg" data-mid="80484986" border="0" alt="Embroidery Patterns, 2016, archival pigment print, 87x112 cm Damascus Gate  &#38;ldquo;The lines of the battlements with 801&#38;rdquo;" data-caption="Embroidery Patterns, 2016, archival pigment print, 87x112 cm Damascus Gate  “The lines of the battlements with 801”" src="https://freight.cargo.site/w/1000/i/b3cf8ca54892ae8be2c372c4b42851caf0aada2a4d384a70f35dea1e66e53533/goblen_03-line-fix.jpg" /&#62;
&#60;img width="3000" height="2275" width_o="3000" height_o="2275" data-src="https://freight.cargo.site/t/original/i/7fc901dcee6bce923c3403109f04ef28fe04b43d60d27f0eaf5c42203b3886b8/goblen_04.jpg" data-mid="80484987" border="0" alt="Embroidery Patterns,2016, archival pigment print, 87x112 cm  The Citadel &#38;ndash; Tower of David" data-caption="Embroidery Patterns,2016, archival pigment print, 87x112 cm  The Citadel – Tower of David" src="https://freight.cargo.site/w/1000/i/7fc901dcee6bce923c3403109f04ef28fe04b43d60d27f0eaf5c42203b3886b8/goblen_04.jpg" /&#62;
&#60;img width="3000" height="2275" width_o="3000" height_o="2275" data-src="https://freight.cargo.site/t/original/i/0d473e36829601ebd95eadb11e7226a18c2282a3d2fc3fec211da646076f2059/goblen_10_100-line-fix.jpg" data-mid="80484988" border="0" alt="Embroidery Patterns, 2016, archival pigment print, 87x112 cm The Western Wall &#38;ldquo;The fence in the foreground with 844, the table legs with 869&#38;rdquo;  " data-caption="Embroidery Patterns, 2016, archival pigment print, 87x112 cm The Western Wall “The fence in the foreground with 844, the table legs with 869”  " src="https://freight.cargo.site/w/1000/i/0d473e36829601ebd95eadb11e7226a18c2282a3d2fc3fec211da646076f2059/goblen_10_100-line-fix.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/5cc3fd10fc8f4f9e5fa0d186a86076516fbaa69a7df101935d8fe30da14f83a9/_MG_4199-1-copy.jpg" data-mid="80485947" border="0" alt="Installation view Nesting, CCA, Tel Aviv, 2016" data-caption="Installation view Nesting, CCA, Tel Aviv, 2016" src="https://freight.cargo.site/w/1000/i/5cc3fd10fc8f4f9e5fa0d186a86076516fbaa69a7df101935d8fe30da14f83a9/_MG_4199-1-copy.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/7f27593d42a5d1f713d36f376199cc35132d1a3e95440445913239a0aa50f760/_MG_4218-1-copy.jpg" data-mid="80485950" border="0" alt="Installation view Nesting, CCA, Tel Aviv, 2016" data-caption="Installation view Nesting, CCA, Tel Aviv, 2016" src="https://freight.cargo.site/w/1000/i/7f27593d42a5d1f713d36f376199cc35132d1a3e95440445913239a0aa50f760/_MG_4218-1-copy.jpg" /&#62;
&#60;img width="1800" height="2438" width_o="1800" height_o="2438" data-src="https://freight.cargo.site/t/original/i/9389bb08558cd8126b90d1f8bdc77c8ce9288bb68320581eab1ab619860621c7/F.jpg" data-mid="80483690" border="0" alt="&#38;ldquo;Chronicle of Change&#38;rdquo;, Postage Stamps of the Palestinian Authority: &#38;ldquo;Monuments,&#38;rdquo; 1994 &#38;ndash; Dome of the Rock, 2016, archival pigment prints, 37x56 cm" data-caption="“Chronicle of Change”, Postage Stamps of the Palestinian Authority: “Monuments,” 1994 – Dome of the Rock, 2016, archival pigment prints, 37x56 cm" src="https://freight.cargo.site/w/1000/i/9389bb08558cd8126b90d1f8bdc77c8ce9288bb68320581eab1ab619860621c7/F.jpg" /&#62;
&#60;img width="1326" height="1800" width_o="1326" height_o="1800" data-src="https://freight.cargo.site/t/original/i/f28e0064cb2e7864c60959762525b774a4a294510aeba52580808e0ed8c3b9d5/G.jpg" data-mid="80483691" border="0" alt="&#38;ldquo;Chronicle of Change&#38;rdquo;, Postage Stamps of the Palestinian Authority: &#38;ldquo;Views of Historical Towns,&#38;rdquo; 1997 &#38;ndash; Gaza,  2016, archival pigment prints, 37x56 cm" data-caption="“Chronicle of Change”, Postage Stamps of the Palestinian Authority: “Views of Historical Towns,” 1997 – Gaza,  2016, archival pigment prints, 37x56 cm" src="https://freight.cargo.site/w/1000/i/f28e0064cb2e7864c60959762525b774a4a294510aeba52580808e0ed8c3b9d5/G.jpg" /&#62;
&#60;img width="2215" height="3000" width_o="2215" height_o="3000" data-src="https://freight.cargo.site/t/original/i/6f5651a3e26ed84c4337183981e7c70b8d576f75052e9d75880491a7731cd87d/small.jpg" data-mid="149209900" border="0" alt="&#38;ldquo;Chronicle of Change&#38;rdquo;, Postage Stamps of the Palestinian Authority: &#38;ldquo;Baal,&#38;rdquo; 1998 (Block),  2016, archival pigment prints, 37x56 cm" data-caption="“Chronicle of Change”, Postage Stamps of the Palestinian Authority: “Baal,” 1998 (Block),  2016, archival pigment prints, 37x56 cm" src="https://freight.cargo.site/w/1000/i/6f5651a3e26ed84c4337183981e7c70b8d576f75052e9d75880491a7731cd87d/small.jpg" /&#62;
&#60;img width="1800" height="1407" width_o="1800" height_o="1407" data-src="https://freight.cargo.site/t/original/i/2d0933289cf34f03d55ed86e4a8fd5410b0a6bb68ea426ded1b4613ac99958cb/E.jpg" data-mid="80483689" border="0" alt="&#38;ldquo;Chronicle of Change&#38;rdquo;, Postage Stamps of the British-Mandated Territory of Palestine: Rachel's Tomb, Tower of David, 1927, 2016, archival pigment prints, 32x44 cm" data-caption="“Chronicle of Change”, Postage Stamps of the British-Mandated Territory of Palestine: Rachel's Tomb, Tower of David, 1927, 2016, archival pigment prints, 32x44 cm" src="https://freight.cargo.site/w/1000/i/2d0933289cf34f03d55ed86e4a8fd5410b0a6bb68ea426ded1b4613ac99958cb/E.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/a5a171dbf7085b6384b4cf678ca8b4e2db287b6b4040a0a709eb8e302f8233b9/_MG_4212-1-copy.jpg" data-mid="80485949" border="0" alt="Installation view Nesting, CCA, Tel Aviv, 2016" data-caption="Installation view Nesting, CCA, Tel Aviv, 2016" src="https://freight.cargo.site/w/1000/i/a5a171dbf7085b6384b4cf678ca8b4e2db287b6b4040a0a709eb8e302f8233b9/_MG_4212-1-copy.jpg" /&#62;

	
The City of Rawabi, 2016, Five channels High Definition Video, 5 sound channels, 22:36 minutes


Nesting

Gaston Zvi Ickowicz’s exhibition explores the construction processes of nesting and raises questions as to their affinity with the establishment of nationality, tradition, and cultural identity. At the center of the exhibition is a five-channel video installation, The City of Rawabi (2016). Each of its five screens depicts a single stonemason as he chisels the local stones used to clad the buildings of the first modern Palestinian city in the West Bank with a “traditional” façade.


 The upstairs gallery includes the Planting 1–9 (2013–2016) photo series that was taken during mass planting events organized in Israel by the Jewish National Fund. Tree saplings signify a moment of inception or promise, yet also represent events whose ideological meaning unmistakably points to claiming ownership of the land by and for Jews. For the Embroidery Patterns (2016) series, Ickowicz scanned and enlarged patterns from the book Jerusalem in Needlepoint and Embroidery by Ann Roth (published in Hebrew in 1972 and in English in 1973). This book of embroidery patterns of historical and holy sites of Jerusalem was handed out as a gift to employees of Maskit, a prominent Israeli fashion house. Ickowicz’s appropriation exposes the ideological use of these patterns, which is not surprising considering the Zionist narrative of the time, while pointing to the images as part of production, reproduction, and craftwork processes, and consequently asks not just what the meaning of the image is, but also what does it do or how does it act. Here, photography no longer functions as representation, but rather as a practice.


 The Chronicle of Change (2016) photo series is the outcome of the artist’s prolonged research among philatelists and collectors of Palestinian postage stamps. It comprises images from four series of stamps that contain traces of processes of appropriation, erasure, and assimilation that make evident the ways by which images take part in the struggle for building a national homeland, and the symbolic significance they gain in the process of establishing sovereignty and gaining independence. Chronicle of Change conceptually stamps the exhibition, which presents a shift from the notion of photography as representation to one of photography as action – an action through which an image turns into a material object that, disseminated in public, gains new meaning and usage every time it is relayed anew.


 The exhibition invites us to follow the direct connection it draws between nesting and individual or national processes of establishment, building, and development.


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		<title>The City of Rawabi </title>
				
		<link>https://gastonickowicz.com/The-City-of-Rawabi</link>

		<pubDate>Fri, 21 Aug 2020 13:43:58 +0000</pubDate>

		<dc:creator>Gaston Zvi Ickowicz</dc:creator>

		<guid isPermaLink="true">https://gastonickowicz.com/The-City-of-Rawabi</guid>

		<description>The City of Rawabi


The City of Rawabi, 2016 (Excerpt)5-Channel HD video installation, five sound channels22 min 36 sec
&#60;img width="3000" height="1678" width_o="3000" height_o="1678" data-src="https://freight.cargo.site/t/original/i/a97274a12433c68a76d4a3151fe5a10239f2052203243723d35f1a2b37e2a982/Kid---Pict-02---00013377.jpg" data-mid="147578692" border="0" alt=" The City of Rawabi, 2016, Mohammad Musa, still from video" data-caption=" The City of Rawabi, 2016, Mohammad Musa, still from video" src="https://freight.cargo.site/w/1000/i/a97274a12433c68a76d4a3151fe5a10239f2052203243723d35f1a2b37e2a982/Kid---Pict-02---00013377.jpg" /&#62;
&#60;img width="3000" height="1678" width_o="3000" height_o="1678" data-src="https://freight.cargo.site/t/original/i/8b42730c528b77856a2467ecdefb474d3a50ec5c12b3f05653bca802776d6988/Polo---Pict-02---00011133.jpg" data-mid="147579431" border="0" alt=" The City of Rawabi, 2016,  Shadi Abu Naeem, still from video" data-caption=" The City of Rawabi, 2016,  Shadi Abu Naeem, still from video" src="https://freight.cargo.site/w/1000/i/8b42730c528b77856a2467ecdefb474d3a50ec5c12b3f05653bca802776d6988/Polo---Pict-02---00011133.jpg" /&#62;
&#60;img width="3000" height="1678" width_o="3000" height_o="1678" data-src="https://freight.cargo.site/t/original/i/8015dba3c3fa56f490ffa371e0cee14d2c4796a684f9ef47f145828da25d8561/Artist---Pict-04---00011024.jpg" data-mid="147579429" border="0" alt=" The City of Rawabi, 2016, Naeem Flenah, still from video" data-caption=" The City of Rawabi, 2016, Naeem Flenah, still from video" src="https://freight.cargo.site/w/1000/i/8015dba3c3fa56f490ffa371e0cee14d2c4796a684f9ef47f145828da25d8561/Artist---Pict-04---00011024.jpg" /&#62;
&#60;img width="3000" height="1997" width_o="3000" height_o="1997" data-src="https://freight.cargo.site/t/original/i/8871d9b9d747dc8fe28a520232b88780c1cd0498e1a09120ca2092cf51e04f4b/_MG_7411.jpg" data-mid="147583516" border="0" alt=" Chiseling tool, 2016, archival pigment print, 40x60 cm" data-caption=" Chiseling tool, 2016, archival pigment print, 40x60 cm" src="https://freight.cargo.site/w/1000/i/8871d9b9d747dc8fe28a520232b88780c1cd0498e1a09120ca2092cf51e04f4b/_MG_7411.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/07c112d7fbd1fb641bf9f341ff7c0d40b42edf8c19f7a1c4214453cf9cfa15b4/_MG_7382.jpg" data-mid="147583549" border="0" alt=" Chiseling tool, 2016, archival pigment print, 40x60 cm" data-caption=" Chiseling tool, 2016, archival pigment print, 40x60 cm" src="https://freight.cargo.site/w/1000/i/07c112d7fbd1fb641bf9f341ff7c0d40b42edf8c19f7a1c4214453cf9cfa15b4/_MG_7382.jpg" /&#62;
&#60;img width="3000" height="1997" width_o="3000" height_o="1997" data-src="https://freight.cargo.site/t/original/i/2984ac5e2ac813340345d234cba1c8fa8ca4e469315d44fb1c5ed74a5122aa48/_MG_7378.jpg" data-mid="147583531" border="0" alt=" Chiseling tool, 2016, archival pigment print, 40x60 cm" data-caption=" Chiseling tool, 2016, archival pigment print, 40x60 cm" src="https://freight.cargo.site/w/1000/i/2984ac5e2ac813340345d234cba1c8fa8ca4e469315d44fb1c5ed74a5122aa48/_MG_7378.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/cb43020b8e54970409c36776f18d7a186c12188b0af58225e148db231c2c7917/_MG_7397.jpg" data-mid="147583592" border="0" alt=" Chiseling tool, 2016, archival pigment print, 40x60 cm" data-caption=" Chiseling tool, 2016, archival pigment print, 40x60 cm" src="https://freight.cargo.site/w/1000/i/cb43020b8e54970409c36776f18d7a186c12188b0af58225e148db231c2c7917/_MG_7397.jpg" /&#62;
&#60;img width="3000" height="2407" width_o="3000" height_o="2407" data-src="https://freight.cargo.site/t/original/i/49129b278694b0da2785538d9bc05816bcfd28648103354ef78904956e2fb5dc/gaston_03_110.jpg" data-mid="147582535" border="0" alt="  Stone chiseler's post, 2015 archival pigment print, 112x140 cm" data-caption="  Stone chiseler's post, 2015 archival pigment print, 112x140 cm" src="https://freight.cargo.site/w/1000/i/49129b278694b0da2785538d9bc05816bcfd28648103354ef78904956e2fb5dc/gaston_03_110.jpg" /&#62;


The City of Rawabi
The video installation The City of Rawabi focuses on the work of a group of stonemasons, taking part in the building process of the new Palestinian city of Rawabi, currently being built at the outskirts of Ramallah. The building of Rawabi is a defining moment in the Palestinian narrative; the modern city constitutes a point of Revival and hope for the Palestinian population as a point of ideology, the entire endeavor of building the new city, including the manufacturing of the building materials themselves, is done on the site where the city is being built. The site includes a local quarry that operates a highly-advanced building-block factory but still keeps to the traditional craft of hand-chiseling the building blocks.

 Upon first encountering this modern city I was drawn to a group of stonemasons, working daily on the site, maintaining the old chiseling craft, their monotonous work marked by the continuous sound and rhythm produced during the act of chiseling. My photographic approach and the choice of a static frame documenting the personal work station of each Stoneman aspire to emphasize and underline the repetitive activity of the chiseling craft. The sound consisting of monotonous pounding of hammer and chisel on stone, recordings done on site and soundtrack designed in advanced is intended to create an audial sphere that emphasizes the documented activity, and that allows a new space for contemplation and observation. 
	

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	<item>
		<title>Everyday Ceremonies </title>
				
		<link>https://gastonickowicz.com/Everyday-Ceremonies</link>

		<pubDate>Fri, 21 Aug 2020 12:46:33 +0000</pubDate>

		<dc:creator>Gaston Zvi Ickowicz</dc:creator>

		<guid isPermaLink="true">https://gastonickowicz.com/Everyday-Ceremonies</guid>

		<description>Everyday Ceremonies


Everyday Ceremonies, 2015 (Excerpt)
10 Single channel HD Video, 10 sound channels, 80 min


&#60;img width="3000" height="2032" width_o="3000" height_o="2032" data-src="https://freight.cargo.site/t/original/i/9641157a3bd2e579207933014be466cfe8936f7cc0e774f5f92c505eec7c4783/IMG_4987.jpg" data-mid="80496468" border="0" alt="Installation view Everyday Ceremonies, Hezi Cohen Gallery, Tel Aviv 2015" data-caption="Installation view Everyday Ceremonies, Hezi Cohen Gallery, Tel Aviv 2015" src="https://freight.cargo.site/w/1000/i/9641157a3bd2e579207933014be466cfe8936f7cc0e774f5f92c505eec7c4783/IMG_4987.jpg" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/917716a8b9ac85eee6a868065d9a61768ef3cf89b426f66c824c39755d5232db/TIF4.jpg" data-mid="80496346" border="0" alt="Everyday Ceremonies, 2015, Video, 80 min, still from video" data-caption="Everyday Ceremonies, 2015, Video, 80 min, still from video" src="https://freight.cargo.site/w/1000/i/917716a8b9ac85eee6a868065d9a61768ef3cf89b426f66c824c39755d5232db/TIF4.jpg" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/ec2169fb2a9a3e0cddf632f3f36bcc3b58ba334f59e1331533906682a115dd41/TIF3.jpg" data-mid="80496345" border="0" alt="Everyday Ceremonies, 2015, Video, 80 min, still from video" data-caption="Everyday Ceremonies, 2015, Video, 80 min, still from video" src="https://freight.cargo.site/w/1000/i/ec2169fb2a9a3e0cddf632f3f36bcc3b58ba334f59e1331533906682a115dd41/TIF3.jpg" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/db42df90672426f73d51b90cb244714879dff60e49d3a6225b46695b2e7eccb0/TIF1.jpg" data-mid="80496344" border="0" alt="Everyday Ceremonies, 2015, Video, 80 min, still from video" data-caption="Everyday Ceremonies, 2015, Video, 80 min, still from video" src="https://freight.cargo.site/w/1000/i/db42df90672426f73d51b90cb244714879dff60e49d3a6225b46695b2e7eccb0/TIF1.jpg" /&#62;

	
Everyday Ceremonies

'Everyday Ceremonies' is a development of Ickowicz's concern with questions of local space, conflict, culture, and history. The video project was filmed between the East Jerusalem neighborhoods of &#38;nbsp;Wadi Joz and Sheikh Jarrah, and though the specific location remains unidentified, its landscape characteristics would be familiar to local viewers.The local residents are seen crossing across the static camera’s field in a seemingly “no-man’s land”. Through the places and sounds which are outside the viewer’s access, outside the frame, the work is charged with a socio-political context.

 Viewers are invited to observe the work on two levels – that of an encounter with a familiar landscape and the enigmatic action unfolding within it. The full meaning of their journey is revealed by the concealed destination: the local office of Interior and Labor Affairs. The simple act of walking back and forth thus speaks to their complicated situation in relation to nation, religion, geography and authority. 
The work consists of 80 minutes running time, during which no specific action is repeated, and the camera’s perspective remains static. However, the motivating impulse behind the work is based on the loop, in the sense that the figures’ journey is repetitive and in effect endless. The long running time of the piece purposefully subverts the exhibition convention of the loop and maintains the long, real-life duration of these daily events.

Exhibition Curator: Ofra Harnam

	
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		<title>Rock Petroglyphs</title>
				
		<link>https://gastonickowicz.com/Rock-Petroglyphs</link>

		<pubDate>Mon, 07 Sep 2020 13:18:16 +0000</pubDate>

		<dc:creator>Gaston Zvi Ickowicz</dc:creator>

		<guid isPermaLink="true">https://gastonickowicz.com/Rock-Petroglyphs</guid>

		<description>Rock Petroglyphs


&#60;img width="3000" height="2422" width_o="3000" height_o="2422" data-src="https://freight.cargo.site/t/original/i/f0d3872c78391eb40174c36606571f0097a85307bff06e154ccb992d5f8230bf/gaston_3434_011.jpg" data-mid="82004912" border="0" alt="Rock Petroglyphs, 2017, archival pigment print, 60x72 cm" data-caption="Rock Petroglyphs, 2017, archival pigment print, 60x72 cm" src="https://freight.cargo.site/w/1000/i/f0d3872c78391eb40174c36606571f0097a85307bff06e154ccb992d5f8230bf/gaston_3434_011.jpg" /&#62;
&#60;img width="3000" height="2388" width_o="3000" height_o="2388" data-src="https://freight.cargo.site/t/original/i/149b033b522cf97fd6b111d919f2df9c7195b4b2606743b51707b477a17b1ca4/gaston_3434_012.jpg" data-mid="82004913" border="0" alt="Rock Petroglyphs, 2017, archival pigment print, 78x96 cm" data-caption="Rock Petroglyphs, 2017, archival pigment print, 78x96 cm" src="https://freight.cargo.site/w/1000/i/149b033b522cf97fd6b111d919f2df9c7195b4b2606743b51707b477a17b1ca4/gaston_3434_012.jpg" /&#62;
&#60;img width="3000" height="2388" width_o="3000" height_o="2388" data-src="https://freight.cargo.site/t/original/i/1b9ea876228e7b1484525457f5926e278abccfcd802d54e10e7f669dde41c1dc/gaston_2228_05.jpg" data-mid="82004908" border="0" alt="Rock Petroglyphs, 2017, archival pigment print, 78x96 cm" data-caption="Rock Petroglyphs, 2017, archival pigment print, 78x96 cm" src="https://freight.cargo.site/w/1000/i/1b9ea876228e7b1484525457f5926e278abccfcd802d54e10e7f669dde41c1dc/gaston_2228_05.jpg" /&#62;
&#60;img width="3000" height="2379" width_o="3000" height_o="2379" data-src="https://freight.cargo.site/t/original/i/ddb07aa0a733fd7e6340a04706e0b3e26e604cf7b41bb3634e071196489321bf/GaIc1_gaston_3434_09-copy.jpg" data-mid="82762146" border="0" alt="Rock Petroglyphs, 2017, archival pigment print, 60x72 cm" data-caption="Rock Petroglyphs, 2017, archival pigment print, 60x72 cm" src="https://freight.cargo.site/w/1000/i/ddb07aa0a733fd7e6340a04706e0b3e26e604cf7b41bb3634e071196489321bf/GaIc1_gaston_3434_09-copy.jpg" /&#62;
&#60;img width="3000" height="2379" width_o="3000" height_o="2379" data-src="https://freight.cargo.site/t/original/i/31c3ea23f20e5d77d80d1b31d904fb1ad03b975ebe2ecdb47dfe41bc36fde616/GaIc3_gaston_3437_05-copy.jpg" data-mid="82762144" border="0" alt="Rock Petroglyphs, 2017, archival pigment print, 60x72 cm" data-caption="Rock Petroglyphs, 2017, archival pigment print, 60x72 cm" src="https://freight.cargo.site/w/1000/i/31c3ea23f20e5d77d80d1b31d904fb1ad03b975ebe2ecdb47dfe41bc36fde616/GaIc3_gaston_3437_05-copy.jpg" /&#62;
&#60;img width="3000" height="2379" width_o="3000" height_o="2379" data-src="https://freight.cargo.site/t/original/i/38cb8e8442dae69096bac0c2f7e65923e7253a9818e455372737936a6b571f99/GaIc2_gaston_03434_011-copy.jpg" data-mid="82762145" border="0" alt="Rock Petroglyphs, 2017, archival pigment print, 60x72 cm" data-caption="Rock Petroglyphs, 2017, archival pigment print, 60x72 cm" src="https://freight.cargo.site/w/1000/i/38cb8e8442dae69096bac0c2f7e65923e7253a9818e455372737936a6b571f99/GaIc2_gaston_03434_011-copy.jpg" /&#62;


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