The exhibition “Forbidden Junction” at the Israeli Center for Digital Art draws its name from the Torah’s five negative commandments, which prohibit “the mixing of species or commingling of different kinds.” The show’s curator, Dor Guez, has a decidedly more positive view of hybridity and border-crossing than the Torah does.
There is some interesting sounding work:
Suleiman Mansour’s video piece The Mondial in Me’eliya addresses the place of the Arab-Christian minority in Israel. It [documents] the inhabitants of the village of Me’eliya in northern Israel during the World Cup. The Roman Catholic inhabitants of the village identify mainly with football teams from the ”Western” world, accordingly hanging the flags of their respective nationalities and painting their faces and houses in matching colors. The flags of Middle Eastern, North African, and East Asian countries are conspicuously absent.
There’s also a sound piece by an artist named Joseph Dadoune, who came to Israel with his mother, an Algerian woman who lived in exile in France. Dadoune’s piece explores the transnational heritage of musical styles that are often crudely mis-labeled as “Oriental.”
There is also a work by Palestinian artist Reem Da’as, A Brief Time in Iraq. It is a scan of an album of photographs taken by her brother and his friend, who drove their car from East Jerusalem to Iraq on the eve of the US-British invasion in March 2003. We applaud inter-familial appropriation, and we wish the artist would put the piece online…