Erev Rav: Art. Culture. Society
Erev Rav is an independent journal of Arts, Culture and Society, edited by Yonatan Amir and Ronen Eidelman;
Established in early 2010 to advance the discourse on art, and to support a multi-cultural, democratic, pluralistic discussion on culture.
Erev Rav online magazine publishes articles, reviews, interviews and essays about art and culture.
In addition to our online journal, we publish special printed Issues based on themes, and organize events such as video screenings,
performances and artist talks.
These two books document Carmi's and Ben-Tor's explorations of the crucial role of representation in the categorization and objectification of the figure of the "other", especially with racial theories of the 19th and 20th centuries in Western cultures.
"The Israeli landscape is haunted by ghosts. Assembling what she refers to as “a worldview,” Arieli shapes a panoramic view of a landscape defined by the uneasy presence of its missing limbs"
Jewish Artists with strong Austrian background can be found in the expanding collection owned by Ofer Levin. Austria as reflected in the Levin Collection constitutes a significant link in the development of Israeli Art
A Short Biography Born in Tel-Aviv-Yafo in 1932, Miriam Tovia Boneh graduated from Ha’Midrasha in 1962 and worked for a while as a practicing artist. Toward the end of the 1960s and early 1970s, while remaining in the art field, she shifted from working as an artist to teaching and curating. In 1978–1979, as a […]
"I think that part of being a professor is performing some kind of stability, if not authority, and I wanted to admit to being as destabilized as the structures that typically hold us in place, using soft, malleable materials"
– Artist Dana DeGiulio and Roni Aviv in conversation
"One of the immediate complications I see with representation of queer life in public has to do with the delicate balance between the pleasure of being queer and the pleasure of looking at the queer; and how the two can contradict each other in cases of recklesness"
"By separating the dresses into nine different categories, the curators sort the works underneath umbrella concepts–memory, voyeurism, marriage, the female nude, girlhood, strength, embroidery, social status, and gender fluidity". Jenna H. Romano on "Her Dress, Her Symbol" at Agripas 12 and Marie Gallery
"Israel's greatest virtue is its cosmopolitanism; to lose it in exchange for ostracism will not bring any positive outcomes. Of course, I see a great need to put pressure on Israel's militaristic policies, and that is a good reason to expose my work in Tel Aviv" – Keren Goldberg in an email interview with Santiago Sierra
"These videos stand as a fresh example to consider the perennial question about an artwork's ability to communicate itself. The impressions made by the fragmented scenes in his videos offer a kind of immediate intelligibility."
Gideon Smilansky spoke with Graham Lawson about the Alfred Institute’s new online platform for connecting the independent art world
The director of the Museum of Underground Prisoners in Jerusalem has censored works from exhibitions on view at the museum as part of the Jerusalem Biennale for Contemporary Jewish Art. Amsterdam-based artist Maarten van der Heijden’s Shoah art is among the censored works. David Sperber writes about his work
Eylon’s feminist critique precedents were in the first wave of the American feminist movement. Feminist leaders (who happened to be Christian) not only demanded social and legal changes but understood the power of the biblical tradition and Church status and thus worked for a radical change in consciousness. By, David Sperber
A lush field of barley, figs, grapes and tomatoes drying in the sun and great conversation. Amy Sapan visited "Black Couscous" by Rafram Chaddad Boaz, a site-specific work located on a rooftop in Jerusalem just a stone's throw away from the Old City.
Graham Lawson visited Arad and talked to Hadas Kedar about her role as city artist and head curator of the Arad Contemporary Art Center
Tali Tamir on "Where?", Shimon Pinto's installation in Be'eri Gallery, and the performance that accompanied the closing event
The transgenders drawn by Roey Heifetz move not only between genders, but also between the body image of a diva that is cultivated to perfection and never grows old and the real body, withered and weary, which cannot overcome time.
Review by Yonatan Amir
by Dana Shalev | Written originally on February 17, 2016
by Yonatan Amir & Ronen Eidelman | written originaly on November 17, 2014
A Conversation With Lea And Diego by Ronen Eidelman | an excerpt from the book *Heara – Independent Art in Jerusalem at the Beginning of the 21st Century