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Open AccessArticle

Radicant Israeli Art: From Past to Future

Center for Jewish Civilization, Georgetown University, Washington, DC 20057, USA
Received: 4 November 2019 / Revised: 10 January 2020 / Accepted: 10 January 2020 / Published: 6 February 2020
(This article belongs to the Special Issue Radicant Patterns in Israeli Art)
Mieke Bal’s concept of “migratory aesthetics” and the observation by Saloni Mathur and Anne Ring Peterson that “traditional notions of location, origin and authenticity seem obsolete and in urgent need of reconsideration” perfectly encompass the phrase “Jewish art”, and within that difficult-to-define subject, Israeli art (which, among other things, is not always “Jewish”). As Hava Aldouby has noted, Israeli art presents a unique inflection of the global condition of mobility—which in fact contributes to the problem of easily defining the category of “Israeli art”. Nothing could be more appropriate to the discussion of Israeli art, or to the larger definitional problem of “Jewish art” than to explore it through Nicolas Bourriaud’s botanical metaphor of the “radicant”, and thus the notion of “radicant art”. The important distinction that Bourriaud offers between radical and radicant plants—whereby the former type depends upon a central root, deep-seated in a single nourishing soil site, whereas the latter is an “organism that grows its roots and adds new ones as it advances…” with “…a multitude of simultaneous or successive enrootings”—is a condition that may be understood for both Israeli and Jewish art, past and present: Aldouby’s notion that the image of the Wandering Jew offers the archetypal radicant, informs both the “altermodernity” concept and Israeli art.
Keywords: Arab; Bezalel; diaspora; diverse/diversity; Jerusalem Biennale; Jewish art; Palestinian; radicant; Schatz Arab; Bezalel; diaspora; diverse/diversity; Jerusalem Biennale; Jewish art; Palestinian; radicant; Schatz
MDPI and ACS Style

Soltes, O.Z. Radicant Israeli Art: From Past to Future. Arts 2020, 9, 16.

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