An article published in Skeptic Magazine, dealing with the characteristics of of our time, the faith of truth, or the end of it.
I chose to illustrate the challenge of truth, along the lines of the claim: ‘one says its day, the other says its night’. I casted the most visibly light-responsive character: the sunflower, seen as it raises its head to follow the moon. In the other illustration, it lowers its head, when the interrogators are trying to extract the truth out of it.
On two occasions, between 2018 and 2019, I had the privilege of working on a series of etching at the The Gottesman Etching Center in Kabri, a kibbutz in the north of Israel.
There, together with a master printer, in two rounds of three days each, I have visited and explored the nature of intimacy – an uncontainable substance, shared between one and his very self, and with ones’ other.
In what I consider to be a daring exploration, I have commissioned myself this series of etching, not knowing the individual theme of each and every one of them, but the common one: intimacy.
The prints are on show until Saturday, 30th November, at the Jaffa Museum.
Tayelet Mifratz Shlomo 10. Jaffa-Tel Aviv.
Intimacy, Izhar Cohen Etching, 2018-19
In two days, us, Israelies will cast our vote, in yet again, decisive general elections. the results of which will shape the faith of this country between the great divides: secular and messianic religious, Arabs and Jews, rich and poor, and all other arenas in which the main stage is occupied by fierce inner conflict within the buoyant Israeli society.
To cite a conclusive phrase from a good friend of mine: Let’s hope for the best, yet prepare for the inevitable, hence the tissues.
It was when I finished and sent the illustration above, for Shlomo Artzi’s column, that I remembered a drawing I did for my dear friend, Amir way back in 2014, here below:
From Shlomo Artzi’s weekly column in Yedioth Acharonot.
From Shlomo Artzi’s weekly column. Yedioth Aharonot
By Michael Shermer on November 1, 2018, Scientific American
For a documentary on horror movies that seem cursed, I was recently asked to explain the allegedly spooky coincidences associated with some famous films. Months after the release of Poltergeist, for example, its 22-year-old star, Dominique Dunne, was murdered by her abusive ex-boyfriend; Julian Beck, who played the preacher “beast,” succumbed to stomach cancer before Poltergeist II‘s release; and 12-year-old Heather O’Rourke died months before the release of what would be her last starring role in Poltergeist III.
The Exorcist star Linda Blair hurt her back when she was thrown around on her bed when a piece of rigging broke; Ellen Burstyn was injured on the set when flung to the ground; and actors Jack MacGowran and Vasiliki Maliaros both died while the film was in postproduction (their characters died in the film). For the full text, click here
To all my friends who did not manage yet to see my exhibition: LICENCE ARTISTIQUE, here is a quick overview:
The exhibition will stay open until the beginning of December.
BIBLIOTHÈQUE GERMAINE TILLION
6, rue du Commandant Schloesing, Paris 16e
Métro : Trocadéro
There are no “day” people and pure “night” people. There is a tendency to be this way or another.
3/4 of the population tend to be ‘people of the day’ and a quarter tends to be ‘night people’.
The latter suffers most because the world is not adapted to the times when they are most creative and effective. There are also personal differences between ‘day people’ and night – often, the people of the night tends to be more negative, depressed, original and so on. I came across this topic through an article in G magazine, which I was invited to illustrate.
As far as I’m concerned, my choice and nature are clear: I’m a night person. My mind provides me with the greatest pleasure of using it when the day is gone. Also, unlike the article’s claim, I’m a happy man! So much for generalizations… (written at 01:00)