TALK!

Butterflies
Without title
Heart and mind
Where it hurts

Why We Are Living in a Post-Truth Era

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.

Day and night
Telling the truth

Intimacy, 2018-19

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

Intimacy, Izhar Cohen Etching, 2018-19

Intimacy, Izhar Cohen Etching, 2018-19

Intimacy, Izhar Cohen Etching, 2018-19

Intimacy, Izhar Cohen Etching, 2018-19

Intimacy, Izhar Cohen Etching, 2018-19

Intimacy, Izhar Cohen Etching, 2018-19

Intimacy, Izhar Cohen Etching, 2018-19

Intimacy

Intimacy, Izhar Cohen Etching, 2018-19

Intimacy, Izhar Cohen Etching, 2018-19

Intimacy, Izhar Cohen Etching, 2018-19

Intimacy, Izhar Cohen Etching, 2018-19 

Elections-The crying game

Elections The crying game

Elections The crying game

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.

 

 

the War of Attrition ההתשה (‘Hatasha’ in Hebrew)

A split gallop

Gallop

Gallop

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:

a split gallop

a split gallop

Déjà vu

Déjà vu

Déjà vu

From Shlomo Artzi’s weekly column in Yedioth Acharonot.

Bots, bots, bots

Bots, bots, bots

From Shlomo Artzi’s weekly column. Yedioth Aharonot

Why the singular of “data” is not “anecdote”

By Michael Shermer on November 1, 2018, Scientific American

The Fallacy of Excluded Exceptions

The Fallacy of Excluded Exceptions

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

LICENCE ARTISTIQUE


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

LICENCE ARTISTIQUE

LICENCE ARTISTIQUE

Chronotypes

Chronotypes

Chronotypes

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)

Primavera

Spring on my desk

Spring on my desk

Florence, where every attempt to depict spring is doomed to live in the shadow of Botticelli’s Primavera, still managed to inspire me and drew me into drawing.

I always take a great pleasure in moistening good paper with the mixture of water and colours, with the permanent hope that the magic of watercolours painting will take place.

And so, here is the result of my latest attempt. As always, I am grateful for the return of the queen of seasons.

Primavera - Watercolours and pencil on Arches paper. 19X19cm

Primavera – Watercolours and pencil on Arches paper. 19X19cm

primavera isf galaIa-Framed-photo copy

Does Success Come Mostly from Talent, Hard Work- or Luck?

What question! Asked and answered by Michael Shermer on November 1, 2017, at Scientific American. Here’s a link for the full article.

Below are the rough drawing and the final one.

Success, Comes from Talent, Hard Work or Luck? – Rough drawing

 

Success, Comes from Talent, Hard Work or Luck? – Final Artwork