Thu 10 November 2022 | 8:00 pm - 11:00 pm
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Yoram Kupermintz | Are You You?

Solo Exhibition
Curator: Maya Bamberger
Assistant curator: Noa Gross

10.11.22-17.12.22

RawArt Gallery is pleased to announce the opening of Are You You?, the second solo exhibition by artist Yoram Kupermintz at the Gallery in eight years.

The exhibition consists of 200 audio and video works from the last two years. The works are divided into four series (Gaza My Love, Shell Shock, Public Domain, and Colors, Stain, and Art), which are played sequentially for a total duration of 12 hours. The sequence is halted at the end of the galleryโ€™s operating hours, and then playback resumes from that same point at the opening of the gallery the next day, such that any person wanting to see the entire sequence of works would have to sit in the gallery for two consecutive days. Of course, there is no expectation that any one viewer would be able to sit and take in such a massive quantity of work. And trauma, after all, is associated with an overload of stimuli – an amount that exceeds the subjectโ€™s ability to process. “Again I closed my eyes as tight as possible but then it didn’t help anymore. I saw even when I didn’t want to” (translated from Yoram Kupermintz, October/ A Diary of War)

Artist Yoram Kupermintz began creating music around a year ago, without any musical training. With the help of sound editing and mixing software based on machine learning and plug-ins – extensions that simulate musical instruments, special effects, or existing audio samples, the artist trained his ear to find and create balance. The original music he has created was then edited and stitched to fragments of videos, photos, and excerpts from texts, which he wrote and read in his own voice. A standout among these is the series Public Domain, where Kupermintz re-edited classic militant Zionist songs from the days of the stateโ€™s establishment.

The visual material used in most of the works is taken from massive video archives, largely meant to be used for commercial purposes. (โ€œNeed a stunning video clip but have neither the time nor the resources to shoot it yourself? Unlimited downloads across categories such as free coffee videos, free drone videos, stunning nature clips, and much more!,โ€ as stated in one of the aforementioned websites.) These clips, some staged and directed, others the result of machine learning simulating daily-life situations or masquerading as video art. Due to their role as the engine of the consumerist mechanism, their origins and sense of reality are removed, and it could be assumed that they were put through some flattening algorithm that had erased the negative, and exponentially increased the volume of the โ€˜happy and seductive.โ€™ The use of these video materials can be seen as a continuation of the series of photographs that Kupermintz has presented in the past, among other occasions at the exhibition October (Artists’ Workshops, Tel Aviv, 2013), in which he photographed billboards, advertisements, and perfect images displayed on the street to create, in his words, โ€˜honey traps.โ€™ These are meant to capture the viewer’s attention and reveal a fracture – both personal and political.

The source material for Gaza My Love was gathered from documented historical video clips, filmed by the citizens of Gaza, and have been approved for use. For the past few years, Yoram Kupermintz has been “living” in Gaza,- that is, he travels the Strip via the internet and the media, following the works of its amateur photographers: โ€œfor almost 18 years, a few people have asked me, โ€œWhy don’t you go outside? Why don’t you leave your house?โ€œ Iโ€™ve never given an honest answer to those questions. โ€œI’m always outside, in Gaza my love.โ€

In one of the works that have been edited out of the exhibition, the artist addresses Bibi Netanyahu with the words: “My scars are not your scars. Neither my mental scars nor my physical ones. I have mental and physical scars. Do not adopt and do not take from me and do not dare to appropriate my scars. You have no concept of what those mental scars are and don’t hug me. Don’t touch me.”
Kuperminz has asked me, too, to refrain from a preoccupation with scars, and start the text with reference to art. Much has already been written and said about the trauma he carries from the Yom Kippur War and its expression in his art. However, I cannot give in and abandon the viewer in the endless limbo on the screen and surrender to the forces of trauma and simulacra. I must try to understand, and, without appropriating. To touch.

Yoram Kupermintz was drafted into the army in 1973. At the outbreak of the Yom Kippur War, he was attached to an engineering unit headed for the Suez Canal, where subsequently he was wounded. He suffered both physical and mental damage, the repercussions of which continue to haunt him to this day. In 2000, he wrote and published October | A Diary of War, in which he reported on the horrors of the war through his experiences. To paraphrase Hanan Frank’s later criticism: “Dear Yoram… Iโ€™ve decided… to answer you in the same way, personally and intimately. In any case, any other form of discussion of your exhibition [source: your book] would only distort the message in it.”

Dear Yoram, I have watched the entire corpus of works presented at the exhibition Are You You? for 12 hours now. I am a witness. So why is it that from the outset this exhibition doesn’t allow other viewers to be witnesses? In a text written by the late curator and art critic Galia Yahav – who had been the artist’s partner – for the exhibition October, at the Artists’ Workshops, Tel Aviv, in 2013, Yahav talks about the anger and lack of trust experienced by the survivor of trauma toward those who have not been there: “This mistrust, this hatred, is produced by a sarcastic syntax of different and foreign segments; a syntax that does not dull the sensitivity but actually sharpens it, with the help of foreign actions or an excessive romanticization of banal images, which thus become grotesque images. ”

Shira Stav, who has written an article about Kupermintz’s book, claims that work born of trauma tends to produce a lack of coherent meaning and distinction between times, places, and identities. Among the multitude of video clips on display, the bared soul of the artist documenting his pain is engulfed by a spectacular excess in an indiscriminate sequence, with no organizing hierarchy between then and now, between here and there. The subject, splintered in response to the war, is moving in an endless and disconnected circle between the initial trauma and the enduring symptoms, between psychedelic visions and fragments of memories, stuck in front of the screen or the mirror with the question: “Are you you??” But, Talya Shalit corrects me, his soul is not shattered. It emits “the trauma broadcast” over and over again. But for whom is this broadcast intended? In response to these thoughts, Yoram wrote to me that an overload of stimuli also contributes to the anxious over-vigilance constantly produced by trauma- an “unceasing vigilance of one’s surroundings to anticipate injury or attack, like the rocket shell that had wounded me, as though increased vigilance would have allowed me to save myself. Which is, of course, impossible.” A few hours later he asked me to move this part to the end of the text. And to start instead with music.

But the fragmentation and multiplicity, the lack of hierarchy, and the masking are not merely pathological symptoms. They have the potential to resist. This is the language of trauma. Everything is connected to everything. This is how it talks. This is how it sounds. In this way, it simultaneously undermines the known structures of meaning in art, as well as in life. Thus a local narrative of identity, based on war and conquest, is interrupted and disintegrated, edited into a new and uncontrollable montage, undisciplined, and in the words of the artist: “the obligation is to say no every hour and every day.”

The exhibition is accompanied by text written by the artist about his process of creating music.

Yoram Kupermintz (1954), lives and works in Tel Aviv. Graduated from the Department of Arts in Bezalel (1980). He has presented a number of solo exhibitions, at the Israel Museum (1986), Chelouche Gallery (1993, 1995), Barbur Gallery (2009), the Artists’ Workshops in Tel Aviv (2013) and Minus 1 Gallery among others. He Has participated in many group exhibitions, among them at the Tel Aviv Museum, the Haifa Museum and Art Cologne. In addition, he served as a cultural reporter at Maโ€™ariv and Haโ€™aretz newspapers, In 2000 he published his book, October | A Diary of War.

Credits:
Videos from the series “Gaza My Love” were filmed by citizens of the Gaza Strip and approved for use.
Texts, images, videography, reading, singing, arrangements, covers, music instruments, video editing, and sound editing: Yoram Kupermintz.
A few of the texts are taken from Yoram Kupermintz’s book The Complete Pain Archive, to be published by Pardes Publishing next year.

Video sequence editor: Noa Gross

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ื™ื•ืจื ืงื•ืคืจืžื™ื ืฅ | ืืชื” ืืชื”?
Yoram Kupermintz | Are You You?

ืชืขืจื•ื›ื” ื™ื—ื™ื“
ืื•ืฆืจืช: ืžืื™ื” ื‘ืžื‘ืจื’ืจ
ืื•ืฆืจืช ืžืฉื ื”: ื ื•ืขื” ื’ืจื•ืก

10.11.22-17.12.22

ืคืชื™ื—ื” : ื™ื•ื ื—ืžื™ืฉื™, 10.11.2022, 20:00
ื”ืžืจืฅ 3, ื‘ื ื™ื™ืŸ 8 ืงื•ืžื” 3, ืงืจื™ืช ื”ืžืœืื›ื”, ืชืœ ืื‘ื™ื‘

ื’ืœืจื™ื” ืจื•-ืืจื˜ ืฉืžื—ื” ืœื”ื•ื“ื™ืข ืขืœ ืคืชื™ื—ืช ืืชื” ืืชื”?, ืชืขืจื•ื›ืช ื”ื™ื—ื™ื“ ื”ืฉื ื™ื” ืฉืœ ื”ืืžืŸ ื™ื•ืจื ืงื•ืคืจืžื™ื ืฅ ื‘ื’ืœืจื™ื”, ืžืงืฅ ืฉืžื•ื ื” ืฉื ื™ื.

ื‘ืชืขืจื•ื›ื” ืžื•ืฆื’ื•ืช 200 ืขื‘ื•ื“ื•ืช ื•ื™ื“ืื• ื•ืกืื•ื ื“ ืžืŸ ื”ืฉื ืชื™ื™ื ื”ืื—ืจื•ื ื•ืช. ื”ืขื‘ื•ื“ื•ืช ืžื—ื•ืœืงื•ืช ืœืืจื‘ืข ืกื“ืจื•ืช (ืขื–ื” ืื”ื•ื‘ืชื™, ื”ืœื ืงืจื‘, ื ื—ืœืช ื”ื›ืœืœ, ืฆื‘ืขื™ื ื›ืชืžื™ื ื•ืืžื ื•ืช), ื•ืžื•ืงืจื ื•ืช ื‘ืจืฆืฃ ืฉืžืฉื›ื• ื”ื›ื•ืœืœ ื”ื•ื 12 ืฉืขื•ืช. ืจืฆืฃ ื”ืงืจื ืช ื”ืขื‘ื•ื“ื•ืช ื ืงื˜ืข ื‘ืชื•ื ืฉืขื•ืช ื”ืคืขื™ืœื•ืช ืฉืœ ื”ื’ืœืจื™ื” ื•ืžืชื—ื™ืœ ืžืื•ืชื” ื ืงื•ื“ื” ืœืžื—ืจืช, ื›ืš ืฉืฆื•ืคื” ื”ืžื‘ืงืฉ ืœืฆืคื•ืช ื‘ื›ืœ ื”ืขื‘ื•ื“ื•ืช ืฆืจื™ืš ืœืฉื‘ืช ืขืœ ื›ื™ืกื ื‘ื’ืœืจื™ื” ื‘ืžืฉืš ื™ื•ืžื™ื™ื ืขื•ืงื‘ื™ื.
ืื™ืŸ ืฆื™ืคื™ื” ืฉืฆื•ืคื” ื™ื—ื™ื“ ืื• ื™ื—ื™ื“ื” ื™ื”ื™ื• ืžืกื•ื’ืœื™ื ืœืฆืคื•ืช ื•ืœืžืฉืžืข ื›ืžื•ืช ื›ื–ื• ืฉืœ ืขื‘ื•ื“ื•ืช. ื”ื˜ืจืื•ืžื” ื”ืจื™ ืงืฉื•ืจื” ื‘ืขื•ืžืก ื’ื™ืจื•ื™ื™ื ืฉื—ื•ืจื’ ืžื™ื›ื•ืœืชื• ืฉืœ ื”ืกื•ื‘ื™ืงื˜ ืœืขื‘ื“ ืื•ืชื. “ืฉื•ื‘ ืขืฆืžืชื™ ืืช ื”ืขื™ื ื™ื™ื ื”ื›ื™ ื—ื–ืง ืฉืืคืฉืจ ืื‘ืœ ืื– ื–ื” ื›ื‘ืจ ืœื ืขื–ืจ, ืจืื™ืชื™ ื’ื ื›ืฉืœื ืจืฆื™ืชื™” (ื™ื•ืจื ืงื•ืคืจืžื™ื ืฅ, ืžืชื•ืš ืื•ืงื˜ื•ื‘ืจ/ ื™ื•ืžืŸ ืžืœื—ืžื”)

ืœืคื ื™ ื›ืฉื ื”, ื•ืœืœื ื›ืœ ื”ืฉื›ืœื” ืžื•ื–ื™ืงืœื™ืช, ื”ื—ืœ ื”ืืžืŸ ื™ื•ืจื ืงื•ืคืจืžื™ื ืฅ ืœื™ื™ืฆืจ ืžื•ื–ื™ืงื”. ื‘ืขื–ืจืช ืขื‘ื•ื“ื” ืขื ืชื•ื›ื ื•ืช ืขืจื™ื›ืช ืกืื•ื ื“ ื•ืžื™ืงืก ืžื‘ื•ืกืกื•ืช ืœืžื™ื“ืช ืžื›ื•ื ื” ื•ืคืœืื’ื™ื ื™ื – ืชื•ืกืคื™ื ื”ืžื“ืžื™ื ื›ืœื™ ื ื’ื™ื ื”, ืืคืงื˜ื™ื, ืื• ื“ื’ื™ืžื•ืช ืžืชื•ืš ืงื˜ืขื™ ืกืื•ื ื“ ืงื™ื™ืžื™ื, ืœื™ืžื“ ืืช ื”ืื•ื–ืŸ ืฉืœื• ืœืžืฆื•ื ื•ืœื™ืฆื•ืจ ืื™ื–ื•ืŸ. ืœืžื•ื–ื™ืงื” ื”ืžืงื•ืจื™ืช ืฉื™ืฆืจ ื”ื•ื ืขืจืš ื•ื”ืจื›ื™ื‘ ืงื˜ืขื™ ื•ื™ื“ืื• ื•ืชืฆืœื•ืžื™ื ื•ืงื˜ืขื™ ื˜ืงืกื˜ ืฉื›ืชื‘ ื•ืงืจื ื‘ืงื•ืœื•. ื”ืกื“ืจื” ื ื—ืœืช ื”ื›ืœืœ ื™ื•ืฆืืช ืžืŸ ื”ื›ืœืœ, ื•ื‘ื” ืงื•ืคืจืžื™ื ืฅ ืขื™ื‘ื“ ืžื—ื“ืฉ ืฉื™ืจื™ื ืฆื™ื•ื ื™ื ืžื™ืœื™ื˜ื ื˜ื™ื™ื ืžื™ืžื™ ืงื•ื ืžื“ื™ื ืช ื™ืฉืจืืœ.

ื—ื•ืžืจ ื”ื’ืœื ื”ื—ื–ื•ืชื™ ืฉืœ ืžืจื‘ื™ืช ื”ืขื‘ื•ื“ื•ืช ื ืœืงื— ืžืžืื’ืจื™ ื•ื™ื“ืื• ืขื ืงื™ื™ื ืฉืžื™ื•ืขื“ื™ื ืœืฉื™ืžื•ืฉ ืžืกื—ืจื™. (“ื–ืงื•ืง ืœืกืจื˜ื•ืŸ ื•ื™ื“ืื• ืžื”ืžื ืืš ืื™ืŸ ืœืš ื–ืžืŸ ืื• ืžืฉืื‘ื™ื ืœืฆืœื ืื•ืชื• ื‘ืขืฆืžืš? ื”ื•ืจื“ื•ืช ื‘ืœืชื™ ืžื•ื’ื‘ืœื•ืช ื‘ืงื˜ื’ื•ืจื™ื•ืช ื›ืžื• ืกืจื˜ื•ื ื™ ืงืคื”, ืกืจื˜ื•ื ื™ ื˜ื™ืกื ื™ื, ืงื˜ืขื™ ื˜ื‘ืข ืžื“ื”ื™ืžื™ื ื•ืขื•ื“ ื”ืจื‘ื” ื™ื•ืชืจ”, ื›ืš ืžืชื•ืš ืื—ื“ ืžืŸ ื”ืืชืจื™ื). ื”ืกืจื˜ื•ื ื™ื ื”ืœืœื• โ€“ ื—ืœืงื ืžื‘ื•ื™ืžื™ื ื•ื—ืœืงื ืชื•ืฆืจ ืฉืœ ืœืžื™ื“ืช ืžื›ื•ื ื” – ืžื“ืžื™ื ืกื™ื˜ื•ืืฆื™ื•ืช ื™ื•ืžื™ื•ืžื™ื•ืช ืื• ืžืชื—ื–ื™ื ืœืืžื ื•ืช ื•ื™ื“ืื•. ื‘ืฉืœ ืชืคืงื™ื“ื ื›ื“ืœืง ื‘ืžื ื•ืข ืžื ื’ื ื•ื ื™ ื”ืฆืจื™ื›ื”, ื ืขื“ืจื™ื ืžื”ื ื”ืžืฆื™ืื•ืช ืื• ื”ืžืงื•ืจ, ื•ื ื™ืชืŸ ืœื”ื ื™ื— ืฉืขื‘ืจื• ื“ืจืš ืืœื’ื•ืจื™ืชื ืžืฉื˜ื™ื— ืฉืžื—ืง ืืช ื”ืฉืœื™ืœื™, ื•ื”ื’ื‘ื™ืจ ื‘ืื•ืคืŸ ืืงืกืคื•ื ื ืฆื™ืืœื™ ืืช ื”ื•ื•ืœื™ื•ื ืฉืœ ื”ืžืคืชื” ื•ื”ืฉืžื—. ื ื™ืชืŸ ืœืจืื•ืช ืืช ื”ืฉื™ืžื•ืฉ ื‘ื—ื•ืžืจื™ ื”ื•ื™ื“ืื• ื”ืœืœื• ื›ื”ืžืฉืš ืœืกื“ืจื•ืช ืชืฆืœื•ืžื™ื ืฉื”ืฆื™ื’ ืงื•ืคืจืžื™ื ืฅ ื‘ืขื‘ืจ, ื‘ื™ืŸ ื”ืฉืืจ ื‘ืชืขืจื•ื›ื” ืื•ืงื˜ื•ื‘ืจ (ืกื“ื ืื•ืช ื”ืืžื ื™ื, ืชืœ ืื‘ื™ื‘, 2013), ืฉื‘ื” ืชื™ืขื“ ืฉืœื˜ื™ ื—ื•ืฆื•ืช, ืคืจืกื•ืžื•ืช ื•ื“ื™ืžื•ื™ื™ ืจืื•ื•ื” ืžื•ืฉืœืžื™ื ืžืŸ ื”ืจื—ื•ื‘ ืœื™ืฆื™ืจืช ืžืœื›ื•ื“ื•ืช ื“ื‘ืฉ, ื‘ืžื™ืœื•ืชื™ื•. ืืœื” ื ื•ืขื“ื• ืœืœื›ื•ื“ ืืช ืชืฉื•ืžืช ื”ืœื‘ ืฉืœ ื”ืฆื•ืคื” ื•ืœื—ืฉื•ืฃ ืžื‘ืขื“ืŸ ืฉื‘ืจ โ€“ ืื™ืฉื™ ื•ืคื•ืœื™ื˜ื™.

ื”ืžืงื•ืจื•ืช ืœืกื“ืจื” ืขื–ื” ืื”ื•ื‘ืชื™ ื ืืกืคื• ืžืงื˜ืขื™ ื•ื™ื“ืื• ื”ื™ืกื˜ื•ืจื™ื™ื ืฉืฆื™ืœืžื• ืื–ืจื—ื™ื•ืช ื•ืื–ืจื—ื™ ืขื–ื”, ื•ืื•ืฉืจื• ืœืฉื™ืžื•ืฉ. ื‘ืฉื ื™ื ื”ืื—ืจื•ื ื•ืช ื™ื•ืจื ืงื•ืคืจืžื™ื ืฅ “ื’ืจ” ื‘ืขื–ื” โ€“ ื›ืœื•ืžืจ ืžืกืชื•ื‘ื‘ ื‘ืจืฆื•ืขื” ื“ืจืš ื”ืจืฉืช ื•ืขื•ืงื‘ ืื—ืจ ืขื‘ื•ื“ืชื ืฉืœ ืฆืœืžื™ื” ื”ื—ื•ื‘ื‘ื™ื:
ื›ื‘ืจ ืงืจื•ื‘ ืœ-18 ืฉื ื™ื, ืฉื•ืืœื™ื ืื•ืชื™ ืžืขื˜ื™ื: “ืชื’ื™ื“, ืœืžื” ืืชื” ืœื ื™ื•ืฆื ื”ื—ื•ืฆื”? ืœืžื” ืืชื” ืœื ื™ื•ืฆื ืžื”ื‘ื™ืช”? ืžืขื•ืœื ืœื ืขื ื™ืชื™ ืชืฉื•ื‘ื” ื›ื ื” ืœืฉืืœื”.
“ืื ื™ ื›ืœ ื”ื–ืžืŸ ื‘ื—ื•ืฅ, ื‘ืขื–ื” ืื”ื•ื‘ืชื™”.

ื‘ืื—ืช ื”ืขื‘ื•ื“ื•ืช ืฉื”ื•ืฆืื• ื‘ืขืจื™ื›ื” ืžืŸ ื”ืชืขืจื•ื›ื” ื”ืืžืŸ ืคื•ื ื” ืœื‘ื™ื‘ื™ ื ืชื ื™ื”ื• ื‘ืžื™ืœื™ื: “ื”ืฆืœืงื•ืช ืฉืœื™ ื”ืŸ ืœื ื”ืฆืœืงื•ืช ืฉืœืš. ืœื ื”ืฆืœืงื•ืช ื”ื ืคืฉื™ื•ืช ืฉืœื™ ื•ืœื ื”ืฆืœืงื•ืช ื”ืคื™ื–ื™ื•ืช ืฉืœื™. ืœื™ ื™ืฉ ืืช ื”ืฆืœืงื•ืช ื”ื ืคืฉื™ืช ื•ื”ืคื™ื–ื™ื•ืช. ืืœ ืชืืžืฅ ื•ืืœ ืชื™ืงื— ืžืžื ื™ ื•ืืœ ืชืขื™ื– ืœื ื›ืก ืœืขืฆืžืš ืืช ื”ืฆืœืงื•ืช ืฉืœื™. ื˜ื™ืคืช ืžื•ืฉื’ ืื™ืŸ ืœืš ืžื” ื”ืŸ ืื•ืชืŸ ืฆืœืงื•ืช ื ืคืฉื™ื•ืช ื•ืืœ ืชื—ื‘ืง ืื•ืชื™. ืืœ ืชื™ื’ืข ื‘ื™.”
ื’ื ืžืžื ื™ ืงื•ืคืจืžื™ื ืฅ ื‘ื™ืงืฉ ืœื”ืฉื”ื•ืช ืืช ื”ืขื™ืกื•ืง ื‘ืฆืœืงื•ืช ื•ืœื”ืชื—ื™ืœ ืืช ื”ื˜ืงืกื˜ ื‘ื”ืชื™ื™ื—ืกื•ืช ืœืืžื ื•ืช. ืจื‘ื•ืช ื›ื‘ืจ ื ื›ืชื‘ ื•ืกื•ืคืจ ืขืœ ืคื•ืกื˜ ื”ื˜ืจืื•ืžื” ืฉื”ื•ื ื ื•ืฉื ืžืžืœื—ืžืช ื™ื•ื ื”ื›ื™ืคื•ืจื™ื ื•ืขืœ ื‘ื™ื˜ื•ื™ื” ื‘ืืžื ื•ืช ืฉืœื•. ืืš ืœื ืื•ื›ืœ ืœื”ื™ื•ื•ืชืจ ื•ืœื”ื•ืชื™ืจ ืืช ื”ืฆื•ืคื” ื‘ืœื™ืžื‘ื• ื”ืื™ื ืกื•ืคื™ ืขืœ ื”ืžืกืš ื•ืœื”ื™ื›ื ืข ืœื›ื•ื—ื•ืช ื”ื˜ืจืื•ืžื” ื•ื”ืกื™ืžื•ืœืงืจื”. ืขืœื™ ืœื ืกื•ืช ืœืžืฉืžืข, ืžื‘ืœื™ ืœื ื›ืก. ืœื’ืขืช.

ื™ื•ืจื ืงื•ืคืจืžื™ื ืฅ ื’ื•ื™ืก ืœืฆื‘ื ื‘ืฉื ืช 1973.ืขื ืคืจื•ืฅ ืžืœื—ืžืช ื™ื•ื ื›ื™ืคื•ืจ ื”ื•ื ืกื•ืคื— ืœื™ื—ื™ื“ืช ื”ื ื“ืกื” ื•ื ืฉืœื— ืœืชืขืœืช ืกื•ืืฅ, ืฉื ื ืคืฆืข, ื•ืกืคื’ ืคื’ื™ืขื” ืคื™ื–ื™ืช ื•ื ืคืฉื™ืช ืฉื›ืื‘ื™ื” ืžืœื•ื•ื™ื ืื•ืชื• ืขื“ ื”ื™ื•ื. ื‘ืฉื ืช 2000 ื›ืชื‘ ื•ืคืจืกื ืืช ื”ื›ืจื•ื ื™ืงื” ืื•ืงื˜ื•ื‘ืจ/ ื™ื•ืžืŸ ืžืœื—ืžื” ื•ื‘ื” ื”ื•ื ืžื“ื•ื•ื— ืขืœ ื–ื•ื•ืขื•ืช ื”ืžืœื—ืžื” ื“ืจืš ื—ื•ื•ื™ื•ืชื™ื•. ื‘ืคืจืคืจื–ื” ืขืœ ื‘ื™ืงื•ืจืชื• ืฉืœ ื—ื ืŸ ืคืจื ืง :”ื™ื•ืจื ื”ื™ืงืจ… ื”ื—ืœื˜ืชื™… ืœืขื ื•ืช ืœืš ื‘ืื•ืชื• ืื•ืคืŸ, ืื™ืฉื™ ื•ืื™ื ื˜ื™ืžื™. ืžืžื™ืœื ื›ืœ ืฆื•ืจืช ื“ื™ื•ืŸ ืื—ืจืช ื‘ืชืขืจื•ื›ืชืš[ื‘ืžืงื•ืจ: ืกืคืจืš] ืชืขื•ื•ืช ืืช ื”ืžืกืจ ืฉื‘ื”.”

ื™ื•ืจื ื”ื™ืงืจ, ืฆืคื™ืชื™ 12 ืฉืขื•ืช ื‘ืงื•ืจืคื•ืก ื”ืขื‘ื•ื“ื•ืช ื”ืžื•ืฆื’ื•ืช ื‘ืชืขืจื•ื›ื” ืืชื” ืืชื”? ืื ื™ ืขื“ื”. ืื– ืžื“ื•ืข ืžืœื›ืชื—ื™ืœื” ื”ืชืขืจื•ื›ื” ืœื ืžืืคืฉืจืช ืœืืฃ ืฆื•ืคื” ืื—ืจ ืœื”ื™ื•ืช ืขื“? ื‘ื˜ืงืกื˜ ืฉื›ืชื‘ื” ื”ืื•ืฆืจืช ื•ืžื‘ืงืจืช ื”ืืžื ื•ืช ื’ืœื™ื” ื™ื”ื‘ ื–”ืœ, ืฉื”ื™ืชื” ื‘ืช ื–ื•ื’ื• ืฉืœ ื”ืืžืŸ, ืœืชืขืจื•ื›ื” ืื•ืงื˜ื•ื‘ืจ ืฉื”ืฆื™ื’ ื”ืืžืŸ ื‘ืกื“ื ืื•ืช ื”ืืžื ื™ื ื‘ืชืœ ืื‘ื™ื‘ ื‘-2013, ื•ื‘ื• ื”ื™ื ืžื“ื‘ืจืช ืขืœ ืื™ ื”ืืžื•ืŸ ื•ื”ื›ืขืก ืฉืœ ืฉื•ืจื“ ื”ื˜ืจืื•ืžื” ื›ืœืคื™ ืืœื” ืฉืœื ื”ื™ื• ืฉื:” ืื™ ืืžื•ืŸ ื–ื”, ื”ืฉื ืื” ื”ื–ืืช, ืžื•ืคืงื™ื ื‘ืืžืฆืขื•ืช ืชื—ื‘ื™ืจ ืกืจืงืกื˜ื™ ื‘ื™ืŸ ืžืงื˜ืขื™ื ืฉื•ื ื™ื ื•ื–ืจื™ื, ืชื—ื‘ื™ืจ ืฉืื™ื ื• ืžืงื”ื” ืืช ื”ืจื’ื™ืฉื•ืช ืืœื ื“ื•ื•ืงื ืžื—ื“ื“ ืื•ืชื”, ื‘ืขื–ืจืช ืคืขื•ืœื•ืช ื”ื–ืจื” ืื• ืจื•ืžื ื˜ื™ื–ืฆื™ื” ืžื•ืคืจื–ืช ืฉืœ ื“ื™ืžื•ื™ื™ื ื‘ื ืืœื™ื™ื, ื”ื”ื•ืคื›ื™ื ื›ืš ืœืชืžื•ื ื•ืช ื’ืจื•ื˜ืกืงื”.”

ืฉื™ืจื” ืกืชื™ื•, ืฉื›ืชื‘ื” ืžืืžืจ ืขืœ ืกืคืจื• ืฉืœ ืงื•ืคืจืžื™ื ืฅ, ื˜ื•ืขื ืช ืฉื™ืฆื™ืจื” ืžืชื•ืš ื˜ืจืื•ืžื” ื ื•ื˜ื” ืœืฉื—ื–ืจ ื”ื™ืขื“ืจ ืฉืœ ืžื•ื‘ืŸ ืงื•ื”ืจื ื˜ื™ ื•ื”ื‘ื—ื ื•ืช ื‘ื™ืŸ ื–ืžื ื™ื, ืžืงื•ืžื•ืช ื•ื–ื”ื•ื™ื•ืช. ืžื‘ื™ืŸ ืชืคื–ื•ืจืช ืงื˜ืขื™ ื”ื•ื™ื“ืื• ื”ืฉื•ื ื™ื ื”ืžื•ืฆื’ื™ื, ื ืคืฉื• ื”ื—ืฉื•ืคื” ืฉืœ ื”ืืžืŸ ืฉืžืชืขื“ ืืช ื›ืื‘ื• ื ื‘ืœืขืช ื‘ืชื•ืš ืขื•ื“ืคื•ืช ืกืคืงื˜ืงื•ืœืจื™ืช ื‘ืจืฆืฃ ื—ืกืจ ื”ื‘ื—ื ื”, ืœืœื ื”ื™ืจืจื›ื™ื” ืžืืจื’ื ืช ื‘ื™ืŸ ืื– ืœืขื›ืฉื™ื•, ื‘ื™ืŸ ื›ืืŸ ืœืฉื. ืกื•ื‘ื™ืงื˜ ืžืคื•ืฆืœ ืฉื‘ืชื’ื•ื‘ื” ืœืžืœื—ืžื” ื ืข ื‘ืžืขื’ืœ ืื™ื ืกื•ืคื™ ื•ืžื ื•ืชืง ื‘ื™ืŸ ื”ื˜ืจืื•ืžื” ื”ืจืืฉื•ื ื™ืช ืœืกื™ืžืคื˜ื•ืžื™ื, ื‘ื™ืŸ ื—ื–ื™ื•ื ื•ืช ืคืกื™ื›ื•ื“ืœื™ื™ื ืœืงื˜ืขื™ ื–ื™ื›ืจื•ื ื•ืช, ืกื•ื‘ื™ืงื˜ ืฉื ืชืงืข ืžื•ืœ ื”ืžืกืš ืื• ื”ืžืจืื” ืขื ื”ืฉืืœื”: “ืืชื” ืืชื”??” ืื• ื“ื•ื•ืงื, ืžืชืงื ืช ืื•ืชื™ ื˜ืœื™ื” ืฉืœื™ื˜, ื ืคืฉื• ืœื ื ื‘ืœืขืช. ื”ื™ื ืžืฉื“ืจืช ืฉื•ื‘ ื•ืฉื•ื‘ ื•ืฉื•ื‘ “ืชืฉื“ื™ืจื™ ื˜ืจืื•ืžื””. ืืš ืืœ ืžื™ ื”ืชืฉื“ื•ืจืช? ื‘ืชื’ื•ื‘ื” ืœืžื—ืฉื‘ื•ืช ื”ืืœื” ื™ื•ืจื ื›ืชื‘ ืœื™ ืฉืขื•ืžืก ื”ื’ื™ืจื•ื™ื™ื ืงืฉื•ืจ ื’ื ืœืขื™ืจื ื•ืช ืฉืžื™ื™ืฆืจืช ื”ื˜ืจืื•ืžื” ืœืœื ื”ืจืฃ โ€“ “ื“ืจื™ื›ื•ืช ื‘ืœืชื™ ืคื•ืกืงืช ืœืžืชืจื—ืฉ ื›ื“ื™ ืœื”ืงื“ื™ื ืืช ื”ืคื’ื™ืขื”, ื›ืžื• ื ืคื™ืœืช ื”ืคื’ื– ืฉืคืฆืข ืื•ืชื™, ื•ื›ืื™ืœื• ื‘ื›ืš ืืฆืœื™ื— ืœื”ืฆื™ืœ ืืช ืขืฆืžื™. ืžื” ืฉื‘ื•ื•ื“ืื™ ื‘ืœืชื™ ืืคืฉืจื™”. ื›ืžื” ืฉืขื•ืช ืœืื—ืจ ืžื›ืŸ ื‘ื™ืงืฉ ืฉืื“ื—ื” ืืช ื”ืžื™ืœื™ื ื”ืืœื” ืœืกื•ืฃ ื”ื˜ืงืกื˜. ืฉืืชื—ื™ืœ ื‘ืžื•ื–ื™ืงื”.

ืืš ื”ืคืจื’ืžื ื˜ืฆื™ื” ื•ื”ืจื™ื‘ื•ื™, ื—ื•ืกืจ ื”ื”ื™ืจืจื›ื™ื” ื•ื”ืžื™ืกื•ืš ืื™ื ื ืจืง ืกื™ืžืคื˜ื•ืžื™ื ืคืชื•ืœื•ื’ื™ื™ื. ื˜ืžื•ืŸ ื‘ื”ื ื”ืคื•ื˜ื ืฆื™ืืœ ืœื”ืชื ื’ื“. ื–ื•ื”ื™ ืฉืคืช ื”ื˜ืจืื•ืžื”. ื”ื›ืœ ืงืฉื•ืจ ืœื”ื›ืœ. ื›ื›ื” ื”ื™ื ืžื“ื‘ืจืช. ื›ื›ื” ื”ื™ื ื ืฉืžืขืช. ื›ื›ื” ื”ื™ื ื’ื ืžืขืจืขืจืช ืืช ืžื‘ื ื™ ื”ืžืฉืžืขื•ืช ื”ืžื•ื›ืจื™ื ื‘ืืžื ื•ืช, ื›ืžื• ื’ื ื‘ื—ื™ื™ื. ื›ืš ื ืงื˜ืข ื•ืžืชืคืจืง ื ืจื˜ื™ื‘ ืžืงื•ืžื™ ืฉืœ ื–ื”ื•ืช ืžื‘ื•ืกืกืช ืžืœื—ืžื” ื•ื›ื™ื‘ื•ืฉ ื•ื ืขืจืš ืœืžื•ื ื˜ืื–’ ื—ื“ืฉ ื•ื‘ืœืชื™ ื ืฉืœื˜. ื‘ืœืชื™ ืžืžื•ืฉืžืข. ื•ื‘ืžื™ืœื•ืชื™ื• ืฉืœ ื”ืืžืŸ: “ื”ืžื—ื•ื™ื‘ื•ืช ื”ื™ื ืœื•ืžืจ ืœื ื‘ื›ืœ ืฉืขื” ื•ื‘ื›ืœ ื™ื•ื.”

ื”ืชืขืจื•ื›ื” ืžืœื•ื•ื” ื‘ื˜ืงืกื˜ ืฉื›ืชื‘ ื”ืืžืŸ ืขืœ ืชื”ืœื™ืš ื™ืฆื™ืจืช ื”ืžื•ื–ื™ืงื”.

ื™ื•ืจื ืงื•ืคืจืžื™ื ืฅ (1954), ื—ื™ ื•ืขื•ื‘ื“ ื‘ืชืœ ืื‘ื™ื‘. ื‘ื•ื’ืจ ื”ืžื—ืœืงื” ืœืืžื ื•ื™ื•ืช ื‘ื‘ืฆืœืืœ (1980). ื”ืฆื™ื’ ืชืขืจื•ื›ื•ืช ื™ื—ื™ื“, ื‘ื™ืŸ ื”ื™ืชืจ ื‘ืžื•ื–ื™ืื•ืŸ ื™ืฉืจืืœ (1986) ื’ืœืจื™ื” ืฉืœื•ืฉ (1995,1993), ื’ืœืจื™ื” ื‘ืจื‘ื•ืจ (2009), ืกื“ื ืื•ืช ื”ืืžื ื™ื ื‘ืชืœ ืื‘ื™ื‘ (2013) ื•ื’ืœืจื™ื” ืžื™ื ื•ืก 1 (2018). ื”ืฉืชืชืฃ ื‘ืชืขืจื•ื›ื•ืช ืงื‘ื•ืฆืชื™ื•ืช ืจื‘ื•ืช, ื‘ื™ืŸ ื”ื™ืชืจ ื‘ืžื•ื–ื™ืื•ืŸ ืชืœ ืื‘ื™ื‘, ืžื•ื–ื™ืื•ืŸ ื—ื™ืคื” ื•-Art Cologne. ื‘ื ื•ืกืฃ ืฉื™ืžืฉ ื›ื›ืชื‘ ืชืจื‘ื•ืช ื‘ืžืขืจื™ื‘ ื•ื”ืืจืฅ, ื‘ืฉื ืช 2000 ืคืจืกื ืืช ืกืคืจื•, ืื•ืงื˜ื•ื‘ืจื™ื•ืžืŸ ืžืœื—ืžื”.

ืงืจื“ื™ื˜ื™ื:
ื”ืกืจื˜ื•ื ื™ื ืžื”ืกื“ืจื” “ืขื–ื” ืื”ื•ื‘ืชื™” ืฆื•ืœืžื• ืข”ื™ ืื–ืจื—ื™ ื•ืื–ืจื—ื™ื•ืช ืจืฆื•ืขืช ืขื–ื” ื•ืื•ืฉืจื• ืœืฉื™ืžื•ืฉ.
ื˜ืงืกื˜ื™ื, ื“ื™ืžื•ื™ื™ื, ืฆื™ืœื•ื ื•ื™ื“ืื•, ื”ืงืจืื”, ืฉื™ืจื”, ืขื™ื‘ื•ื“ ืงืื‘ืจื™ื, ืœื—ืŸ, ื ื’ื™ื ื”, ืขืจื™ื›ืช ื•ื™ื“ืื• ื•ืขืจื™ื›ืช ืกืื•ื ื“: ื™ื•ืจื ืงื•ืคืจืžื™ื ืฅ
ื—ืœืง ืžืŸ ื”ื˜ืงืกื˜ื™ื ื”ื ืžืชื•ืš ืกืคืจื• ืฉืœ ื™ื•ืจื ืงื•ืคืจืžื™ื ืฅ ืดืืจื›ื™ื•ืŸ ื”ื›ืื‘ ื”ืฉืœืืด ืฉื™ืจืื” ืื•ืจ ื‘ืฉื ื” ื”ื‘ื ื‘ื”ื•ืฆืืช ืคืจื“ืก.
ืื•ืฆืจื•ืช ืจืฆืฃ ื”ื•ื™ื“ืื•: ื ื•ืขื” ื’ืจื•ืก

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