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Le peintre tune Eliyahu Eric Bokobza expose au Beit Hatfutsot à Tel Aviv du 17 juillet au 29 janvier 2016
Envoyé par MeYeR
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Le peintre tune Eliyahu Eric Bokobza expose au Beit Hatfutsot à Tel Aviv du 17 juillet au 29 janvier 2016 22 juillet 2015, 07:16 |
juil 17, 2015
sur Eliyahu Eric Bokobza, peintre de l’identité juive multiple
Dans le cadre de l’exposition United Colors of Judaica, organisée par le Musée du peuple juif à Tel-Aviv, l’artiste israélien d’origine tunisienne et né en France, Eliyahu Eric Bukobza, présente son travail axé sur le passé et le présent, l’ancien et le nouveau, l’anachronique et le contemporain, l’Orient et l’Occident. Pour IsraPresse, le peintre évoque son travail sur les questions d’identité ethnique, religieuse, culturelle et nationale.
IsraPresse : Après des études de pharmacie, pourquoi vous êtes-vous tourné vers l’art ?
Eliyahu Eric Bukobza : En réalité, on naît artiste. J’ai toujours dessiné, été proche du monde de l’art. Mais je ne pensais pas en faire un métier. Comme tout fils de mère juive, j’avais l’option entre médecin ou avocat. J’ai choisi pharmacie, tout en continuant une activité artistique comme hobby. En 1989, le magazine israélien de décoration « Binyan & Diour » a publié en Une, un de mes tableaux peint pour mon intérieur. Du coup, nombre d’amateurs m’ont appelé pour acheter cette toile. A 32 ans, je me suis alors inscrit dans une école d’art de Tel-Aviv : Kalisher (aujourd’hui fermée). Pendant une dizaine d’années, j’ai poursuivi mes deux activités en parallèle. Depuis 5 ans, je me consacre exclusivement à la peinture.
-Comment qualifiez-vous votre style ?
-L’idée est d’avoir le sien propre. Je n’appartiens à aucune école. Mais j’ai des affinités avec celle de l’art Naïf, le douanier Rousseau, Matisse ou les peintres israéliens du 20e siècle comme Nahum Goldman ou Réouven Rubin. En fait, j’introduis de la peinture naïve (colorée, attrayante) dans l’art contemporain, à savoir dans des sujets non traités par les naïfs. Je suis motivé par les motifs cachés contrairement aux précédents. J’ai à la fois un regard extérieur et une attitude critique.
-Vos tableaux sont très colorés. Que symbolise pour vous la couleur ?
-Nous vivons dans un environnement saturé d’images (publicité, télévision). Il faut donc attirer le regard. Pour cela,
j’utilise plusieurs techniques dont celle des couleurs.
-Quelle technique utilisez-vous ?
-Cela dépend des idées. Je mélange technique traditionnelle (huile sur toile, aquarelle) avec des procédés modernes (acrylique, ordinateur). J’emploie plusieurs peintures dans un même tableau – encre et aquarelle, huile et acrylique – pour les nuances et une vision plus contemporaine. Je me sers aussi d’impression digitale.
-Qu’exprimez-vous à travers vos toiles ?
-Je définis mes œuvres comme de l’art contemporain juif, une exploration de l’identité juive multiple à l’heure du multiculturalisme. Aussi, mes tableaux se lisent-ils à plusieurs niveaux, comme la complexité de la vie. Une image en cache une autre, tel un jeu. Je m’en sers pour soumettre le spectateur à mes idées. J’effectue un travail sur le narratif. J’insinue des messages, dans un langage contemporain moins direct que l’écrit, qui permet l’ambivalence. Je tente ainsi de gérer les contradictions de mon identité plurielle en me mettant en scène dans mes tableaux.
-Que signifie à vos yeux l’exposition United Colors of Judaica ?
-Je l’ai spécialement conçue pour le Beit Hatfoutsot, le musée de la Diaspora. C’est une commande du Musée. Elle traite de l’identité, du rapport au pays, du conflit israélo-palestinien. Ici, la démarche artistique est ancrée sur la généalogie, la famille du peuple juif. Mais au-delà, elle traite de racisme, de politique, de genre mais aussi d’immigration – des questions universelles qui intéressent tout le monde, pas seulement les Juifs.
-Comment définissez-vous votre propre identité ?
-Ma judéité fait partie de mon patrimoine culturel, de mon identité. Ma signature de même : Eliyahu est mon nom juif, Eric mon nom français et Bukobza mon nom oriental. Je possède donc une identité multiculturelle : francophone et israélienne ; juive et laïque ; de gauche et pacifiste. Je vis la culture israélienne, américaine, française et orientale au même niveau. Je ne fais pas de hiérarchie, ni de préférence. Je tente de créer une harmonie entre des parties qui ne ‘’collent’’ pas, de les intégrer, pas de les renier.
Propos recueillis par Noémie Grynberg
L’exposition United Colors of Judaica aura lieu du 17 juillet 2015 au 29 janvier 2016 au Musée de la Diaspora à Tel Aviv.
[www.israpresse.net]
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Eliyahu Eric Bokobza dans HARISSA :
[www.harissa.com]
[harissa.com]
Le site de Eliyahu Eric Bokobza : [www.ericbokobza.com] où on peut voir la présentation de l'exposition et les tableaux présentés à la rubrique EXHIBITIONS - UNITED COLORS OF JUDAICA
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Re: Le peintre tune Eliyahu Eric Bokobza expose au Beit Hatfutsot à Tel Aviv du 17 juillet au 29 janvier 2016 22 juillet 2015, 07:16 |
L'invitation à l'inauguration de l'exposition, objet de l'article précédent.
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Re: Le peintre tune Eliyahu Eric Bokobza expose au Beit Hatfutsot à Tel Aviv du 17 juillet au 29 janvier 2016 26 août 2015, 10:00 |
Article sur cette exposition paru dans le Jerusalem Post
By GRAHAM LAWSON \ 08/19/2015
Judaism’s many colors, many layers
Eliahou Eric Bokobza's vivid and vibrantly colored paintings are not only deceptive and disarming but unlike much of what is taken for “serious” art on the contemporary Israeli art scene.
Eliahou Eric Bokobza’s latest exhibition at Beit Hatfutsot – The Museum of the Jewish People.
Hassidic rabbis, a voluptuous belly dancer, a man in blackface, and a pink flamingo – these are just some of the characters and figures that inhabit the exotic world of Eliahou Eric Bokobza’s latest exhibition at Beit Hatfutsot – The Museum of the Jewish People.
The vivid and vibrantly colored paintings, all executed in the style of naive art, are not only deceptive and disarming but unlike much of what is taken for "serious" art on the contemporary Israeli art scene.
Bokobza, however, has gained both critical approval and recognition for his works, some of which now sit in the Israel Museum, the Knesset and private collections at home and abroad.
Bokobza was born in Paris in 1963. His father studied law at the Sorbonne and his mother was an opera singer; both were Tunisian. The family immigrated to Israel in 1969. As child Bokobza received good education, learned piano for 14 years and later studied pharmacology in Jerusalem. "I was not your typical Mizrahi immigrant. In many ways was quite privileged" he said, in conversation with Metro. Bokobza's entrance into the art world was not immediate. His parents set him up with pharmacy business and he also dabbled in window design. In the 1990s he divided his time between running his pharmacy and studying at the Kalisher Art Academy in Tel Aviv. Since making the decision to sell the pharmacy and devote himself to art full-time, he has received awards and had many solo exhibitions.
Bokobza's work differs from that of naive artists by his focus and choice of themes and concepts. Naive art is marked by simplicity of approach, both technically and with regard to subject matter. From the beginning Bokobza's work has concentrated on Israeli and Jewish identity, dealing with issues such as Zionism, the political and military landscape, gender and religion. "I consider myself conceptual artist. There are elements of play and thought in what I do. Many people believe that if you do naive art, you have to be a simple or innocent person. There is a stigma about it, that it should be cheerful and happy," he explained. At first glance Bokobza's paintings might appear innocent, but the colorful veneer belies world dense with imagery and allusion, much of which refers to Israeli society and culture.
The latest exhibition is titled "United Colors of Judaica" and is connected to Jewish ritual and practice. The title is a play on words, alluding to the vision of the United Nations, but also an ironic reference to the Benetton fashion brand. The exhibition incorporates series of paintings themed around Jewish holidays, the life cycle of a Jewish male, an imagined family tree and an installation. Interspersed are corresponding Judaica.
"I became very interested in the world of Jewish artifacts and sought out objects I was drawn to," said Bokobza. "One of the focal points of the museum is genealogy and the notion that as Jews we are one big family. I used this idea as starting point, but have different vision of what family is, "he continued. Bokobza's notion of family is partly explored in what the curator of the exhibition, Dr. Smadar Sheffi, considers the "very core of the exhibition" the recreation of Shabbat/Passover table in an installation titled "Famiglia." It's notion closely bound up with his identity as a Mizrahi Jew.
Placed around the table are several chairs in British colonial style that belonged to the artist's maternal grandmother. The porcelain plates, which belonged to Bokobza's paternal grandmother, are adorned with paintings of the figures seen in the family tree, each denoting their place at table. Both table and chairs sit atop a lino-carpet, designed in the tradition of oriental carpets but also showing Jewish symbols. The characters of Bokobza's fictive family are gleaned from various sources, are of high and low birth, Ashkenazi and Sephardi, and from high and low culture. The chairs and plates are nostalgic reminders of life in Tunisia and of former French colonial rule. The installation fuses influences of East and West and, writes Sheffi, "distils various components of identity and national and personal layers of meaning."
Bokobza's exploration of identity, both public and private, continues in the paintings. From his first solo exhibition in 2000, titled "PlaisirOriental," and through successive exhibits, Bokobza has engaged in kind of dialogue with the style of the Bezalel school from the first part of the 20th century. Japanese aesthetics, as well as Oriental patterns and motifs, present tin the work of the early Bezalelians, also informs and provides kind of backdrop to many of his paintings. "I came from a design-based background. I never wanted to choose between clean, minimal lines and the color and opulence of the Orient. I've always tried to integrate styles and make them work together, to bring wider approach to what I am doing," he said.
The series of paintings, the installation and the Judaica all relate to one another and can be interpreted as a kind of staged production Bokobza's very own Israeli drama in which Eliahou (the Prophet Elijah), his alter ago and figure present in much of his work, is the main character. Eliahou appears as sabra in the painting Tu Bishvat, disguised as soldier in Purim, and as somewhat forlorn patriot in Independence Day. Throughout the paintings neither Eliahou nor the other figures appear at ease; rather, they appear alienated. Their eyes are always averted, their expressions devoid of emotion, even in moments of celebration, such as on the religious or public holidays.
The characters and scenes in the works have elements of the familiar and the bizarre, and form something of a critique of Israeli society. A figure resembling the "hilltop youth" with what appear to be settier outposts in the background is seen in the painting Lag Ba'omer. In the catalogue text Sheffi writes that "Zionism identified the holiday with the revolt led by Rabbi Shimon bar Yohai... which led to the destruction of Judea." Is Bokobza implying the violence of extremist settler youth might visit similar fate on the land? The painting does not have the visual weight to carry such an ominous message, but it does have resonance in light of recent events.
The striking diptych Wedding might be the exhibition highlight, a work suffused with biblical and art historical references and the abundant colors of Bokobza's art. The composition portrays a hassidic couple, the biblical figures of Adam and Eve and an array of animals in lavish mix that leave us pondering as to which couple will marry. Will it be heterosexual or same-sex marriage? Bokobza leaves us guessing, but in drawing link between early and modern man (and woman) alludes to the complex relations in present-day life.
The United Colors of Judaica is a multi-layered exhibition in which Bokobza continues to explore and integrate elements of Israeli and Jewish identity, interweaving and overlapping themes in a very distinct fashion. The affect is somewhat akin to walking into Middle Eastern bazaar, with its joyous range of color, character and spectacle. Thing is, you never know quite what you'll walk out with. The exhibit runs until January 28, 2016.
[www.jpost.com]
(photo credit:RON ARDEH)
Pièces jointes:
By GRAHAM LAWSON \ 08/19/2015
Eliahou Eric Bokobza's vivid and vibrantly colored paintings are not only deceptive and disarming but unlike much of what is taken for “serious” art on the contemporary Israeli art scene.
Eliahou Eric Bokobza’s latest exhibition at Beit Hatfutsot – The Museum of the Jewish People.
Hassidic rabbis, a voluptuous belly dancer, a man in blackface, and a pink flamingo – these are just some of the characters and figures that inhabit the exotic world of Eliahou Eric Bokobza’s latest exhibition at Beit Hatfutsot – The Museum of the Jewish People.
The vivid and vibrantly colored paintings, all executed in the style of naive art, are not only deceptive and disarming but unlike much of what is taken for "serious" art on the contemporary Israeli art scene.
Bokobza, however, has gained both critical approval and recognition for his works, some of which now sit in the Israel Museum, the Knesset and private collections at home and abroad.
Bokobza was born in Paris in 1963. His father studied law at the Sorbonne and his mother was an opera singer; both were Tunisian. The family immigrated to Israel in 1969. As child Bokobza received good education, learned piano for 14 years and later studied pharmacology in Jerusalem. "I was not your typical Mizrahi immigrant. In many ways was quite privileged" he said, in conversation with Metro. Bokobza's entrance into the art world was not immediate. His parents set him up with pharmacy business and he also dabbled in window design. In the 1990s he divided his time between running his pharmacy and studying at the Kalisher Art Academy in Tel Aviv. Since making the decision to sell the pharmacy and devote himself to art full-time, he has received awards and had many solo exhibitions.
Bokobza's work differs from that of naive artists by his focus and choice of themes and concepts. Naive art is marked by simplicity of approach, both technically and with regard to subject matter. From the beginning Bokobza's work has concentrated on Israeli and Jewish identity, dealing with issues such as Zionism, the political and military landscape, gender and religion. "I consider myself conceptual artist. There are elements of play and thought in what I do. Many people believe that if you do naive art, you have to be a simple or innocent person. There is a stigma about it, that it should be cheerful and happy," he explained. At first glance Bokobza's paintings might appear innocent, but the colorful veneer belies world dense with imagery and allusion, much of which refers to Israeli society and culture.
The latest exhibition is titled "United Colors of Judaica" and is connected to Jewish ritual and practice. The title is a play on words, alluding to the vision of the United Nations, but also an ironic reference to the Benetton fashion brand. The exhibition incorporates series of paintings themed around Jewish holidays, the life cycle of a Jewish male, an imagined family tree and an installation. Interspersed are corresponding Judaica.
"I became very interested in the world of Jewish artifacts and sought out objects I was drawn to," said Bokobza. "One of the focal points of the museum is genealogy and the notion that as Jews we are one big family. I used this idea as starting point, but have different vision of what family is, "he continued. Bokobza's notion of family is partly explored in what the curator of the exhibition, Dr. Smadar Sheffi, considers the "very core of the exhibition" the recreation of Shabbat/Passover table in an installation titled "Famiglia." It's notion closely bound up with his identity as a Mizrahi Jew.
Placed around the table are several chairs in British colonial style that belonged to the artist's maternal grandmother. The porcelain plates, which belonged to Bokobza's paternal grandmother, are adorned with paintings of the figures seen in the family tree, each denoting their place at table. Both table and chairs sit atop a lino-carpet, designed in the tradition of oriental carpets but also showing Jewish symbols. The characters of Bokobza's fictive family are gleaned from various sources, are of high and low birth, Ashkenazi and Sephardi, and from high and low culture. The chairs and plates are nostalgic reminders of life in Tunisia and of former French colonial rule. The installation fuses influences of East and West and, writes Sheffi, "distils various components of identity and national and personal layers of meaning."
Bokobza's exploration of identity, both public and private, continues in the paintings. From his first solo exhibition in 2000, titled "PlaisirOriental," and through successive exhibits, Bokobza has engaged in kind of dialogue with the style of the Bezalel school from the first part of the 20th century. Japanese aesthetics, as well as Oriental patterns and motifs, present tin the work of the early Bezalelians, also informs and provides kind of backdrop to many of his paintings. "I came from a design-based background. I never wanted to choose between clean, minimal lines and the color and opulence of the Orient. I've always tried to integrate styles and make them work together, to bring wider approach to what I am doing," he said.
The series of paintings, the installation and the Judaica all relate to one another and can be interpreted as a kind of staged production Bokobza's very own Israeli drama in which Eliahou (the Prophet Elijah), his alter ago and figure present in much of his work, is the main character. Eliahou appears as sabra in the painting Tu Bishvat, disguised as soldier in Purim, and as somewhat forlorn patriot in Independence Day. Throughout the paintings neither Eliahou nor the other figures appear at ease; rather, they appear alienated. Their eyes are always averted, their expressions devoid of emotion, even in moments of celebration, such as on the religious or public holidays.
The characters and scenes in the works have elements of the familiar and the bizarre, and form something of a critique of Israeli society. A figure resembling the "hilltop youth" with what appear to be settier outposts in the background is seen in the painting Lag Ba'omer. In the catalogue text Sheffi writes that "Zionism identified the holiday with the revolt led by Rabbi Shimon bar Yohai... which led to the destruction of Judea." Is Bokobza implying the violence of extremist settler youth might visit similar fate on the land? The painting does not have the visual weight to carry such an ominous message, but it does have resonance in light of recent events.
The striking diptych Wedding might be the exhibition highlight, a work suffused with biblical and art historical references and the abundant colors of Bokobza's art. The composition portrays a hassidic couple, the biblical figures of Adam and Eve and an array of animals in lavish mix that leave us pondering as to which couple will marry. Will it be heterosexual or same-sex marriage? Bokobza leaves us guessing, but in drawing link between early and modern man (and woman) alludes to the complex relations in present-day life.
The United Colors of Judaica is a multi-layered exhibition in which Bokobza continues to explore and integrate elements of Israeli and Jewish identity, interweaving and overlapping themes in a very distinct fashion. The affect is somewhat akin to walking into Middle Eastern bazaar, with its joyous range of color, character and spectacle. Thing is, you never know quite what you'll walk out with. The exhibit runs until January 28, 2016.
[www.jpost.com]
(photo credit:RON ARDEH)
Pièces jointes:
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Re: Le peintre tune Eliyahu Eric Bokobza expose au Beit Hatfutsot à Tel Aviv du 17 juillet au 29 janvier 2016 31 décembre 2015, 08:01 |
L'exposition au Beit Hatfoutsot a été prolongée jusqu'au 2 février 2016.
Voir la page du site du musée : [www.bh.org.il]
Eliyahu Eric Bokobza a reçu le Prix du Sionisme délivré par le Ministère de la Culture.
Le Président de l'Etat d'Israël l'a félicité ce jour sur sa page Facebook (ci-dessous).
Dans la photo on voit l'artiste discutant avec la femme du Président devant deux de ses tableaux.
Pièces jointes:
Voir la page du site du musée : [www.bh.org.il]
Eliyahu Eric Bokobza a reçu le Prix du Sionisme délivré par le Ministère de la Culture.
Le Président de l'Etat d'Israël l'a félicité ce jour sur sa page Facebook (ci-dessous).
Dans la photo on voit l'artiste discutant avec la femme du Président devant deux de ses tableaux.
Pièces jointes:
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