Page 1

The Archive

Issue #5




The Archive Magazine aims to bring you the best coverage of the latest news in the region. In each issue we will choose a theme and photographers are welcome to apply with their images.

1. “The Land of Victory” is a special exhibition that was made by Multimedia Art Museum of Moscow for the 70th anniversary of victory in Second World War created from different archives of pictures between 1941-1945 .

1. Interview with Photo Editor at Time magazine Mikko Takkunen. 2. Interview and a short sport portfolio by Jonathan Nackstrand of AFP .

2. Following recent events, we decided to show the project “Falash-Mura” by Michal Fattal, who went in 2008 to Ethiopia and documented the journey of Jewish Ethiopians to Israel. 3. Selected works by Oded Balilty from his solo exhibition “Sabra Traces” at Erez Israel Museum in Tel-Aviv.




‫מגזין ״הארכיון״ מציג את מיטב‬ ‫התמונות שקוראינו שלחו לנו על‬ ,‫ בעינינו‬,‫ארוע האקטואליה המרכזי‬ ‫ בעולם‬.‫בחודשיים האחרונים‬ ‫האינטרנט אנחנו מבינים שלא נוכל‬ ‫להתחרות באתרים אשר מנסים‬ ‫להקדים את החדשות אלא להביא‬ ‫את נקודת המבט השונה והנצחית של‬ .‫הצלם‬

‫ תערוכה מיוחדת‬,‫ ״ארץ הניצחון״‬.1 .‫במוזיאון המולטימדיה של מוסקבה‬ ‫צילומים ממלחמת העולם השנייה לציון יום‬ .‫ לנצחון על גרמניה הנאצית‬70-‫השנה ה‬

‫ עורך צילום‬,‫ ראיון עם מיקו טאקונן‬.1 .‫במגזין ״טיים״‬

‫ בעקבות ארועי החודש האחרון‬.2 ‫החלטנו להציג את הפרוייקט המצולם‬ ‫״פלשמורה״ של הצלמת מיכל פתאל‬ ‫ נסעה לאתיופיה‬2008 ‫שבשנת‬ ‫וחוותה את מסע העלייה של בני העדה‬ .‫האתיופית‬ ‫ תמונות נבחרות מתערוכת היחיד של‬.3 ‫עודד בלילטי ״עקבות הסברס״ שמוצגת‬ .‫ תל אביב‬,‫במוזיאון ארץ ישראל‬

‫ צלם‬,‫ ראיון עם ג׳ונתן נאקסטרנד‬.2 ‫פי והצצה לתיק עבודות‬.‫אף‬.‫סוכנות איי‬ .‫הספורט המרתקות שלו‬

DEDICATED TO WAR PHOTOGRA Editor’s Note As I’m going over and over these photographs the only thing I can think of is a quote by Susan Sontag that described it as “All photographs are memento mori. To take a photograph is to participate in another person’s (or thing’s) mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time’s relentless melt.” For me those are more than photographs that show soldiers and people during a combat situation, I look at those images as moments of the past that are melting as time takes those moments away from us. Photographic images from World War II are meaningful for generations to come as they form a document of one of the world’s most significant wars; a document that becomes more and more important as time goes on and as veterans and people with first hand stories from the war pass away. They also serve as an example of what documentary photography should be. A close observation and visual perpetuation of human conflict and human endeavors. These images compose beauty and suffering in single frames that make it hard to ignore, and make one want to know and learn more about the history, the stories, that shape today. Ilia Yefimovich

An exhibition for the 70th Anniversary of the victory in World War II 1

‫‪APHERS. THE LAND OF VICTORY‬‬ ‫אני עובר על התמונות האלה פעם אחר פעם‪ ,‬ובכל פעם מהדהד בראשי ציטוט של סוזאן סונטאג‪ :‬״הצילום הוא אמנות‬ ‫ֶאלֶ גית‪ ,‬אמנות של דמדומים‪ .‬כל התצלומים הם בבחינת ממנטו‪-‬מורי‪ .‬לצלם זה להשתתף בנצחיות‪ ,‬הפגיעות‪ ,‬והניוון של‬ ‫אדם (או חפץ)‪ .‬בדיוק של בחירת הרגע והקפאתו‪ ,‬כל הצילומים מעידים על ההמסה בלתי נלאית״‪.‬‬ ‫בשבילי‪ ,‬הצילומים האלה הם יותר מאשר צילומים המראים חיילים בשדה הקרב‪ ,‬אלא צילומים של רגעים הנמסים ככל‬ ‫שהזמן עובר ולוקח את הרגעים האלה רחוק מאיתנו‪.‬‬ ‫הצילומים ממלחמת העולם השנייה נשארים חשובים לדורות הבאים‪ .‬הם מהווים תיעוד של אחת המלחמות המשמעותיות‬ ‫ביותר; תיעוד שהופך ליותר ויותר רלוונטי עם הזמן ועם פטירתם של ווטרנים ואנשים עם זיכרונות אישיים מהמלחמה‪.‬‬ ‫הצילומים גם מהווים דוגמא למה שצילומים דוקומנטרים צריכים להיות‪ :‬התבוננות מקרוב והנצחה ויזואלית של קונפליקט‬ ‫ושל עשייה אנושית‪.‬‬ ‫תמונות אלו משלבות יופי וסבל בפריימים יחידים שקשה להתעלם מהם‪ ,‬וגורמים לנו לרצות‬ ‫לדעת וללמוד עוד על הסיפורים מהעבר‪ ,‬על ההיסטוריה הקולקטיבית שבנתה את ההווה שלנו‬ ‫‪.‬‬ ‫איליה יפימוביץ׳‬

‫‪1941-1945 24.04.2015 - 14.06.2015 at Multimedia Art Museum, Moscow.‬‬

Max Halpert

Dmitri Baltermants, 1941

Arkadi Shaiteh , 1942

Yevgeny Khaldei

Emmanuil Evzerikhin , Stalingrad , 1942

Dmitri Baltermants, Kerch , 1942

Boris Utkin , Children of Leningrad siege , St. Petersburg 1942

Granovsky Nahum , Nazi Prisoners , Moscow 1944

Vsevolod Tarasevich , evacuation , St. Petersburg 1941

Anatoli Egorov, Hungary 1944

Arkadi Shaiteh , 1944

Yevgeny Khaldei , 1945

Interview with:

Mikko Takkunen

Photo editor for TIME.COM


ow long have you been working as a photo editor? I’ve only been a photo editor just over two years. Prior to that, I was working as a freelance photographer in the United Kingdom for couple of years. I joined TIME in January 2013, first in London, before moving to the New York headquarters in October 2013,

Photo by: Dave Johnson for TIME

where I still am. After seeing thousands of images on a daily basis, what kind of pictures do you find most interesting? I work almost exclusively with international content (photos from outside the United States). I’m the international photo editor for time. com, which means handling single

images for news stories and putting together photo galleries of more visual subjects. I also edit a lot of photo essays for TIME’s photo blog LightBox and single images for the weekly magazine’s LightBox spread as well as the Briefing section. For time.comI’m looking for great single images that compliment the text pieces they are accompanying. The photo galleries for

mare often on the news of the day, often almost solely from the wire agencies and consisting of many different photographers’ work. I do a certain amount of news for LightBox, and the difference between a breaking news photo gallery on time.comand the LightBox post is that on the photo blog we often tend to highlight one photographer’s work and include that photographer’s thoughts and ideas by interviewing them about their work. People also send me a lot of work, it could something very news related or long-term projects on current affairs and issues. I enjoy working with breaking news, but I do have to admit that I do get a thrill in working with actual bodies of work, sometimes rather large, and going through the thought process of choosing the best images; images that compliment each other; and sequencing them to a coherent photo essay. That’s probably my favorite part of the job. The magazine’s LightBox spread is major photo real estate and my task each week is to find a great to single image that deserves to be printed over two pages. Sometimes it’s the strongest news photo from an event that we want to highlight since it’s not represented elsewhere inside the magazine – this often happens with late breaking news before our Wednesday evening close – as happened with the Germanwings crash – but often it could be just the best picture related to any news of the week and sometimes it can even be a daily life picture, if the photograph is especially striking and

we are not under any pressure to concentrate on certain news event. The task of finding that one image that deserves the spread and fits – or more rather ads - to the contents of the rest of that week’s issue, can be surprisingly difficult. I do enjoy that process immensely as well. Do you have confidence in photojournalism and its importance? I do. Photojournalism is more important than ever. Everybody keeps talking about the amount images all of us are flooded every day – which is of course is true – but I’m a strong believer in quality over quantity. Citizen journalists are great addition to breaking news coverage, but real journalists, including photojournalists simply cannot be replaced that easily. No citizen journalist will cover wars, famines, or issues like human rights abuses, in the way that a professional journalist will. So yes, my confidence and belief in photojournalism is strong. That is of course separate from the economics of the industry. I do worry about reducing budgets and stagnated day rates, which means that less great photojournalism is supported or assigned by newspapers and magazines. Do you find that photographers edit and manipulate their pictures too much? What is your view of today’s post-production? Is it just a natural part of technological developments? Or is today’s editing technology making too easy to manipulate the image than, for example, in the darkroom?

Editing and manipulating are very different things. Editing in the sense of post-production is a matter of taste, whereas manipulating is an issue of ethics. There is a lot of photojournalism that I think is over-processed, but that is just my opinion. I might not like it, but that doesn’t make the work illegitimate. Whereas when we start talking about manipulating, in the sense of moving pixels around by closing things in or out of the picture, I have no mercy. It’s utterly and completely unacceptable, and those people have no right to call themselves photojournalists. Please comment also on the incidents of photographers manipulating their photos on the scene since the first war photographers (for example the Valley of the Shadow of Death by Roger Fenton in the Crimean War...) As mentioned in my prior answer, manipulation is a clear cut case of no, no, and no. I do allow it and any photographer doing so is not somebody I have any interest working with. Do you think that by editing and photoshopping images, the storytelling is compromised? Photoshopping is a very wide term: There’s of course nothing wrong about cropping and post-processing/toning pictures, but if the post-production is very heavy handed, it can definitely undermine the story the photographer wants to tell, but it can be equally be used to enhance work.

Again, it’s a matter of taste. In my personal opinion, it depends to an extent what kind of storytelling are we talking about. When it comes to breaking news photography, I tend to prefer more straightforward toning/techniques, but in regards to longer term series and bigger bodies of work, I find myself to be more acceptable towards more out of the ordinary approaches and experimentation, from black and white to something like Richard Mosse’s Congo work.

topics that I think deserve coverage too. Often this deals with photographers having sent me work from one place or the other - work that I think is important and strong – which I then end up pushing to my colleagues, it could be anything from rare images of refugees in Darfur to migrants in Niger - neither subjects on the front pages of the world -but ones that photographers have felt compelled to cover and myself to publish.

What is the function of documentary photography today in your view as a photo editor? Great photojournalism and documentary photographs provide the viewer access and experience to important news, current issues and subjects in a way words cannot. I believe in words, but pictures create a stronger emotional connection to the reality/ies of the other(s). You could argue video does the same, but I think a great still image is unbeatable in its power.

How do you approach graphic images (such as photos from murder and war scenes)? Do you think they are important to show in order to tell a story? The world can be an ugly place, but we cannot shy from – or censor – reality. Graphic images can and should be published when they serve the purpose of telling the story on the news or topic. But I do want to preserve people’s dignity, even in death, and if a set of pictures are very gory, it’s not always necessary to show the most disturbing ones.

Do you have an agenda in your daily photo editing work? I work with our international editors from the text by finding the strongest single images to the stories they have assigned, and complementing some of those pieces with photo galleries, consisting of either wire singles or licensed work. So in that sense most of my daily work is defined by the news of the day. But I do feel I also get to highlight stories that aren’t necessarily the biggest stories of the day, by pitching

Who are the most remarkable photographers in your opinion ? The reason I came to this business originally, is James Nachtwey, and I continue to admire his impeccable eye and passion. He’s not a young man anymore, but he’s still working, currently for TIME in Nepal as a matter of fact, and making powerful photographs. From younger generation, photographers such as Daniel Berehulak and Lynsey Addario are incredible. What unites

all three – Nachtwey, Berehulak, and Addario – is their work ethic, belief in their mission and the visual strength of their work. They are great photographers, and they are great journalists, which makes them perfect storytellers and photojournalists. There are many, many other remarkable photographers I admire and I could easily list dozens, including on the wires. For all the doom and gloom in our industry, mostly related to economics, we should take joy in the fact that there’s a huge amount of quality work out there, by an increasing pool of talented photographers, especially outside the Western world. How does it feel to be a photo editor of the one of the biggest international magazines? I felt incredibly proud to join TIME and its legendary photo department. I’m lucky to work with such talented and driven colleagues. We do work hard and long hours, but it’s not always just because we’d have to, but because we love what we do. Working with international coverage and the stories, which often relate to conflicts and natural disasters, I do feel driven by certain sense of a mission – and I know this might come off as slightly pompous - that what I do is important. I’m not there out in the mud or trenches with the photographers and sharing the risks they face – no – but I’m trying make sure that also those less covered but significant topics, get told about, and get told about with the most powerful photographs possible.

Danielle Shitrit

Issue No. 5

This Gallery represents the events from the past two months: from burning of “hametz” for passover, marking the Armenian Genocide 100th anniversary, to Ethiopian demonstrations and riots with police. In this issue the winning photograph is by Yotam Ronen from the Ethiopian protests and Amir Levy

5 ‫גליון מספר‬

‫בגלריה זאת אנו מציגים לכם את מיטב התמונות שנשלחו‬ 100 ‫ ציון‬,‫ משריפת חמץ של פסח‬.‫לנו בחודשיים האחרונים‬ ‫ בגליון‬.‫שנים לשואת הארמנים ועד הפגנות העדה האתיופית‬ ‫זה בחרנו את תמונתם של יותם רונן ואמיר לוי כתמונות‬ .‫המצטייניות של המגזין‬

Noam Moskowitz

Ohad Zwigenberg

Oren Ziv/

Ann Paq/

Noam Moskowitz

Yaakov Naumi

Omer Messinger

Dror Garti

Tomer Neuberg

Ariel Schalit/ AP

Ariel Schalit/ AP

Hadas Parush/ FLASH90

Gabi Ben Avraham

Dror Garti

Dan Haimovich

Liora Naiman

Dan Haimovich

Amir Levy

Avichai Elbaz

Albert Sadikov

Hadas Parush/ FLASH90

Noam Moskowitz

Tali Mayer

Tomer Neuberg

Yaakov Naumi

Lior Mizrahi

Oren Ziv/

Keren Manor/

Tali Mayer/

Oren Ziv/

In this Issue we have chosen the photograph by photograhper Yotam Ronen: Ethiopian protest against police brutality, Tel Aviv, Israel, 3.5.2015. Yotam is granted 500 NIS at PhotoPrisma store in Jerusalem.

Yotam Ronen/

Hadas Parush/ FLASH90

Lior Mizrahi

Oren Ziv/

Yotam Ronen/

Amir Levy

Gabi Ben Avraham

Amir Levy

Ariel Leshinsky

Amir Levy

Sarale Gur Lavy

Sarale Gur Lavy

Interview with:

Jonathan Nackstrand freelance for the International News Agency AFP Based in Sweden


ow did you come to a decision to be a photographer ? Well, i always knew that i wont be able to sit in an office all day and do the same work over and over again, it is just not who i am. My late father, Sven Nackstrand, worked as a press photographer for almost 30 years

and i was always so proud of him. As a kid i remember my father coming home late with these big heavy bags on him and I was so happy to see him. Because of that I always had an interest for photography. I was so proud to see my father’s name under some important images published in different news

papers around the world. By the age of 22 I decided to start studying photography. The idea of capturing an image in one important moment that most likely won’t happen again was just amazing. I wanted to be part of that! This is why I decided to go my father’s footsteps and become a press photographer.

What is your favourite colour ? Blue was always a favorite of mine. Maybe because it represented both Israel and Sweden..

a sudden few hours later i am told to get to Oslo as fast as i can. The excitement with this job is what drives me.

means that you always need to be prepared for something to happen before it does. You need to vision a move before it even happens. At the beginning it is What kind assignment you hard as you don’t really know and What kind of cartoons you love / hate the most ? understand the players or athletes watched as a kid ? All sports assignments are ab- and how they think as athletes. Haha, “Kalle Anka och hans solutely my favorits! Football, After one year in Sweden and the vänner önskar God Jul” in Ice Hockey, Nordic Skiing etc.. nordic region everything became Swedish which is the Walt Hate the most, it is hard to say clearer to me. I started to anticiDisney animated Christmas as i do enjoy photographing pate moves during football and special production “From All most of the events I get to cov- ice hockey matches, motions and of Us to All of You”. It was first er. What i do hate from time to celebrations during ski compepresented on December 19, time is the loooong waiting in titions and other sports events. 1958. In the Nordic countries order to get only few images of When photographing sports (Sweden, Finland, Denmark something. you need to be open minded, and Norway) the show has Do you think that this proyou need to work with colours, been broadcast every year since fession changed your person- shades, try to find different angles 1959, and has become a holiality ? in each event and be alerted on day classic. All Swedes watch Maybe it has, but mostly in the how the match or event develops. it on Christmas Eve. My father beginning while working in What I love the most in sports recorded it on one of his home Israel and the West Bank. At the photography is all the emotions! visits to Sweden and then i was end of the day i think that I am You will always be able to capture hooked on it still the same person. sadness and happiness on every event you cover. Someone always What drives you in your day What is your favorite places wins and someone always looses. to day work ? in the world ? The fact that i never know how Well, from the places I visited, In your lane of work you my day will look like. I can wake i will have to start with my two travel a lot , do you Enjoy it up and have a plan to how my home countries, Israel and Swe- ? Or prefer working in one day suppose to be like but then at den, after that, northern Norway place ? the end of it, it can be completely is beautiful! Iceland is breathtak- One of the reasons I chose this different from what i expected it ing, Thailand and of course NY, lane of work for was because i to be. For example, I was cover- i would love to live in NY in the knew it will take me to differing a golf tournament outside future! ent places and that i will get to Stockholm, on the second day of experience many important the tournament i received a call Please tell us about being a moments during my career. I from my boss telling me about sport photographer ? love traveling with work and the attacks in Norway and all of Being a sports photographer i wouldn’t change it for any-

thing. In fact, i envy few of my friends that get to travel as photographers more than i do Name 3 people that one daily bases shape the way you work and think ? (Could be friend , family or a photographer you love ) My late father, Sven Nackstrand and my mother Gila. Both of them helped me so much and shaped me to be the person I am today. I count them as one as they did it together as parents. Second person Joel Marklund. One of the most talented sports photographers I met and a great friend of mine. I learned so much from him! Third person is Marco Longari, he was my first boss in AFP and I admired his work. I knew it was just a matter of time until he will win a big prize and then few years later he was picked as TIME wire photographer of the year.


The story follows one of the last groups of Falash-Mura, from the compound in Gondar (North Ethiopia) all the way to their landing in Israel and to the Absorption center in Jerusalem. The Israeli government decided to put an end to the immigration of the Falash-Mura commu-

nity to Israel. They are considered as non Jews, who just wanted to get out of Ethiopia by any means and saw the opportunity by claiming to be Jewish. Thousands of Ethiopian Israelis keep on protesting furiously against the government’s decisions as a few hundreds of Falash Mura still remain in Ethiopia.

My Sabra Country By Oded Balilty


he Israeli sabra. Ostensibly there is nothing more local and deep-rooted than the sabra – the prickly pear bush which has become the symbol of the native-born Israeli, the first generation of renascent Jewish settlement. However, when one delves into its sources, a different world comes to light. In actual fact, the common sabra, the symbol of Israeli rootedness, or by its scientific name Opuntia ficus-indica, was introduced into the Land of Israel in the fifteenth century. Consequently, the image of a sabra hedgerow etched on our consciousness as part of the

ancient landscape of this country, is false. The neglected vegetation of the Jewish past in this country consisted merely of thistles and thorns, not sabras. Our perception of the sabra as part of the historical past of the Land of Israel has rendered it invisible to us. As time passes, we move away from the early years of the State of Israel following the War of Independence; the Israeli melting pot together with its image of the sabra, from the 1970s onward diminishes - the plant has been forgotten and has been excluded from Israel’s public-cultural discourse. This duality

of the plant – both present and absent – and its dwindling essence of Israeliness, render the sabra a special case of connecting with the landscape and past of this country. It took me quite some time to relate to the country as a photographic object; art, after all, is universal. A photographer looks at the world as a whole, and from it frames different slices of reality. After years of looking outside and working with international news agencies, and after the birth of my daughters, I feel a profound change in my worldview. After years of “air roots” I found my way to the country

through the sabra hedgerow. Despite my extensive acquaintance with the local landscape, and focusing a newsworthy view on Israeli landscape and identity, I too overlooked the sabra bushes. The sense that it was here before me and would most likely be here after me, made it invisible to me. However, today, following my personal journey, my connection to the sabra has intensified and I find myself bound up in it. At times I feel as if this bush has been waiting for me, and when I arrive, it assists me. The sabra is doubtlessly the most political plant around, but I have no idea why I began photographing it. I simply don’t remember. Perhaps I happened to come upon an interesting specimen and it wanted me to take its picture, and that’s what I did; but when I looked at the picture something happened: I discovered enormous serenity, sadness, and primarily questions within this thicket of juicy succulents, replete

with thorns and laden with fruit. We danced around each other. The sense of far and near never left me along the way. Perhaps I was somewhat afraid of the thorns and moved away. But something within me wanted to move closer. And when it allowed me come closer, I accorded it a role that perhaps completes it in the best possible way. When I positioned the sabra in my “portrait” studio, time went by until a picture emerged which finally reflected its character (sabras are like people: from afar they look the same, but when you come closer, each one is different and unique). The pads on the floor of my studio, cut earlier by the sabra pickers, began to dry up and take on round and strange shapes – a moment before they withered, a moment before they grew new roots. In Traces of the Sabra I am part of a never-ending pursuit, seeking the ideal bush. Despite the fact that

it is still life, unusual energy has generated between us. In my work in personal and magazine photography I seek to uncover order in the chaos that surrounds us, while in front of the sabra I feel that I am taking part in a race that has no finish line. Repeated visits to the bushes I photographed showed an incessantly changing object. The sabra stayed put, but the surroundings moved, the background took on the leading role and the sabra – that set out in the leading role – became the supporting actor. The sabra is so tangled, as if a secret is evolving between its pads. There is something about it that reminds me of the talking stones in the film The NeverEnding Story. It harbors no grievances and gives fruit, even if it receives nothing from us. Its obstinacy and forgiveness are worthy of imitation. After all this country has been through, for better or for worse, the sabra must be rough and sturdy.

‫ם‬‭ ‫מתעצ‬‭ ‫הצב ‬ר‬‭ ‫א ‬ל‬‭ ‫החיבו ‬ר‬‭, ‫האישיי ‬ם‬‭ ‫‬שורש ‬י‬ ‭‫יותר‬‭ ‬‫לנושא‬‭ ‬‫ונקשר‬‭ ‬‫הולך‬‭ ‬‫עצמי‬‭ ‬‫את‬‭ ‬‫מוצא‬‭ ‬‫‬ואני‬ ‭.‫‬ויות ‬ר‬ ‭‫או‬‭ ‬‫התמונה‬‭ ‬‫את‬‭ ‬‫מעצב‬‭ ‬‫אני‬‭ ‬‫אם‬‭ ‬‫לי‬‭ ‬‫ברור‬‭ ‬‫לא‬ ‭‫פרוייקט‬‭ ‬‫זה‬‭ ‬‫בעצם‬‭ ‬‫ואולי‬‭, ‫אות ‬י‬‭ ‬‫מעצב‬‭ ‬‫‬הצבר‬ ‭. ‫לשנינ‬ו‬‭ ‫‬משות ‬ף‬ ‭‫נראים‬‭ ‬‫כולם‬‭ ‬‫מרחוק‬‭: ‬‫אנשים‬‭ ‬‫כמו‬‭ ‬‫הוא‬‭ ‬‫הצבר‬ ‭‫ומיוחד‬‭ ‬‫שונה‬‭ ‬‫אחד‬‭ ‬‫כל‬‭,‫כשמתקרבי ‬ם‬‭ ‬‫אבל‬‭, ‬‫‬דומים‬ ‭‫הכי‬‭ ‫הצמ ‬ח‬‭. ‫הצב ‬ר‬‭. ‫מקודמ ‬ו‬‭ ‬‫אחר‬‭ ‬‫מפגש‬‭ ‬‫‬וכל‬ ‭‫ועצוב‬‭ ‫שק ‬ט‬‭, ‫פרטנרמעניי ‬ן‬‭ ‫א‬ ‬ ‫הו‬‭, ‫ש‬ ‬ ‫שי‬‭ ‫‬פוליט ‬י‬ ‭‫הזה‬‭ ‬‫הסבך‬‭ ‬‫בתוך‬‭ ‬‫שאלה‬‭ ‬‫סימני‬‭ ‬‫הרבה‬‭ ‬‫‬המעלה‬ ‭‫והפרי‬‭ ‫הקוצי ‬ם‬‭ ‫מלא ‬י‬‭, ‬‫הנוזלים‬‭ ‫רווי ‬י‬‭ ‫העלי ‬ם‬‭ ‫‬ש ‬ל‬ ‭.‫ת‬ ‬ ‫פוסק‬‭ ‫הבלת ‬י‬‭ ‫‬והתנוע ‬ה‬

‫ל‬‭ ‫ש‬‭, ‫נשכ ‬ח‬‭-‫נוכ ‬ח‬‭ ‫צמ ‬ח‬‭ ‫ש ‬ל‬‭, ‫ת‬ ‬ ‫הזא‬‭ ‫ת‬ ‬ ‫השניו‬ ‭‫עם‬‭ ‬‫המתחדשת‬‭ ‬‫ישראל‬‭ ‬‫של‬‭ ‬‫הדימוי‬‭ ‬‫‬תמצית‬ ‭‫‮”‬הופכת‬‭,‫הישראל ‬י‬‭ ‬‫“הצבר‬‭ ‬‫מושג‬‭ ‬‫של‬‭ ‬‫קרנו‬‭ ‬‫‬ירידת‬ ‭‫לנופי‬‭ ‬‫התחברות‬‭ ‬‫של‬‭ ‬‫מיוחד‬‭ ‬‫למקרה‬‭ ‬‫הצבר‬‭ ‬‫‬את‬ ‭‫זמן‬‭ ‫מע ‬ט‬‭ ‫א‬ ‬ ‫ל‬‭ ‫ל ‬י‬‭ ‫לק ‬ח‬‭, ‫כאמ ‬ן‬‭. ‫ולעבר ‬ה‬‭ ‫‬האר ‬ץ‬ ‭‫הרי‬‭: ‬‫אובייקט לצילום‬‭ ‫כא ‬ל‬‭ ‫האר ‬ץ‬‭ ‫א ‬ל‬‭ ‫‬להתחב ‬ר‬ ‭...‬‫הגדול‬‭ ‬‫העולם‬‭ ‬‫אל‬‭ ‬‫פונה‬‭, ‬‫אוניברסלית‬‭ ‬‫‬האמנות‬ ‭‫ומיקוד‬‭ ‬‫הארץ‬‭ ‬‫נופי‬‭ ‬‫עם‬‭ ‬‫שנים‬‭ ‬‫רבת‬‭ ‬‫הכרות‬‭ ‬‫למרות‬ ‭,‫ישראליים‬‭-‫האר ‬ץ‬‭ ‬‫ובזהות‬‭ ‬‫בנוף‬‭ ‬‫החדשותי‬‭ ‬‫‬המבט‬ ‭‫על‬‭,‫ת‬ ‬ ‫האחרונו‬‭ ‫לשני ‬ם‬‭ ‫ע ‬ד‬‭, ‫דיל ‬ג‬‭ ‫של ‬י‬‭ ‫המב ‬ט‬‭ ‫‬ג ‬ם‬ ‭‫לפניי‬‭ ‬‫עוד‬‭ ‬‫כאן‬‭ ‬‫היה‬‭ ‬‫הצבר‬‭ ‬‫כי‬‭ ‬‫התפישה‬‭. ‬‫‬הצבר‬ ‭‫אותואובייקט‬‭ ‬‫הפכו‬‭, ‫אחרי ‬י‬‭ ‫ג ‬ם‬‭ ‬‫יישאר‬‭ ‬‫‬וכנראה‬ ‭‫אחר‬‭ ‬‫חיפוש‬‭ ‬‫בעקבות‬‭, ‬‫כיום‬‭ ‬‫אבל‬‭. ‬‫מאליו‬‭ ‬‫‬מובן‬

‭‫מאשר‬‭ ‬‫יותר‬‭ ‬‫ושורשי‬‭ ‬‫ישראלי‬‭ ‬‫דבר‬‭ ‬‫אין‬‭, ‬‫לכאורה‬ ‭‫להתחדשות‬‭ ‬‫סמל‬‭, ‬‫המצוי‬‭ ‬‫הצבר‬‭- ‬ ‫‬הסברס‬ ‭‫כשחוקרים‬‭ ‬‫אבל‬‭. ‬‫ישראל‬‭- ‬‫העבריבארץ‬‭ ‬‫‬היישוב‬ ‭-‫ה‬‭ ‬‫במאה‬‭ ‬‫רק‬‭ ‬‫לכאן‬‭ ‬‫הגיע‬‭ ‬‫שהוא‬‭ ‬‫מגלים‬‭ ‬‫‬קצת‬ ‭-‫בארץ‬‭ ‬‫היהוד י‬‭ ‬‫העבר‬‭ ‬‫של‬‭ ‬‫העזובה‬‭ ‬‫‬צמחי‬15‭. ‬ ‭‫הראייה‬‭.‬‫הצבר‬‭ ‬‫לא‬‭, ‬‫והשית‬‭ ‬‫השמיר‬‭ ‬‫היו‬‭ ‬‫‬ישראל‬ ‭‫הארץ‬‭ ‬‫של‬‭ ‬‫עתיק‬‭ ‬‫כחלק‬‭ ‬‫הצבר‬‭ ‬‫שיחי‬‭ ‬‫את‬‭ ‬‫‬שלנו‬ ‭,‫בנוסף‬‭. ‬‫בעינינו‬‭ ‬‫לחלוטין‬‭ ‬‫לשקוף‬‭ ‬‫אותו‬‭ ‬‫‬הפכה‬ ‭‫מלחמת‬‭ ‬‫הקוממיותשלאחר‬‭ ‬‫משנות‬‭ ‬‫‬התרחקות‬ ‭‫ההיתוך‬‭ ‬‫כור‬‭ ‬‫קרנםשל‬‭ ‬‫ירידת‬‭, ‬‫‬העצמאות‬ ‭‫את‬‭ ‬‫‮”‬השכיחה‬‭ ‬‫הישראלי‬‭ ‬‫“הצבר‬‭ ‬‫‬ותדמית‬ ‭‫את‬‭ ‬‫והחלישה‬‭ ‬‫שנותהשבעים‬‭ ‬‫מאז‬‭ ‬‫הצבר‬‭ ‬‫‬צמח‬ ‭.‬‫הציבורי‬‭ ‬‫בשיח‬‭ ‬‫‬נוכחותו‬

,‫התערוכה ״עקבות הצבר״ מוצגת במוזיאון ארץ ישראל‬ ‭ ‬2015‫באוגוסט‬‭ ‬10‭ -‬ ‫תל אביב עד ה‬

The Archive Magazine wants to thank all the people involved in the making, especially the photographers that took part in this issue. Thanks to everyone who sent photos, gave advices, and provided moral and artistic support. Special thanks: Yoav Dudkevich (Cameroon) Hadas Parush Keren Refaeli

See you in the next issue

Profile for The Archive