Creating Between Sirens
Since the October 7 attack in 2023 and up to this very day, the war has hovered over us, affecting the local art world from every possible angle.
The current period is characterized by a deep tension between a complex security reality and the constant need to create, express, and respond. Artists, curators, and cultural institutions operate within a charged environment, where everyday life itself cannot be taken for granted and is subject to restrictions and frequent changes imposed by the Home Front Command and various municipalities.
The general mood among artists reflects the broader public atmosphere: anxiety, fatigue, grief, but also resilience and a strong desire to continue. Many works tend to address themes of trauma, memory, home, and identity. There is a growing inclination toward direct, less mediated art-work that responds almost in real time to unfolding events.
At the same time, there are also artists who choose to escape into abstraction, fantasy, or the pursuit of beauty, as a form of counter-response to the difficult reality.
The practical challenges are significant. Sirens, disruptions to daily routine, and a constant sense of danger undermine artists’ ability to maintain steady work. Studios close temporarily, exhibitions are postponed or canceled, and in some cases, visitor numbers decline substantially. Art institutions, including museums and galleries, are forced to adapt to a shifting reality - in terms of security and content.
One of the central challenges is the relationship with the international art world. Traveling abroad for exhibitions has become more complex for Israeli artists, both logistically and in terms of public perception. Flights are canceled or become more expensive, and there is sometimes a personal hesitation to travel to countries where the atmosphere toward Israel is tense. At the same time, institutions and curators abroad face political and public pressures, and at times hesitate to present Israeli art.
Sending art-works to international exhibitions has also become a complicated task. Beyond technical difficulties - insurance, shipping, and delays - there are cases of last-minute cancellations or demands for an explicit political framing of the works.
Some artists feel they are expected to represent a clear political stance, even when their work was not intended to do so. Others feel that they themselves, or their work, are expected to faithfully represent the state and serve as cultural ambassadors.
And yet, within all this, a movement of solidarity and innovation is also evident. Digital collaborations are expanding, online exhibitions are gaining momentum, and artists are finding new ways to reach audiences beyond geographic boundaries. In addition, there is an internal mobilization within the artistic community - joint projects, initiatives to support affected artists, and exhibitions aimed at fundraising or raising awareness.
Ultimately, the art world in Israel during this period is not only a reflection of reality. It is also a means of coping with it. It allows for processing, dialogue, and at times, even comfort.
Despite the difficulties, an art is born that seeks to touch a deeper truth, serving as a reminder that even in times of uncertainty, the pulse of creation continues to beat.
Wishing for better, more peaceful days ahead!
Yoram Mark-Reich, Culture Editor
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