662:, Asiatopia International Performance Festival; Bangkok, Social Art Forum: Paris, Epipederme / Performance Art event, Lisbon, Portugal, Tupada Action and Media Art, 2009/The 6th Tupada International Visual Performance Festival; Manila, Philippines, Asiatopia, International Performance Art Festival; Bangkok, Chiangmai, Thailand, Navinki 2001, Performance-Art Festival: Minsk, Belarus, International Performance Art Festival, "Castle of Imagination": Ustka-Slupsk, Poland, Festival Mettre en Scene: Quimper, France, The 5th Asian Performance Art Series + Shinshu Summer Seminar 2000: Macau, Hong-Kong, and Negoya, Tokyo, Nagano in Japan, and many others.
523:"I'm engaged in tikkun, not from above, but in a language that everybody understands. Empathy to yourself. If you don't love and it's difficult for you now, at least have empathy."- wrote Bar-On in her autobiographical essay "A Soliloquy". "Sacrificed was performed for ten years in places including the Kuhsthalle, Budapest, Catalyst Arts Gallery: Belfast, Para/Site Art Space: Hong-Kong, Chasama Arts Space: New York.
410:
on the border between avant-garde art and post-artistic performance art practice. An incident of being mistaken for a mentally ill by
Academy professors (other artists, see: section "Controversy"), showed Bar-On that her performance was indeed touching a deep level of human psyche of the audience and caused an aesthetic shock of a certain kind. At the time, most of the interpretations of art history, even aware of
551:(close to previous "Vision") the performer was the creator of the image, and at the same time emanating certain "aura", direct communication with the audience, often felt as intervention in an intimate level of viewer's psyche, although he/she was a stranger or a passer-by. This performance was described by Bar-On's biographer, Idit Porat, as "transforming suffering into beauty".
25:
431:
don't know what art is, for I've heard from "professional connoisseurs" that this is not art. ( ... ) And I don't care if it is or it is not if art does touch upon these problems but in a different way that enables distance, form, material, causality, inner logic (formal as well)." (Fragments of a letter Adina Bar-On received after the performance).
153:
464:"Getting high" as a goal of theater and ritual throughout the ages, the idea of inexpressible, were motifs of this six scenes of movement-play performance. Musical part of the performance involved early computer-based composition (using 3 connected synthesiser) composed by Yossi Marchaim and wordless vocalization of Adina and Robert Flantz.
388:(black and white photographs of her color, post-expressionist paintings hung on the walls of a middle class conservative Israeli living room of her mother's house). This work already signaled some of the subjects she will be exploring later: public and private, black-and-white and color, representation and performance.
600:
To create new performances in the mid-2010s, Bar-On merged everyday life situation with social symbolism, religious iconography, dream visions and mass media images. From this time
Israeli and Palestinian dialogue is often a subject of the artist's work, as well as is Bar-On's own private life themes
583:
After Daniel Davis's death in 2010, the artist sharpened her massage and became more direct in performance art communication process. Making performances for no more than 30 people, she focused on building strong mental contact with each spectator/witness through all channels of human expression, but
554:
In discussing this phase of her performance history, Adina has said: "II want to put questions of emotion on the pyre. I think this is an acute issue. I think it is what is lacking, not alienated discussions." The form of Bar-On's performances always explored delicacy, subtlety of meaning, allusions,
512:
Based on an experimental voicework (recorded and mastered later in ToTamTo
Studios, Warsaw), "Sacrifice" is a turning point in Bar-On's aesthetics and an example of highly sophisticated work using voice, body and image of the body. Voice is a leading creative element of not only expressing, but first
674:
and live-art. She has been giving numerous workshops in Israel (including Tel Aviv
University, Kalisher Art School, Camera Obscura School of Art, School of Visual Theater Jerusalem, el-Hai College, Omanut La'am Art Education Organization, Holon School For The Education of Technology, Dar al- Kalima
409:
Adina's first performance took place in the plaza of old
Bezalel Academy building, in early May 1973. Going beyond contemporary aesthetics, risking social position and artistic status, extending possibilities of communication - all these interpretations of Adina Bar-On's early performance places it
722:
which are important for understanding her approach to the art: "Portrait" (1999), "View" (2001) (as an aftermath of a performance under the same name), "Room" and "Motherland" (both in 2001). A relationship between live-art and film/video image was already explored in "Breath" (1994) and possibly
571:
This site-specific performance is structured to be a journey or a walk through urban space, where Bar-On, dressed in red, is a guide or a leader. Playing with this motif of a woman leadership and multiple meanings of space when observed through artist's eyes, mostly the borders, no-mans land's,
430:
etc., were only taken intellectually, and misunderstood. Adina's experiment was recognized by the audience: "Very, very strong. (...) I am stired by the approach which I think should guide all of us - to touch the truth, and not in all kinds of formal, aesthetic, etc., pseudo-intellectiuallism. I
395:
and author of
Judaica art, with whom she later often worked on some of her performances (ex. A Woman of the Pots), and made her private life a subject of the art work. Their children, Shahar Davis and Yasmin Davis, were also engaged in the preparation of "Woman of the Pots". Bar-On wrote in 2000
380:
During these years Adina worked as therapeutist, social worker, gave courses for school art teachers, as well as performed in many different contexts: at the industry for workers, old people's houses, nurseries, private homes. Her work was described as "strong" and "subtle" at the same time (her
290:
movement. Her early performances took place when the notion of "performance" as a medium of art expression was not yet known in Israel. Her first performances were still called "shows"and the invitations for these events were only saying her name, time and place of the event. Those days most art
303:
After the first performance at the courtyard of
Bezalel Academy in Jerusalem, Bar-On was asked to stop doing this kind of things and academy professors called a school psychologist to examine the performer and to express professional opinion about the work. After the second performance, "Birds"
273:
and presence, and most importantly "conflict of identity and conflicting identities". Her performances consist of unique use of human body and voice expression, close to modern dance and experimental sound techniques. Adina's work emphasizes strong connection of art and non-structural ethics of
519:
Subtle level of communication is crucial for Bar-On's performances, working with "quantum level" of emotions. Laszlo Beke (director of
Research Institute of Art History, Hungarian Academy of Science) wrote on "Sacrifice": "At the beginning after an intensive internal meditation she faced the
601:
which are transported into performance art; ex. widows of the war on both sides of the conflict - Adina Bar-On's husband, Daniel Davis, died of brain tumour caused by military service in the
Israeli Army. For five years he was able to express himself only by saying "Lo!" ("No!" in Hebrew).
657:
As a performer Bar-On presented her work on the most important performance art festivals in the world, including Blurr, Biennale of
Performance Art: Jaffa/Tel-Aviv (many times under curatorship of Sergio Edelstein), Israel, In the Context of Art/ Differences: Warsaw, Interaction Festival:
455:
Working in a collaboration with Ronit Land, this time Bar-On prepared a theatrical performance, moving on the edge of modern dance, theatre expression and performance art. Daniel Davis's environmental design was introduced. The premiere took place at Tel Hai, 83, Contemporary Art Event.
648:
in uncompromising way, with no support of the "art world" establishment, yet recognized and respected by its representatives. Her intent on working on a most fundamental level of human communication changed Bar-On's relationships with other artists and non-artists into live-art itself.
746:
During the years of teaching about visual communication, Bar-On managed to contact young artists of different sensitivity and working on future aesthetics of a new era. Still not theoretically described nor defined aesthetics of Bar-On is an inspiration for new generation of artists.
608:
in 1973, through 1989 when Bar-On conducted a workshop at "The Peace Frontier. International Symposium for Sculpture and Painting", the performer is active in transporting her main subject of art - "conflict of identity and conflicting identities" - into constant
555:
conxeptualism, intellectual poetry, intellectual and spiritual signals going beyond symbolic levels of interpretation. In 2005, after a work "Dreamy", As Bar-On described it: "Emotions can be a material, it is my material. What do people usually do with emotions?"
535:
and Central Bus Station suspended in a vertical elevated bed, way above the heads of passers by, I move as if in a state of sleep. As in a dream, out of the subconscious, I create images by my movement and my own vocal adaptation of the old Jewish Pioneer's song.
520:
audience (or one of its members) and waited, doing nothing, until this nothing ("tense nothing") became nearly unendurable. This is a kind of address that prepares the audience mentally and spiritually for the reception of forthcoming events".
372:
actors work, as well as in the new manner introduced by Fellini, Antonioni and Godard of seeing film-life (art-life) relationship problem. She studied dance for some time and experimented with mime (an episode in Swiss mime actor and clown
484:
At this phase of Bar-On's development an important methodological change was: leaving art as conceptual art, and leading towards contextual art (everyday life questions raised to be subjects of the art). Saying that she left "the Acconci
730:
1990 film "Birth of a Golem" (Naissance d'un golem: Carnet de notes), giving an expressive improvised performance in the movie, and appearing on a screen in the moment when the story of a Golem is told. She also helped to direct
325:, and after some years in Israel went to America to go to secondary school. She later conceptualized her identity status in a talk "Is my Performance an Israeli Culture Manifestation?" in 2011 at Dar al- Kalima College of Art,
316:
American Jews who came to Israel at the beginning of this state, to set a country for a free nation to live in their own state (not in a ghetto in other nations' state). They did not come from Europe and did not escape from
978:
see: entry "Pre-expressivity": "The Secret Art of Performer. A Dictionary of Theater Anthropology", ed. Eugenio Barba, Nicola Savarese, Center of Performance Research (Cardiff), Routledge (London-New York)
1085:
489:
dilemma" in performance art, Bar-On emphasised the need for new approach in performance art, where strong relations between art and life should be introduced when talking about live-art paradigm.
738:
Adina Bar-On's full documentation of work on film in now hosted by The Art of Action Archives, organization focused on anthropological research and preservation of performance art masterpieces.
575:"Dispositions" were performed in Nachshon, Israel; Hong-Kong; Quimper, France; Helsinki, Finland; Toronto, Canada; Belfast, Northern Ireland, Oswiecim (city of Auschwitz) and Lublin, Poland.
396:
about a necessity and ethical motivation of her work: "I felt that art was losing its connection with what characterizes the human being, the ability to connect intellect with emotions".
687:, Performance Art Conference: Essen, Braunschweig University/ Department of Fine Arts, Germany, and workshop leader: Arsenal Gallery in Bialystok, Wei Wei Dance Company, Hong Kong).
384:
She was 23 years old when she decided to complete her academic diploma at the Bezalel despite the professors' "advice" to quit making performances, and she prepared a special, highly
304:(June–July 1973), Adina received a warning letter from the directors on te Academy, informing that if she wants to continue to study she has to go back to conventional mediums.
531:
As Bar-On described it later: "Rest is a paraphrase of a popular and old Israeli lullaby that has become mythological – "Rest For The Weary". In the Shopping Mall, Opera House
616:
Engaged in politics of the body, social role and gender from the very beginnings of her career in the 1970s, give Adina Bar-On a significant (although unconventional) role in
381:
name, "Adina Bar-On", in Hebrew means "delicate with power") and some people recognized her new aesthetics, exceptional way of creating art as a means of human communication.
539:
Placing myself in these locations I had become a provocation but more than that an image of a plea or a cry for time-out, for rest, detached from ideological idioms".
476:
and screened at Israel Museum. Playing with an important Israeli iconographical motive, "Woman of the Pots" was a most important collaboration with Daniel Davis.
286:. Bar-On is now a performance art teacher at Bezalel Academy's Visual Arts Department. Bar-On studied to become a painter, although was deeply involved in
53:
33:
695:
1065:
447:) as movement consultant. It was performed at The Israel Museum of Art, Jerusalem, as well as at the Tel-Hai '80, a contemporary art event.
679:, Yasmin Goder Dance Group) as well as around the world as visiting professor: at the Wroclaw Art Academy, Oswiecim Jewish Center (at the
699:
472:
One of Bar-On's masterpieces, combining image, movement/dance and voice interplay. Originally performed In 1990 performance was filmed by
345:, which was becoming the most important approach in contemporary practice. During the seventies she was interested mostly in new forms of
1095:
1075:
516:
A documentary film was made from the performance in Quimper, France, witnessing Adina's visit at the Festival Mettre en Scene: Quimper.
757:
1080:
899:
787:
691:
283:
191:
126:
707:
1090:
532:
1070:
1060:
835:
703:
670:
Early in her career Adina Bar-On started to teach and worked on various art educational projects focused on the language of
107:
79:
57:
49:
894:
described by Jerzy Ludwinski in: Jerzy Ludwiński, "Epoka Błękitu" (The Epoch of Blue), Pracownia Otwarta, Krakow 2003,
38:
644:, with whom she is often meeting on art festivals and developed an informal group of performance artists who create
86:
1017:
919:
42:
439:
In this performance was prepared in collaboration with Ronit Land (Israeli dancer and choreographer, disciple of
270:
680:
93:
684:
659:
633:
1055:
676:
501:
385:
346:
75:
718:
Starting with the performance based film "A Woman of the Pots", Bar-On prepared a number of films and
1050:
671:
645:
637:
629:
239:
940:
641:
473:
723:
this performance leaves a trace of what the artist thinks about film representation of live-art.
719:
274:
behavior, and introduces it by activating audience's high levels of attention and consciousness.
263:
802:
Sara Breitberg, "Adina Bar-On Facing the Audience: An Encounter", Yediot Aharonot, 5 March 1976.
64:
867:
see: Idit Porat, Adina Bar-On, Performance Artist, the Herzliya Museum of Art, 2001, p.124-136.
895:
783:
988:
440:
427:
411:
369:
815:
374:
358:
291:
critics considered performance to be a junk-art, this genre of art was not understood nor
251:
201:
100:
690:
One of recent major projects, such as "Aesthetics and Bias" involve institutions such as
610:
605:
589:
423:
415:
354:
342:
287:
951:
Artist's description of the performance, available at Adina Bar-On's Official website.
269:
Active for four decades, Bar-On's work continuously explores the relationship between
1044:
584:
now transgressing symbolism and conceptual methods. This almost "mystical strategy",
282:
Bar-On began her first performances in the early 1973 as a third year student at the
782:
Publishers: Hakibbutz Hameuchad Publishing House Ltd, Herzliya Museum of Art 2001.
854:
830:
732:
486:
444:
362:
350:
338:
321:
Germany or Eastern Europe, but from free country of USA. Adina Bar-On was born in
1018:
http://ccca.concordia.ca/performance_artists/f/fado/adina/adina_perf1/index.html
855:"SMFA at Tufts | School of the Museum of Fine Arts | Tufts University"
820:
292:
1011:
920:
http://www.dancevoices.com/index.php/he/the-dance-voices-team/160-dr-ronit-land
1029:
1023:
825:
727:
419:
778:"Adina Bar-on, Performance Artist, עדינה בר-און, אמנית מופע", by: Idit Porat,
592:
implications of Bar-On's art and use of pre-expressive level in performance.
585:
326:
318:
259:
617:
176:
572:
areas of former conflicts or places of "hidden history" to be revealed.
392:
322:
313:
152:
180:
628:
Bar-On is a close friend of major performance artists and thinkers:
337:
At the Bezalel Academy (then in the center of Jerusalem, now on the
760:- "A Prize of appreciation on a unique contribution in Art" - 2001.
1028:
Interview with Adina Bar-O on art and activism (only in Hebrew) -
368:
Bar-On found inspiration for her aesthetics in film, precisely in
763:
Prize of The Ministry of Culture and Education of Israel - 1991.
941:
https://soundcloud.com/jan-taki-jaki-jest/adina-bar-on-voicework
377:
in 1976 at the Dimitri School of Theatre, Vercio, Switzerland).
1022:
Adina Bar-On appearance in a documentary "The Art of Action" -
710:, to work together in a process of developing new aesthetics.
63:
from the article and its talk page, especially if potentially
18:
1035:
513:
of all transforming emotions (like pain) in the work of art.
504:. Video work for the performance was prepared by Alon Eilat.
799:
Yona Fischer, "Performances of Adina Bar-On", Mussag, 1976.
266:, considered to be the first performance artist in Israel.
1005:
805:
Martin Zet,"Lady in Red", 30 December 2002, FIX02 Belfast.
675:
College of Art, The Academy od Dance and Music Jerusalem,
604:
Starting from early performances shown at the time of
1086:
Academic staff of Bezalel Academy of Arts and Design
414:
movement in Europe, psychoanalytical writings about
349:
and her work was influenced by American happenings,
1010:
Adina Bar-On profile on the Art of Action Archive -
235:
207:
197:
187:
159:
143:
361:, the new theater (as defined by Michael Kirby),
989:"Birth of a Golem | the Films of Amos Gitai"
735:in her role as Golem's figure in the cave scene.
1034:"Artists Talk. Adina Bar-On", WRO Art Center -
391:In 1974 Adina Bar-On married Daniel Davis, a
8:
1012:http://artofactionarchive.wix.com/adinabaron
341:) Adina was focused on painting and studied
1030:https://www.youtube.com/watch?v=Jc6PB7m2eTs
1024:https://www.youtube.com/watch?v=auORCphc_s4
930:Invitation for the performance leaflet, p.3
567:"Disposition", Performance Series 2001-2010
293:acknowledged by art historians and critics
151:
140:
56:about living persons that is unsourced or
579:"Sacred", 2011-2012 and "NO MATTER", 2013
127:Learn how and when to remove this message
939:Recording of voicework for "Sacrifice":
756:The American Israel Cultural Foundation
500:Performed in The Tel Aviv Museum of Art
846:
696:Eugeniusz Geppert Academy of Fine Arts
258:), born December 19, 1951, in Kibbutz
1016:About "Disposition" in CCCA Toronto -
7:
726:Bar-On played an important role in
666:Later work and educational projects
255:
221:Performance & Video (1990–1991)
758:America Israel Cultural Foundation
14:
1004:Adina Bar-On's official website -
700:University of Fine Arts in Poznań
284:Bezalel Academy of Art and Design
192:Bezalel Academy of Art and Design
596:New ways of creating engaged art
23:
533:Tel Aviv Performing Arts Center
836:List of Israeli visual artists
468:"Woman of the Pots", 1990–1991
435:"Walking On a Thin Line", 1979
1:
1066:Israeli contemporary artists
386:conceptual photographic work
214:First Performance at Bezalel
34:biography of a living person
708:Kraków Academy of Fine Arts
61:must be removed immediately
1112:
1096:21st-century women artists
1076:Israeli conceptual artists
426:movement, Beuys's idea of
1036:http://vimeo.com/46639510
559:"40x40/Sentenced to Life"
480:Leaving "Acconci dilemma"
150:
1081:Women conceptual artists
588:method is now extending
1006:https://adinabaron.com/
460:"On Getting High", 1986
262:, Israel, is a pioneer
1091:Jewish Israeli artists
677:Tel Aviv Museum of Art
563:(lacking description)
502:Tel Aviv Museum of Art
312:Bar-On's parents were
48:Please help by adding
1071:Israeli women artists
1061:Artists from Tel Aviv
634:Zbigniew Warpechowski
624:Relationships and art
400:Selected performances
219:The Woman of the Pots
794:Articles and studies
714:Adina Bar-On on film
685:Mobius Artists Group
672:visual communication
660:Piotrków Trybunalski
54:Contentious material
741:
405:"Performance", 1973
720:video installation
681:Oświęcim Synagogue
543:"About Love", 2004
418:, experience with
370:Giulietta Masina's
264:performance artist
876:see: Porat, p.154
751:Prizes and awards
527:"Rest", 1999–2005
508:"Sacrifice", 1991
347:communication art
308:Family background
245:
244:
170:December 19, 1951
137:
136:
129:
111:
37:needs additional
1103:
993:
992:
985:
979:
976:
970:
967:
961:
958:
952:
949:
943:
937:
931:
928:
922:
917:
911:
908:
902:
892:
886:
883:
877:
874:
868:
865:
859:
858:
851:
441:Merce Cunningham
428:social sculpture
412:anti-psychiatric
257:
210:
173:
169:
167:
155:
141:
132:
125:
121:
118:
112:
110:
69:
50:reliable sources
27:
26:
19:
1111:
1110:
1106:
1105:
1104:
1102:
1101:
1100:
1041:
1040:
1001:
996:
987:
986:
982:
977:
973:
968:
964:
959:
955:
950:
946:
938:
934:
929:
925:
918:
914:
909:
905:
893:
889:
884:
880:
875:
871:
866:
862:
853:
852:
848:
844:
816:Performance art
812:
796:
775:
773:Works on Bar-On
770:
753:
744:
716:
692:Bezalel Academy
668:
655:
626:
598:
581:
569:
561:
545:
529:
510:
498:
482:
470:
462:
453:
437:
407:
402:
359:Jerzy Grotowski
335:
310:
301:
280:
227:
222:
217:
208:
202:Performance Art
183:
174:
171:
165:
163:
146:
133:
122:
116:
113:
70:
68:
47:
28:
24:
17:
12:
11:
5:
1109:
1107:
1099:
1098:
1093:
1088:
1083:
1078:
1073:
1068:
1063:
1058:
1053:
1043:
1042:
1039:
1038:
1032:
1026:
1020:
1014:
1008:
1000:
999:External links
997:
995:
994:
980:
971:
962:
953:
944:
932:
923:
912:
903:
887:
878:
869:
860:
845:
843:
840:
839:
838:
833:
828:
823:
818:
811:
808:
807:
806:
803:
800:
795:
792:
780:
779:
774:
771:
769:
766:
765:
764:
761:
752:
749:
743:
742:Students' work
740:
715:
712:
704:Warsaw Academy
667:
664:
654:
651:
646:contextual art
638:Boris Nieslony
630:Jan Swidzinski
625:
622:
606:Yom Kippur War
597:
594:
590:existentialist
580:
577:
568:
565:
560:
557:
544:
541:
528:
525:
509:
506:
497:
491:
481:
478:
469:
466:
461:
458:
452:
451:"Salute", 1983
449:
436:
433:
424:counterculture
416:Antonin Artaud
406:
403:
401:
398:
355:Tadeusz Kantor
343:conceptual art
334:
331:
309:
306:
300:
297:
288:conceptual art
279:
276:
243:
242:
240:Contextual art
237:
233:
232:
211:
205:
204:
199:
198:Known for
195:
194:
189:
185:
184:
175:
161:
157:
156:
148:
147:
144:
135:
134:
76:"Adina Bar-On"
58:poorly sourced
31:
29:
22:
16:Israeli artist
15:
13:
10:
9:
6:
4:
3:
2:
1108:
1097:
1094:
1092:
1089:
1087:
1084:
1082:
1079:
1077:
1074:
1072:
1069:
1067:
1064:
1062:
1059:
1057:
1056:Living people
1054:
1052:
1049:
1048:
1046:
1037:
1033:
1031:
1027:
1025:
1021:
1019:
1015:
1013:
1009:
1007:
1003:
1002:
998:
990:
984:
981:
975:
972:
966:
963:
957:
954:
948:
945:
942:
936:
933:
927:
924:
921:
916:
913:
907:
904:
901:
900:83-89280-05-1
897:
891:
888:
882:
879:
873:
870:
864:
861:
856:
850:
847:
841:
837:
834:
832:
829:
827:
824:
822:
819:
817:
814:
813:
809:
804:
801:
798:
797:
793:
791:
789:
788:965-02-0152-1
785:
777:
776:
772:
767:
762:
759:
755:
754:
750:
748:
739:
736:
734:
729:
724:
721:
713:
711:
709:
705:
701:
697:
693:
688:
686:
682:
678:
673:
665:
663:
661:
652:
650:
647:
643:
639:
635:
631:
623:
621:
619:
614:
612:
607:
602:
595:
593:
591:
587:
578:
576:
573:
566:
564:
558:
556:
552:
550:
542:
540:
537:
534:
526:
524:
521:
517:
514:
507:
505:
503:
495:
492:
490:
488:
479:
477:
475:
467:
465:
459:
457:
450:
448:
446:
442:
434:
432:
429:
425:
421:
417:
413:
404:
399:
397:
394:
389:
387:
382:
378:
376:
371:
366:
364:
360:
356:
352:
348:
344:
340:
332:
330:
328:
324:
320:
315:
307:
305:
298:
296:
294:
289:
285:
277:
275:
272:
267:
265:
261:
253:
249:
241:
238:
234:
230:
225:
220:
215:
212:
206:
203:
200:
196:
193:
190:
186:
182:
178:
172:(age 72)
162:
158:
154:
149:
142:
139:
131:
128:
120:
109:
106:
102:
99:
95:
92:
88:
85:
81:
78: –
77:
73:
72:Find sources:
66:
62:
59:
55:
51:
45:
44:
40:
35:
30:
21:
20:
983:
974:
965:
956:
947:
935:
926:
915:
910:Porat, p.173
906:
890:
881:
872:
863:
849:
831:Feminist art
781:
768:Bibliography
745:
737:
733:Annie Lennox
725:
717:
698:in Wrocław,
689:
669:
656:
642:Marlyn Arsem
627:
618:feminist art
615:
603:
599:
582:
574:
570:
562:
553:
548:
546:
538:
530:
522:
518:
515:
511:
499:
493:
487:Vito Acconci
483:
474:Naomi Perlov
471:
463:
454:
445:Anna Halprin
438:
408:
390:
383:
379:
367:
363:Vito Acconci
351:Joseph Beuys
339:Mount Scopus
336:
311:
302:
281:
268:
256:עדינה בר-און
248:Adina Bar-On
247:
246:
228:
223:
218:
213:
209:Notable work
145:Adina Bar-On
138:
123:
114:
104:
97:
90:
83:
71:
60:
43:verification
36:
1051:1951 births
821:Avant-garde
611:existential
299:Controversy
226:(1991-2011)
1045:Categories
969:Porat, 131
960:Porat, 135
885:Porat, 136
842:References
826:Intermedia
728:Amos Gitai
613:practice.
549:About Love
420:surrealism
333:Influences
278:Early work
224:Sacrifice
166:1951-12-19
87:newspapers
653:Festivals
586:apophatic
327:Bethlehem
319:Holocaust
260:Kfar Blum
229:No Matter
188:Education
117:July 2013
39:citations
810:See also
271:identity
236:Movement
177:Tel Aviv
65:libelous
375:Dimitri
323:kibbutz
314:Zionist
101:scholar
898:
786:
496:, 1994
494:Breath
393:potter
317:after-
252:Hebrew
231:(2013)
216:(1973)
181:Israel
103:
96:
89:
82:
74:
108:JSTOR
94:books
32:This
896:ISBN
784:ISBN
443:and
160:Born
80:news
41:for
547:In
1047::
790:.
706:,
702:,
694:,
683:,
640:,
636:,
632:,
620:.
422:,
365:.
357:,
353:,
329:.
295:.
254::
179:,
168:)
52:.
991:.
857:.
250:(
164:(
130:)
124:(
119:)
115:(
105:·
98:·
91:·
84:·
67:.
46:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
