December 31, 2017

Amy Sillman @ Gladstone 64, New York

Amy Sillman: Mostly Drawing
Gladstone 64, New York
January 26 – March 3, 2018

Gladstone 64 presents Mostly Drawing, an exhibition of new works by AMY SILLMAN. This show marks the artist’s first exhibition with Gladstone Gallery.

As the show’s title self-referentially indicates, this exhibition is comprised primarily of works on paper incorporating silkscreened, painted, and drawn elements that continue Amy Sillman’s decades-long examination into the ideological underpinnings of the term Drawing itself. In each work, the artist employs formal dualities from the art historical canon – namely, narration versus abstraction, color versus line, flat versus recessive space, and painting versus drawing – not as a means to a conceptual end, but rather as a method to push these painterly concerns to their extremes. The works on view therefore defy easy categorization, as each one appears to vacillate between overt abstraction and coded figuration, between traditional painting and comic illustration. Yet this simultaneous presentation of dissimilar components does not imply incompatibility. The heterogeneity evident in every composition invites the viewer to resist the pictorial resolutions that one seeks in finished artworks, and instead revel in the liminal space that Sillman creates using her own visual language.

This indulgence in multeity evolves from the artist’s process. Refuting the classic dichotomy of fast drawings and slow paintings, Amy Sillman’s works do not exist within a fixed chronology of creation. Some compositions are made in a day, others in a week, and some over the course of months. What is of primary concern to Sillman is the examination of the hierarchy between media that seemingly exists in artmaking. By refusing to acknowledge any media-specific pecking order within each picture – Are these drawings? Prints? Paintings? Or none of the above? – the artist generates works that encourage an interrogation of art production that is both ethical in nature and engaging in situ.

In relation to their installation at Gladstone 64, Sillman’s excited, overflowing compositions also play with the comfort connoted by the townhouse setting of the gallery. The dialogue between work and location, while seemingly jarring, invites a sense of unease to coexist with the traditional prettiness of modernist architecture. Through this gesture, the artist creates a setting wherein the sensation of comfortlessness is inverted to seem not only allowable, but also desirable.

Two events celebrating the recent publication of Amy Sillman: The ALL-OVER (Dancing Foxes Press, Mousse and Portikus; 2017) will be held in conjunction with Mostly Drawing: the first, a book signing at Gladstone 64, on January 27 from 3-5pm; the second, a film screening and signing at Metrograph on March 4.

Amy Sillman: The ALL-OVER
Edited by Karen Kelly, Fabian Schöneich, and Barbara Schroeder
Texts by Yve-Alain Bois and Manuela Ammer, interview by Fabian Schöneich
Design by Ronnie Fueglister
164 pages, 95 illustrations
Copublished by Dancing Foxes Press, Mousse Publishing, Portikus

Amy Sillman was born in 1955 in Detroit, Michigan, and currently lives and works in New York. Since 2015, she has been professor of painting at the Städelschule in Frankfurt am Main. Sillman’s work has been the subject of numerous solo exhibitions at institutions including: Albright Knox Art Gallery, Buffalo, New York; Drawing Center, New York; Portikus, Frankfurt am Main, Germany; Kunsthaus Bregenz, Austria; and The Hirshhorn Museum and Sculpture Garden, Washington, D.C. Beginning at the Institute of Contemporary Art, Boston in 2014, Sillman’s solo exhibition, "one lump or two," traveled to the Aspen Art Museum in Colorado and the Center for Curatorial Studies at Bard College, New York. Her works are held in the public collections of such prominent institutions as Art Institute of Chicago; Brooklyn Museum, New York; Metropolitan Museum of Art, New York; Museum of Modern Art, New York; National Gallery of Art, Washington D.C.; and the Whitney Museum of American Art, New York.

Gladstone 64
130 East 64 Street, New York, NY 10065

December 30, 2017

FOG Design+Art 2018, San Francisco, California

San Francisco, California
January 11 – 14, 2018

The fifth annual edition of FOG Design+Art will take place January 11–14, 2018 at Fort Mason Center, in San Francisco, with a Preview Gala on Wednesday, January 10 to benefit the San Francisco Museum of Modern Art (SFMOMA). The fair brings together 45 leading international design and visual art galleries for an intimate, highly curated selection of exhibitions that celebrate San Francisco’s long history as a hub for design, art, experimentation, and innovation. The fair will include a robust calendar of programs, including conversations between art and design luminaries and leaders in the field of arts and culture.

The fair’s 45 participants were selected from more than 95 proposals. In addition to welcoming back many galleries to the fair for their fifth year, including Anthony Meier Fine Arts, Berggruen Gallery, Crown Point Press, Fraenkel Gallery, Friedman Benda, and Jessica Silverman Gallery, FOG Design+Art will feature a number of galleries participating for the first time this year, including Galerie Chantal Crousel, Galerie Chastel Maréchal, Luhring Augustine, Nicholas Kilner, Paul Kasmin, Sadie Coles, and Stuart Shave/Modern Art. The fair will feature an international roster of galleries from Chicago, London, Los Angeles, Mexico City, New York, and Paris, among others.
“We are thrilled with the caliber of galleries participating this year,” said steering committee member Susan Swig. “Now in our fifth year, it’s incredible to look back and see how much the fair has grown. We were overwhelmed by the quality of this year’s proposals, and the thoughtful approach that these galleries took in thinking about an exhibition that responds both to the nature of this location and to the cross section of art and design that we are celebrating.”
FOG has become a focal point for the design and arts communities on the West Coast, and celebrates the pioneering spirit and community-minded nature of the Bay Area. FOG’s mission is to create a platform for the public, curators, collectors, and art world leaders to experience remarkable works of design and visual art by bringing together the pre-eminent dealers of 20th century and contemporary work.

Building on FOG’s longstanding commitment to cultural institutions, the Preview Gala, Innovators Luncheon, and ArtBites support SFMOMA’s exhibitions and education programs, as well as the FOG Forum, which specifically raises funds for the museum’s Architecture and Design department. FOG represents a key moment in which the local and global community congregates to engage in critical dialogue, artistic exchanges, and a shared passion for creative pursuits. This year’s fair is dedicated to the late Cathy Topham, a founding member of the FOG Steering Committee and longstanding SFMOMA supporter.


Almond & Co., San Francisco
Altman Siegel Gallery, San Francisco
Anthony Meier Fine Arts, San Francisco
Berggruen Gallery, San Francisco
Blum & Poe, Los Angeles
Casati Gallery, Chicago
Cristina Grajales Gallery, New York
Crown Point Press, San Francisco
David Gill Gallery, London
David Kordansky Gallery, Los Angeles
David Zwirner, New York
Edward Cella Art+Architecture, Los Angeles
Fraenkel Gallery, San Francisco
Friedman Benda, New York
Gagosian Gallery, San Francisco
Galerie Chantal Crousel, Paris
Galerie Chastel Maréchal, Paris
Gavin Brown's enterprise, New York
Gladstone Gallery, New York
Haines Gallery, San Francisco
Hosfelt Gallery, San Francisco
Hostler Burrows, New York
James Cohan, New York
Jason Jacques Gallery, New York
Jessica Silverman Gallery, San Francisco
Kurimanzutto, Mexico, D.F.
Lebreton, San Francisco
Lévy Gorvy, New York
Luhring Augustine, New York
Magen H Gallery, New York
Marian Goodman Gallery, New York
Matthew Marks Gallery, New York
Nicholas Kilner, New York
PACE, Palo Alto
Patrick Parrish Gallery, New York
Paul Kasmin Gallery, New York
R & Company, New York
Ratio 3, San Francisco
Reform/The Landing, Los Angeles
Sadie Coles HQ , London
Salon 94, New York
Stuart Shave/Modern Art, London
Tanya Bonakdar Gallery, New York
Volume Gallery, Chicago

Fort Mason Festival Pavilion • San Francisco

Fraenkel Gallery, San Francisco: Art & Vinyl: Artists & the Record Album from Picasso to the Present

Art & Vinyl: Artists & the Record Album from Picasso to the Present
Fraenkel Gallery, San Francisco
4 January - 3 March, 2018

Gerhard Richter
Goldberg-Variationen (Butin 060), 1984
Oil on vinyl record
Courtesy Fraenkel Gallery, San Francisco 

Fraenkel Gallery presents Art & Vinyl, an exhibition examining the ways in which artists have been drawn to records and their covers as mediums for original works of art. Comprised of more than one hundred often rare and important examples, this will be the first in-depth exhibition to focus on works of art created specifically for an album, composer or musician. Seen together, the albums span seven decades and a staggering array of conceptual strategies, and sketch an idiosyncratic history of art from the mid-20th century to the present.

The exhibition begins with Pablo Picasso’s depiction of a white dove, printed directly onto the surface of Paul Robeson’s Songs of Peace in 1949, and continues with works by artists as wide-ranging as Josef Albers, Tauba Auerbach, Jean-Michel Basquiat, Joseph Beuys, Sophie Calle, Jean Dubuffet, Marlene Dumas, Yves Klein, Barbara Kruger, Sol LeWitt, Chris Ofili, Ed Ruscha, Cindy Sherman, and Andy Warhol. Included are works by supreme outliers such as Richard Hamilton, whose indelible un-artwork forever defined The Beatles' white album; Christian Marclay, whose non-sleeve allowed his Record Without a Cover to accumulate a lifetime of scratches; and Gerhard Richter, whose 1984 oil painting on the surface of Glenn Gould’s revered Goldberg Variations leaves Bach’s composition seeable but forever unplayable.

Art & Vinyl has been curated by Antoine de Beaupré, a hardcore music lover, author of Total Records, and founder of Librarie 213, a Paris bookshop specializing in rare and out-of-print books.

The exhibition is accompanied by a 464-page hardcover catalogue, available at the gallery or on the Fraenkel Gallery's website and distributed internationally by D.A.P.

Fraenkel Gallery
49 Geary Street, San Francisco, CA 94108

Rodney Graham @ IMMA - Irish Museum of Modern Art, Dublin

Rodney Graham: That’s Not Me 
IMMA - Irish Museum of Modern Art, Dublin 
Through 18 February 2018

IMMA presents That’s Not Me, a survey from 1994 to the present, of the work of Canadian artist RODNEY GRAHAM. This is the first major presentation of Rodney Graham’s work in Ireland, focusing on his illuminated lightboxes and film works. Rodney Graham lives and works in Vancouver, Canada and is associated with the 1980s Vancouver School of post-conceptual photography alongside peers such as Jeff Wall and Stan Douglas (who so memorably exhibited in IMMA in 2014). The Vancouver School is a group defined by a style of photography in which moments from art history are replicated. Rodney Graham represented Canada at the 47th Venice Biennale in 1997 and his work features in significant museum collections around the world including Tate Modern, MoMA and the Centre Pompidou.      
Rodney Graham is one of the most consistently inventive artists to have emerged in the last 40 years, tirelessly questioning what it means to be an artist today. Through genre-defying experimentalism, Graham’s practice has shifted from conceptual photography and installation to encompass film, performance, music and painting. His works, informed by psychology, literature and storytelling, present cyclical narratives layered with puns and references. Historical figures such as Lewis Carroll, Sigmund Freud, Raymond Roussel and Kurt Cobain are explored with Graham’s typical sense of humour.

The focus in this Dublin exhibition is on Rodney Graham’s illuminated lightboxes, and on his film works. The lightboxes, usually constructed on a monumental scale, elevate the subject matter by making a high level of detail perceptible to the viewer. The scenes depicted are highly stylized, and usually set in the 20th century at a specific time. The form of the lightbox lends itself to close examination, and Graham’s constructed studio sets reward close inspection of newspaper headlines, signage and picture’s within the picture.

Most of the lightbox works feature the artist himself, assuming a variety of roles in meticulously staged environments. In these works, Rodney Graham is playing a series of fictional characters, but this can also be considered a form of self-portraiture. In The Gifted Amateur, Nov. 10th, 1962 (2007) for example, Graham assumes the role of an amateur artist, creating generic abstract works in a Modernist interior. This subversion of the perceived role of the artist shows Graham undermining the popular mythology of the artist and highlighted the constructed nature of identity, while also being a warm tribute to ‘amateur’ art. Adding to the richness of the work is the fact that Graham has exhibited paintings like the one pictured here, further blurring lines between invented and ‘real’ personae. 

Included in the IMMA exhibition are four major film works made between 1994 and 2010: Halcion Sleep (1994), Torqued Chandelier Release (2005), The Green Cinematograph (Programme 1: Pipe smoker and overflowing sink), (2010); and Rheinmetall/Victoria8, (2003). These works speak to Rodney Graham’s interest in experimentation, along with his interest in silent film and seemingly obsolete production and display methods, such as over-sized projection equipment and 16mm and 35mm film.

Other works in the exhibition reference Rodney Graham’s long-time interest in music and music making. Aberdeen (2000) is a slide projection set up as a lo-fi lecture class, consisting of 80 slides with a Syd Barrett-style musical soundtrack by Graham. The work references Kurt Cobain, the lead singer of Nirvana, a band central to the Seattle Grunge scene of the early 1990s. Following his early death by suicide in 1994, Cobain remains a legendary cult figure. For this work, Rodney Graham visited the late singer’s hometown of Aberdeen, a typical small-town on the border between Canada and America.

Rodney Graham has spoken openly on drawing inspiration from a wide range of sources, and freely borrowing techniques and materials from other artists, in particular Ian Wallace, Douglas Gordon and Jeff Wall, all peers or friends of Graham. While these influences are clearly seen in his use of lightboxes and highly controlled set-pieces – both techniques used by other Vancouver artists – this openness is a major part of Graham’s practice as it relates to his collaboration with other artists, writers and musicians.

That’s Not Me is organised in partnership with the Baltic Centre, Gateshead and is presented as part of an on-going initiative, New Art at IMMA, proudly supported by Matheson, which allows IMMA to continue to support artists’ vital work in a strand of programming that recognises and nurtures new and emerging talents, new thinking and new forms of exhibition-making.

Irish Museum of Modern Art (IMMA) 
Royal Hospital, Kilmainham, Dublin 8, D08 FW31, Ireland

Cao Jun @ McMullen Museum of Art, Boston College - Hymns to Nature

Cao Jun: Hymns to Nature
McMullen Museum of Art, Boston College
February 5 – June 3, 2018

Golden Autumn 金秋, 2017
Ink and watercolor on paper, mounted on board, 108 x 78 cm 
© Cao Jun

Misted Mountain and Trees 烟山云树霭苍茫, 2016 
Ink and watercolor on paper, mounted on board, 78 x 108 cm 
© Cao Jun

The McMullen Museum of Art at Boston College presents the first United States exhibition of works by contemporary Chinese artist Cao Jun. Cao Jun: Hymns to Nature will be on display in the Museum’s Daley Family and Monan Galleries.

The exhibition comprises sixty-four works, all from the artist’s collection, consisting of watercolor and mixed media paintings, calligraphy, porcelain, and digital media.

The Red Peak 红顶, 2016
Mixed media on canvas, 92 x 130 cm 
© Cao Jun

Thousands of Rivers Converge 万水归堂, 2016 
Ink and watercolor on paper, mounted on board, 120 x 114 cm 
© Cao Jun

Cao Jun was born in 1966 and raised in Jiangsu Province in southern China, where the lakes and rivers shaped his childhood environment. He studied and worked for eighteen years near Mount Tai, one of China’s most ancient places of worship and ceremonial ritual. Concrete experience of both aquatic sites and mountainous terrain informed Cao Jun’s approach to artistic creation. After formal training in Beijing, he settled in New Zealand and traveled throughout Europe and the United States. More recently he journeyed to the polar regions and northern Alaska. During his travels, he gained new perspectives that influenced his work. 

Hymns to Nature examines the deep roots of Cao Jun’s art in the experience of nature and how he portrays our place within it, according to organizers. It also illuminates his novel responses to admired, earlier paintings by his countrymen, and encourages viewers to ponder a dynamic dialogue between Chinese art of the past and that of the present. 

Poetry’s Evocative Power over Wind and Fog 诗句成风, 2014 
Ink and watercolor on paper, mounted on board, 108 x 78 cm 
© Cao Jun
“The McMullen Museum is grateful to Professor Sallis [curator, Boston College Philosophy Department] for bringing Cao Jun, already well known in China, to our attention and to working with us to organize this important contemporary artist’s first exhibition and accompanying scholarly publication in the United States,” said McMullen Museum of Art Director and Professor of Art History Nancy Netzer.
Organized by the McMullen Museum, Hymns to Nature is curated by John Sallis, the Frederick J. Adelmann, SJ Professor of Philosophy at Boston College. The exhibition is underwritten by Boston College with major support from the Patrons of the McMullen Museum.
“Since I first saw Cao Jun’s paintings while visiting his museum complex in Wuxi, China, I have become increasingly convinced that he is among the most highly original and creative artists of our time,” said John Sallis. “His art blends exquisitely the themes of the classical Chinese tradition with modern artistic features similar to those of Western art. From his early depictions of wild animals to his recent, more abstract paintings of the most elemental forces of nature and the cosmos, his work brings to light profound visions that, without his art, would remain unseen. Curating this exhibition has only deepened my appreciation of his remarkable artistic achievement.”

The Mountain Looks like the Sea 苍山如海, 2013 
Mixed media on canvas, 89 x 116 cm 
© Cao Jun 
“It is an honor to stage Hymns to Nature at the McMullen Museum of Art at Boston College—my first solo exhibition since immigrating to the United States,” said Cao Jun. “Including a collection of representative works reflecting eight different artistic styles that I have created over the past nearly thirty years, I strongly believe that it will be the most important exhibition of my life.” 

A Cloud-Enshrouded Mountain Enters into a Dream 云山入梦, 2012 
Ink and watercolor on paper, mounted on board, 140 x 78 cm 
© Cao Jun

Pulsating Space  脉动空间, 2012 
Mixed media on canvas, 145 x 84 cm 
© Cao Jun

Arranged thematically, the exhibition opens with Cao Jun’s early works depicting wild animals. It moves on to later paintings where he employs the techniques of ink- and color-splashing to render mountain landscapes, water, and flowers. Subsequent areas display his calligraphy and porcelain. The exhibition concludes with more recent abstract works exploring the various configurations in which spatial phenomena can appear.

Exhibition sections include: The Spirit of Animality; The Poetics of Water; The Look of Landscape; Botanicals; Reflections of Autumn; Dreams of Space; Calligraphy; Porcelain; Songs of the Earth.

A Pond of Lotus  一塘荷气, 2010
Porcelain, 40 x 28 cm 
© Cao Jun

National Spirit 国风, 1999 
Ink and watercolor on paper, 180 x 144 cm 
© Cao Jun
“John Sallis’s interpretation of my works has been penetratingly profound, as he has balanced the convergence of Eastern and Western cultures contained in the images that I created with points, lines, and planes to interpret my stories and spiritual pursuits,” Cao Jun said. “Working with Nancy Netzer and the staff of an internationally leading academic museum like the McMullen has been a truly rewarding experience.”
Exhibition Catalogue
Hymns to Nature is accompanied by a catalogue, edited by John Sallis, with contributions by Chinese and American scholars that examine the ways in which Cao Jun’s art fuses elements of classical Chinese painting with modern abstract forms akin to those of Western art. Essays also discuss the philosophical and poetic dimensions of the artist’s work, as well as Cao Jun’s profound connections to the natural world.
In his introduction, John Sallis writes: “During the past decade, Cao Jun has visited many of the most important museums in the world in order to study at first hand their masterpieces. This experience has widened his horizon, yet also has made him aware of the differences between Asian art and Western art; his awareness of these differences is, in part, responsible for the unpredictable, diverse styles of his art.”
McMullen Museum of Art, Boston College 
2101 Commonwealth Avenue, Boston, MA 02135

Cao Jun's website:

December 29, 2017

Robin Rhode @ Lehmann Maupin, New York - The Geometry of Colour

Robin Rhode: The Geometry of Colour
Lehmann Maupin, New York
January 18 - February 24, 2018

Joints (detail), 2017 
c-print, 4 parts, each: 21.69 x 28.58 inches, 55.1 x 72.6 cm. 
Courtesy the artist and Lehmann Maupin, New York and Hong Kong

Lehmann Maupin presents The Geometry of Colour, an exhibition of new work by South Africa-born, Berlin-based artist ROBIN RHODE. This recent series culminates Robin Rhode’s well-known work engaging the public through cooperative visual and performance art, documented through c-print photographs, at a wall in Johannesburg where he and his team have worked since 2011. In The Geometry of Colour, Robin Rhode sets forth to make a case for the role of art in developing the skepticism and spirituality he views as necessary to challenge a surge of global divisiveness. 

Robin Rhode has established his unique practice with a multifold approach, working across media, including drawing, performance, photography, video, and music. As a young artist inspired by the rebellion and possibility of graffiti, he was first drawn to working in public, unsanctioned spaces. Since then, his practice has evolved to become more closely aligned with and influenced by the minimal wall drawings of Sol Lewitt, and the 1970s performance work of artists such as Vito Acconci and Bruce Nauman, as well as earlier art historical references such as Eadweard Muybridge’s stop-motion photography.

In The Geometry of Colour, Robin Rhode utilizes geometric articulation of space, together with color theory—another optical science—to visualize the complexities of human nature and the political and economic systems established in its image. Under the Sun (2017) was inspired by the artist’s trip to Israel and the Palestinian territories last year while he was preparing for his current exhibition at the Tel Aviv Museum of Art. Struck by the similarity of today’s treatment of Palestinians to the divisive history of South Africa, Rhode was inspired to produce images of the sun’s rays as metaphor for both the political and atmospheric climates that the regions share. In a nod to religious architecture and spiritual associations with the sun, Robin Rhode treats the squares of color representing gradients of sunlight as stained glass or a mosaic across 36 photographs. A doppelgänger of the artist alternates between basking in and shielding himself from the light depicted in the shifting spectrum. Rhode’s sun rays are an additional contribution to the long representational history of the sun, both as a benevolent father figure, and a symbol of victory and might, found throughout monotheistic religions. The rays also revisit the theme of light as a sociopolitical issue—the expansion of the electrical grid to serve black townships was an early achievement of the African National Congress under Nelson Mandela—that he has addressed in previous works.

Coming of age among the first generation of post-apartheid South Africans, Robin Rhode has long made it his mission to engage with the realities of poverty, crime, and violence that plague many developing and postcolonial societies. However, Rhode approaches this grim subject matter with consummate whimsy and play, capturing the sentiments of spontaneity and freedom that accompanied the legal and civic opening of South Africa. He is dedicated to producing works within Johannesburg—specifically returning to the same wall within a gang-controlled territory at risk to himself and his team—to introduce material that is nuanced, politically aware, and relevant to art history. This underscores his commitment to return the resources and recognition he has received abroad to the community and local artists he identifies with and works alongside. Rhode emphasizes the reciprocal and collaborative nature of his work, saying, “The reactions and responses of the people on the street, the conditions pervading that particular process—that's part of the narrative."

Robin Rhode (b. 1976, Cape Town, South Africa; lives and works in Berlin) studied at the University of Johannesburg as well as at the Association of Film and Dramatic Arts (AFDA), from 1996 to 2001. Solo exhibitions of his work have been organized by the Tel Aviv Museum of Art, Israel (2017); Savannah College of Art and Design Museum of Art, GA (2016); The Drawing Center, New York (2015); Neuberger Museum of Art, Purchase, NY (2014); National Gallery of Victoria, Melbourne, Australia (2013); Los Angeles County Museum of Art (2010); Wexner Center for the Arts, Columbus, OH (2009); Hayward Gallery, London (2008); and Haus der Kunst, Munich, Germany (2007). Select group exhibitions featuring his work include Synthesize: Art + Music, Museum of Contemporary Art Jacksonville, FL (2017); Shifting Views: People and Politics in Contemporary African Art, Baltimore Museum of Art, MD (2016-2017); PERFORMA 15, Arnold Schönberg’s Erwartung - A Performance by Robin Rhode, New York (2015), Making Africa. A Continent of Contemporary Design, Vitra Design Museum, Weil am Rhein, Germany, traveled to the Guggenheim Museum Bilbao, Spain (2015); DRAWING NOW. Albertina, Vienna, Austria (2015), GOLD, Bass Museum of Art, Miami (2014); Staging Action: Performance in Photography Since 1960, The Museum of Modern Art, New York (2011); and New Photography, The Museum of Modern Art, New York (2005). Robin Rhode has participated in multiple biennials and triennials, including the Busan Biennale (2017), 56th Venice Biennale (2015); 18th Biennale of Sydney (2012); Yokohama Triennial, Yokohama Museum of Art, Japan (2005); and the 51st Venice Biennale (2005). His work is included in numerous public collections, including the Castello di Rivoli, Turin; Centre Georges Pompidou, Paris; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Miami Art Museum; Musée d'Art Moderne de la Ville de Paris, France; The Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; and Walker Art Center, Minneapolis.

536 West 22nd Street, New York, NY

Exposition Rubens, Musée du Luxembourg, Paris : Portraits princiers

Rubens, Portraits princiers
Musée du Luxembourg, Paris
Jusqu'au 14 janvier 2018

Pierre Paul Rubens
Portrait de l'Artiste, 1623
Huile sur bois
85,7 x 62,2 x 0,5 cm
Royaume-Uni, Londres, The Royal Collection / HM Queen Elizabeth II
Royal Collection Trust / © Her Majesty Queen Elizabeth II

Pierre Paul Rubens (1577-1640) fut un génie protéiforme. Son oeuvre immense aborde quasiment tous les sujets de la peinture. Ses portraits princiers restent peu connus, ils sont pourtant essentiels dans sa carrière. Peindre le portrait d’un souverain est la commande la plus prestigieuse que peut recevoir un peintre à l’époque, cet exercice doit notamment permettre de flatter la sensibilité du modèle. S’il est connu que Rubens a reçu des commandes de la part des rois, reines, princesses et princes de son temps, jamais encore une exposition ne leur a été consacrée.

L’exposition est présentée au Musée du Luxembourg, dans le palais pour lequel Rubens réalisa un de ses principaux chefs d’oeuvre : la galerie Médicis, ensemble de tableaux monumentaux sur la vie de Marie de Médicis, installés dans l’aile Richelieu du musée du Louvre. La vie de la souveraine et la carrière de Rubens s’entrecroisent. Dans un parcours à travers les cours d’Europe, tel un album de famille, l’exposition montre les effigies de Marie de Médicis et des souverains de son temps dont Rubens dressa le portrait et qui, des Habsbourg à la cour de Mantoue, ont tous un lien de parenté avec elle avant même qu’elle ne devienne la mère et la belle-mère des rois de France, d’Espagne et d’Angleterre.

Rubens naît dans une famille aisée originaire d’Anvers et reçoit une éducation humaniste. Il exerce un temps le rôle de page, ce qui lui permet d’acquérir les comportements et l’aisance qui lui sont utiles pour côtoyer par la suite les grands personnages de son temps. Il gagne l’Italie pour parfaire sa formation de peintre, s’inspirant notamment de Titien, auteur de portraits fameux de Charles Quint et de Philippe II, et devient rapidement un des peintres de la cour des Gonzague à Mantoue. En 1609 il revient à Anvers pour devenir le peintre de la cour des Flandres. A ce titre, il exécute les portraits officiels des princes Habsbourg. Il prolonge son séjour parisien destiné à honorer la commande de Marie de Médicis pour le Palais du Luxembourg en 1621, pour peindre Louis XIII, fils de Marie de Médicis, et son épouse Anne d’Autriche, soeur de Philippe IV, roi d’Espagne. Celui-ci l’appelle ensuite à Madrid pour exécuter des portraits de lui et de sa famille.

Dans une Europe où les voyageurs sont rares, la tradition est établie qu’un portraitiste peut faire passer des messages et Rubens outrepasse de très loin cette facilité pratique. Ainsi, parce qu’il a reçu une éducation poussée, qu’il est un vrai courtisan et que sa réputation est internationale, il peut s’adresser à ses insignes modèles et délivrer dans le relatif isolement des séances de pose, quelques propos diplomatiques. Prince des peintres et peintre des princes, Rubens au terme de sa vie et de sa carrière est un proche de ses prestigieux modèles.

Pierre Paul Rubens
Portrait d’Anne d’Autriche, reine de France
c. 1622-25
Huile sur toile
120 x 96,8 cm
Etats-Unis, Californie, Pasadena, The Norton Simon Foundation
© The Norton Simon Foundation

Pierre Paul Rubens
Portrait de Louis XIII, roi de France
c. 1622-25
Huile sur toile
118,1 x 96,5 cm
Etats-Unis, Californie, Pasadena, The Norton Simon Foundation
© The Norton Simon Foundation

Rubens peut ainsi sembler être le portraitiste des princes tant il souhaitait se consacrer à la narration et aux grands mythes. Avec le sculpteur Bernin, il est le maître de l’ère baroque. Sa culture et sa pratique lui font préférer les oeuvres d’invention et les grands sujets historiques qui restent dans la mémoire collective. Cependant, ses réussites dans le domaine du portrait sont éblouissantes tant dans le domaine privé (que l’on songe aux portraits de ses épouses et de leurs enfants) que dans celui des images officielles. Il connaît parfaitement les prototypes à suivre, les codes à respecter (degré d’idéalisation des traits du modèle, symboles du pouvoir et importance du costume et du décorum), il sait doser ce qu’il faut de flamboyance et ce qu’il faut de naturalisme dans ses représentations et il donne à ses effigies officielles une vie inédite. Chaque oeuvre a un souffle particulier. Il devient ainsi le peintre le plus important de son temps, celui dont les princes s’arrachent les talents. A titre de comparaison et afin de montrer sa place et son originalité, l’exposition présente quelques portraits des mêmes souverains peints par ses rivaux, en particulier Velázquez, Champaigne, Vouet ou Van Dyck, son élève le plus doué, qui devint un immense portraitiste à Londres, s’inspirant des leçons de son maître.

Cette exposition rassemble environ soixante-cinq peintures parmi lesquelles des prêts exceptionnels tels Marie de Médicis (Musée du Prado) et Louis XIII (Melbourne), seul portrait de souverain conservé peint devant le modèle.

Commissariat : Dominique Jacquot, conservateur en chef du musée des Beaux-Arts de Strasbourg, avec la collaboration d’Alexis Merle du Bourg

Cette exposition est réalisée par la Réunion des musées nationaux – Grand Palais

Musée du Luxembourg
19 rue Vaugirard, 75006 Paris

A voir aussi sur Wanafoto le post : Philippe Forest, Rien que Rubens

December 28, 2017

Philippe Forest, Rien que Rubens

Art & Littérature
Philippe Forest, Rien que Rubens
Editions Rmn-Grand Palais, Collection Cartels, Paris 2017

Philippe Forest, Rien que Rubens
12,5 x 19 cm - 110 pages - 14,90 €
signet, tranchefile, cartonné
nomenclature Rmn-Grand Palais
NT107047 // ISBN : 9782711870479

Philippe Forest, l’auteur du déchirant « L’enfant éternel », se replonge dans l’œuvre de Rubens à la recherche des peines et des joies qui ont construit cet immense artiste. Parcourant les signes intimes laissés dans ses toiles par le peintre flamand, il y trouve un écho, par delà les siècles, à ses propres obsessions d’écrivain, le deuil, l’enfance, l’amour, et signe un texte puissant sur ce qui unit, profondément, une peinture à l’homme qui les regarde.

Né à Paris en 1962, diplômé de l’Institut d’études politiques de Paris et docteur ès Lettres, Philippe Forest a enseigné pendant sept ans la littérature française dans les universités anglaises. Professeur de littérature comparée à l’Université de Nantes, il poursuit son chemin littéraire en publiant essais et romans à un rythme soutenu. Son œuvre est marquée par une expérience unique et douloureuse : celle de la perte de sa fille, morte à quatre ans d’un cancer. Ce thème apparait dès son premier roman L’enfant éternel (Prix Fémina du 1er roman) et court tout au long de ses différents ouvrages : Le roman infanticide évoque le deuil et la perte de l’enfant à travers la lecture de grands écrivains mais aussi Sarinagara (Prix Décembre en 2004) comment survivre aux douleurs de l’existence - ou dans Le Siècle des nuages qui retrace la vie romancée de son père, pilote à Air France. C’est ainsi que Philippe Forest « raconte une seule et même histoire qui se poursuit et se transforme » (Le Magazine littéraire n°508 de 2011). Ses essais sont consacrés à la littérature et à l’histoire des courants d’avant-garde, et il collabore à la revue Art Press en tant que critique littéraire, cinématographique et artistique.

Philippe Forest - Bibliographie sélective: 
Le nouvel amour (Gallimard, 2008), Le siècle des nuages (Gallimard, 2010), Le chat de Schrödinger (Gallimard, 2013), L’Enfant fossile (Invenit, 2014), Crue (Galliard, 2016)

Rmn - Grand Palais

Zoé Valdès, Et la terre de leur corps

Art et Littérature
Zoé Valdès, Et la terre de leur corps
Traduit de l’espagnol (Cuba) par Albert Bensoussan
Editions Rmn-Grand Palais, Collection Cartels, Paris 2017

Zoé Valdès, Et la terre de leur corps
12,5 x 19 cm - 80 pages - 14,90 €
signet, tranchefile, cartonné
nomenclature Rmn-Grand Palais
NT107049 // ISBN : 9782711870493 
Courtesy Editions Rmn-Grand Palais

Zoe Valdés se glisse dans la tête de Gauguin et l’imagine, aux derniers instants de sa vie, se souvenant, aux îles Marquises, des femmes qu’il a aimées. Dans une atmosphère intime et intense, portée par les parfums tropicaux et les couleurs de ses toiles, c’est tout le génie créateur d’un homme ivre de vie qu’elle donne à voir et à entendre. Un dernier souffle, mais quel souffle!

Zoé Valdés, née en 1959, a grandi dans un quartier populaire de La Havane. Elle a fait ses études à l’Institut supérieur de pédagogie « Enrique José Varona » jusqu’en 4e année. Elle a suivi les cours de la faculté de philologie de l’université de La Havane jusqu’en 2e année. Elle a étudié à l’Alliance française de Paris. Elle a travaillé de 1984 à 1988 à la délégation de Cuba à l’UNESCO à Paris et aux services culturels de la mission de Cuba à Paris. Après la publication de son ouvrage Le Néant quotidien, mal perçu par le régime cubain, elle s’exile en 1995, à Paris, où elle réside depuis. Elle est Doctor Honoris Causa de l’Université de Valenciennes. Elle a reçu de nombreux prix littéraires en Espagne, notamment le très prestigieux Prix Planeta en 1996 pour son roman Te di la vida entera. Toute son œuvre est marquée par Cuba et l’exil.

Zoé Valdés - Bibliographie sélective: 
Sang bleu, trad. Michel Bibard, Arles, Actes Sud, 1993, Le Néant quotidien, trad. Carmen Val Juliàn, Arles, Actes Sud, 1995, Cher premier amour, trad. Liliane Hasson, Arles, Actes Sud, 2000, Les Mystères de la Havane, trad. Julie Amiot et Carmen Val Julián, Calmann-Lévy, 2002, Danse avec la vie, trad. Albert Bensoussan, Gallimard, coll. « Du monde entier », 2009, La femme qui pleure, trad. Albert Bensoussan, Éditions Arthaud, 2015.

Rmn - Grand Palais

Rmn-Grand Palais : Collection littéraire Cartels

Art & Littérature
Rmn-Grand Palais : Nouvelle Collection littéraire Cartels

La Rmn-Grand Palais propose, depuis fin septembre 2017, pour la première fois de son histoire éditoriale une collection de littérature: Cartels qui propose des rencontres inédites entre des grands auteurs de fiction du XXIème siècle et des artistes majeurs de l’histoire de la peinture.

Cartels. Dans un musée, placé sur le mur tout près d'une œuvre d'art, un cartel vient dire qui a peint, sculpté, fait naître cette œuvre d'art. Ses dimensions, aussi, sa provenance, sa matière... Un cartel explique. La collection "Cartels", elle, fait davantage qu'expliquer : elle donne à vivre l'œuvre d'art, sa genèse, l'univers dans lequel elle prend sa source, les histoires qu'elle porte ou suscite, grâce au regard d'un écrivain. Confrontée à ce regard, jamais innocent, toujours étonnant elle se livre ou résiste, défie son imaginaire ou se laisse porter par lui, ses obsessions, ses rêveries, donne matière à fiction. Cartels, ou quand les mots des écrivains se mettent à l'œuvre.

Nouvelle collection dans le paysage littéraire, Cartels offre la rencontre entre deux artistes de grande envergure, un écrivain reconnu et un peintre majeur.

La collection commence avec Philippe Forest (Rubens) et Zoé Valdés (Gauguin).

Dans Cartels les pages de gardes sont utilisées pour déployer les œuvres auxquelles le texte fait écho. Le brillant du papier comme la mise en page reprennent les codes des éditions d’art, et mettent en abîme le travail de l’artiste, au sein même de cet ouvrage littéraire.

Editions Rmn-Grand Palais, Paris 2017, en vente dans toutes les librairies.

Rmn - Grand Palais

Musée de la Céramique de Sèvres : Exposition L'Expérience de la couleur

L'Expérience de la couleur
Musée National de la Céramique de Sèvres
Jusqu'au 2 avril 2018

© Musée National de la Céramique de Sèvres

Sèvres présente son exposition événement : L’expérience de la couleur. Un voyage sensoriel inédit et unique - par delà la céramique. Du laboratoire des couleurs de Sèvres aux couleurs dans l’art ! 

L’Expérience de la couleur aborde la question fondamentale de la perception des couleurs par les artistes, sous un angle essentiellement sensoriel. Source de plaisir, symbole de pouvoir, catalyseur de mémoire, la couleur est pour l’artiste un outil puissant qui affecte nos émotions, bien au-delà de nos pensées. L’expérience de la couleur invite le visiteur à expérimenter la couleur-matière, la couleur-espace, la couleur-lumière et la couleur-geste.

Les couleurs ont largement contribué à construire la marque de Sèvres. Au laboratoire de la Manufacture de Sèvres, mille et une couleurs ont été créées depuis 1740. Elles sont le point de départ de l’exposition qui en dévoile les secrets pour la première fois. De l’alchimie à la chimie, l’inventivité de la palette de Sèvres et de ses couleurs flamboyantes a révolutionné le « bon goût » dans le domaine des arts décoratifs. Bleu céleste, bleu de Sèvres, rose Pompadour… jusqu’à l’orange Sottsass ou le vert Hyber sont élaborés pour répondre à la demande des artistes. Les «émaux-thèques» expérimentales d’Emmanuel Boos et les créations des designers-coloristes Scholten & Baijings, Doshi Levien, artistes et designers en résidence, témoignent de l’effervescence qui règne à Sèvres autour de la couleur.

Vision transversale et résolument contemporaine de la couleur dans l’art et la création, le propos du commissaire de l’exposition, Frédéric Bodet, va au-delà de l’évocation du seul «Laboratoire de Sèvres». Il l’étend très largement à la céramique internationale et aux expérimentations confrontées à d’autres domaines de l’art (peinture, arts graphiques, design, verre, textile, photographie cosmétique, gastronomie). Les œuvres de grands céramistes français et internationaux, historiques et contemporains (Ernest Chaplet, Emile Decoeur, Théodore Deck, Daniel de Montmollin, Philippe Lambercy, Jean Girel, parmi d’autres…) dialoguent avec les contributions décisives d’artistes plasticiens considérés comme des figures incontournables de la couleur au XXe siècle (Josef Albers, Sonia Delaunay, Gérard Fromanger, Yves Klein, Jean-Philippe Lenclos, André Lemonnier...).

Les 400 œuvres présentées vibrent et dialoguent dans un tourbillon de formes, textures et matières hautes en couleurs. Elles sont majoritairement issues des collections du Musée national de la céramique de Sèvres et de prêts exceptionnels de grandes collections publiques, en particulier du Centre Pompidou (une cinquantaine d’œuvres) des Arts Décoratifs, du Centrenational des Arts plastiques, du Mobilier National et du CIRVA. De nombreux prêts d’artistes, de galeries et de collectionneurs privés viennent compléter la sélection des œuvres présentées dans l’exposition.

Le projet ambitieux fait l’objet d’un catalogue de référence et propose une programmation culturelle et éducative pour tous les publics, rendue possible grâce à des partenariats institutionnels et privés. 

Une exposition du 40e anniversaire du Centre Pompidou

Commissaire de l’exposition : Frédéric Bodet

Sèvres / Musée
2, place de la Manufacture – 92310 Sèvres

Sheikh Abdullah Al Salem Cultural Centre, Kowait, named Public Building of the Year at the ABB LEAF Awards 2017

Sheikh Abdullah Al Salem Cultural Centre has been named Public Building of the Year at the prestigious ABB LEAF Awards 2017

Sheikh Abdullah Al Salem Cultural Centre, Kuwait City
Sheikh Abdullah Al Salem Cultural Centre Aerial Shot
Crédit photo : SSH

Sheikh Abdullah Al Salem Cultural Centre, Kuwait City
Sheikh Abdullah Al Salem Cultural Centre Aerial Shot
Crédit photo : SSH

The upcoming Kuwaiti museum complex, the Sheikh Abdullah Al Salem Cultural Centre (ASCC), has been named Public Building of the Year at the prestigious ABB LEAF Awards 2017.

The annual LEAF (Leading European Architecture Forum) Awards bring together more than 100 leading senior figures from the world’s elite architectural design community to celebrate, discuss and honour some of the best new international projects. All shortlisted and winning projects are recognised as setting the benchmark for the future of the industry.

Sheikh Abdullah Al Salem Cultural Centre, Kuwait City
Sheikh Abdullah Al Salem Cultural Centre During Construction
Crédit photo : SSH

Sheikh Abdullah Al Salem Cultural Centre, Kuwait City
Sheikh Abdullah Al Salem Cultural Centre CGI Rendering
Crédit photo : SSH

A joint delegation from the Amiri Diwan of Kuwait and SSH collected the international accolade for the complex at a gala ceremony, hosted at the Royal Horseguards Hotel, in London, on 21 September.

Due to be completed by the end of this year, the centre not only celebrates mankind’s scientific and cultural achievements, but also honours Kuwaiti, Islamic and Arab culture and history. Together, with the award-winning Sheikh Jaber Al Ahmad Cultural Centre (JACC) and the nearly restored and refurbished Al Salam Palace, the museum complex will form part of a new national cultural district for the city of Kuwait.

Sheikh Abdullah Al Salem Cultural Centre, Kuwait City
Sheikh Abdullah Al Salem Cultural Centre Exterior Shot
Crédit photo : SSH

The project consists of six main buildings: A Natural History Museum; Science Museum; Museum of Islamic History; Space Museum; Fine Arts Centre; and a Theatre.

Each museum building will contain an array of permanent and temporary world-class exhibits, installations and artworks. Walking beneath the canopy of the complex’s street is a journey full of surprises, with stunning views deep into the heart of the museums where visitors will see framed vistas of priceless exhibits.

Kuwaiti architecture is represented by the main “street”, which meanders and echoes the traditional “Ferej”. This creates exciting spaces, Islamic patterns, corners and walkways, mirroring the experience of walking down a traditional, busy Kuwaiti street.

Sheikh Abdullah Al Salem Cultural Centre, Kuwait City
Sheikh Abdullah Al Salem Cultural Centre Canopy and Cladding
Crédit photo : SSH

Sheikh Abdullah Al Salem Cultural Centre, Kuwait City
Sheikh Abdullah Al Salem Cultural Centre Canopy and Cladding
Crédit photo : SSH

The museum buildings and the circulation between them are shaded and partially climatically controlled using a solar shade canopy, which is 200 m long with cantilevers of 30 m. The inverted structure allowed the installation of 2,000 LED-lit shingles, which were parametrically designed and DMX controller-linked to provide evening light shows and daytime shade.

The material chosen by SSH for the exterior cladding and roof paving of the complex was also carefully selected. The approved stone, named Skyline, is a true marble from Turkey with a clearly defined vein orientation in the quarry strata. Skyline has all the technical and aesthetic characteristics to meet the stringent requirements of the project.

SSH was appointed as lead architecture and engineering designer on the complex.

Sheikh Abdullah Al Salem Cultural Centre, Kuwait City
Sheikh Abdullah Al Salem Cultural Centre Interior Shot
Crédit photo : SSH

Project data  

Official Name of the project: Sheikh Abdullah Al Salem Cultural Centre
Location: Kuwait City, Kuwait
Project end date: Estimated end of 2017
Area: 127,000 sq m
Client: The Amiri Diwan, Kuwait
Architects/Designers: SSH
Collaborators: Al Ghanim International

About SSH

SSH is one of the leading master planning, infrastructure, building design, and construction supervision firms in the Middle East, with a reputation for design integrity and a portfolio that includes landmark projects throughout the region. The firm maintains offices in Abu Dhabi, Algeria, Bahrain, Dubai, Iraq, Kuwait, London, Oman, Qatar, Saudi Arabia and South Africa.

Founded in 1961, SSH employs approximately 1,400 high-calibre local, regional and international experts in their individual fields, most of whom are from globally renowned international consultancy firms. The company has been ranked 3rd architecture company in the Middle East among the top 100 Architects in the world and number 1 design firm in the culture sector in the World by World Architecture Magazine in 2015 and 2016.

SSH was also ranked in 95th place among ENR’s Top 225 International Design Firms for 2017.

SSH’s multifaceted practices include architecture, urban design and planning, structural and civil engineering, MEP/building services, interior design, highway and bridge engineering, storm water drainage, utility design, sanitary engineering, marine engineering and district cooling, in addition to high-profile project management and construction supervision services. 

For more information:

December 27, 2017

Li Xin @ Galerie de Sèvres, Paris

Li Xin à Sèvres 
Galerie de Sèvres, Paris 
Jusqu'au 27 janvier 2018

Li Xin
Taches d’encre, 2017
Photo © Gérard Jonca - Cité de la céramique Sèvres & Limoges

Né en 1973 au Shaanxi en Chine, LI XIN vit et travaille entre la France et la Chine. Son travail de peintre est la synthèse parfaite d’une grande tradition du paysage et de l’impossibilité du monochrome contemporain. Influencés par le Grand Fleuve jaune près duquel il est né, ses toiles et ses dessins à l’encre célèbrent tout à la fois la puissance et la délicatesse de l’eau. Elles nous plongent dans un espace de méditation contemplative et nous suspendent à l’orée du ciel et de la terre. Pour la Manufacture de Sèvres, Li Xin invente de nouvelles formes de tableaux et de sculptures peintes sur porcelaine, pour composer un ensemble de dix-huit œuvres uniques.
« La première fois que j'ai touché la céramique et que j'ai été face à la plaque blanche, je l'ai trouvée déjà parfaitement belle. Il y avait plein d'imagination et d'énergie à l'intérieur de cette surface vierge. Comment ajouter quelques grammes de pigment pour traduire mes sentiments immédiats ? J'espérais que ma création ne serait pas trop intellectuelle, technique ou conceptuelle. Je viens d'un pays de céramique. Il y a tant de belles pièces dans notre histoire millénaire de la céramique. Jusque-là, il y avait toutes les couleurs, sauf le gris. Le gris qui par ailleurs est souvent représenté dans la peinture chinoise traditionnelle de paysage. Entre la couleur et la non-couleur, le gris invite toutes les couleurs de l’imaginaire, il nous calme spontanément. Sur le papier, le gris de l’encre qui provient de la cendre fait en sorte qu’elle se retrouve dans la nature des paysages. Il doit en être de même sur la plaque de porcelaine, afin que les traces de la cuisson expriment la matière-cendre en elle-même.  
Texte de Li Xin à propos de ses créations à Sèvres en 2017
Pour transposer la subtilité de la peinture de Li Xin sur la porcelaine, une étroite collaboration s’est nouée entre l’artiste et les artisans de la Manufacture. Recherches sur la surface tout d’abord, les plaques de porcelaine sont émaillées avec un émail semi-mat pour s'approcher au mieux de l'aspect du papier utilisé par l'artiste pour ses peintures. Recherches autour du décor ensuite, un premier gris foncé permet de créer des ondulations dites "fumées". Pour finaliser le décor, le travail de peinture révèle par transparence les effets de dégradés et de diffusion de la couleur, comme sur un papier humide. Les couleurs utilisées sont dites « de petit feu », mélanges à partir de la gamme de noirs de la Manufacture.

Li Xin expose en Chine, aux USA et en Europe. La Biennale de Lyon est l’occasion en 2017 pour le Musée des Beaux-Arts de lui consacrer une exposition personnelle « Lagunes ». En 2014, il a donné son nom et a signé le parfum Le jardin de Monsieur Li pour Hermès. 

Galerie de Sèvres
4, place André Malraux, 75001 Paris

New York Jewish Film Festival 2018 - Films descriptions and schedule

New York Jewish Film Festival 2018 
January 10 - 23, 2018

NYJFF 2018

The Jewish Museum and the Film Society of Lincoln Center announce the complete lineup for the 27th annual New York Jewish Film Festival (NYJFF), January 10-23, 2018. Among the oldest and most influential Jewish film festivals worldwide, the NYJFF each year presents the finest documentary, narrative, and short films from around the world that explore the diverse Jewish experience. Featuring new work by fresh voices in international cinema as well as restored classics, the festival’s 2018 lineup includes 37 wide-ranging and exciting features and shorts from the iconic to the iconoclastic, of which 25 are screening in their world, U.S., and New York premieres.

The NYJFF opens on Wednesday, January 10, with the U.S. premiere of Nabil Ayouch’s mesmerizing Razzia, which follows five Moroccans pushed to the fringes in Casablanca by their extremist government. Closing Night is the U.S. premiere of Amos Gitai’s latest documentary, West of the Jordan River, a powerful look at West Bank citizens, both Israeli and Palestinian, who have risen to act in the name of civic consciousness and peace. The Centerpiece selection is Ofir Raul Graizer’s tender debut feature The Cakemaker, about the relationship that forms between a gay German baker and the Israeli widow of the man whom they both loved.

This year’s edition of the festival features an array of enlightening and challenging documentaries, including Sammy Davis, Jr.: I’ve Gotta Be Me, Sam Pollard’s exhilarating tribute to the legendary entertainer; the U.S. premiere of Chen Shelach’s Praise the Lard, an exploration of the Israeli pork industry; NYJFF alum Radu Jude’s haunting The Dead Nation, which consists entirely of photographs from Romanian photographer Costica Acsinte and audio of diary excerpts from Jewish doctor Emil Dorian, which both span the period from 1937 to 1944; the U.S. premiere of Daniel Najenson’s The Impure, which investigates institutionalization of Jewish prostitution in Argentina in the early 20th century. The festival also includes fiction works like Tzahi Grad’s morally complex, darkly comic The Cousin, about a progressive Israeli actor who comes to the defense of his Palestinian handyman when he’s accused of assault; and Francesco Amato’s comedy Let Yourself Go, about a detached psychoanalyst who finds his life recharged by the presence of a young, attractive, and undisciplined personal trainer.

NYJFF special programs include the world premiere of a new restoration of Alexander Rodnyanskiy’s The Mission of Raoul Wallenberg, 27 years after it premiered in the first NYJFF; a tribute screening of Amos Gitai’s One Day You’ll Understand in memory of Jeanne Moreau; Drawing the Iron Curtain, a special program of Soviet animated shorts, followed by a conversation with author/professor Maya Balakirsky Katz and film critic J. Hoberman; the U.S. premieres of restorations of Renen Schorr’s Late Summer Blues and Gilbert Tofano’s Siege; and a brand new world premiere restoration of Michał Waszyński’s 1937 classic The Dybbuk, one of the finest films ever produced in the Yiddish language, presented in conjunction with the U.S. premiere of main slate title The Prince and the Dybbuk, a documentary about Waszyński’s life.

See below for the complete lineup, including main slate selections and special events.

This year’s New York Jewish Film Festival was selected by Rachel Chanoff, Director, THE OFFICE performing arts + film; Gabriel Grossman, Coordinator, New York Jewish Film Festival/Jewish Museum; Dennis Lim, Director of Programming, Film Society of Lincoln Center; Aviva Weintraub, Associate Curator, Jewish Museum and Director, New York Jewish Film Festival; and Tyler Wilson, Programming Associate, Film Society of Lincoln Center.

NYJFF tickets are on sale to FSLC and Jewish Museum members on Thursday, December 21, and to the public on Thursday, December 28. Tickets may be purchased online or in person at the Film Society's Elinor Bunin Munroe Film Center and Walter Reade Theater box offices, 144 & 165 West 65th Street. For complete festival information, visit

The New York Jewish Film Festival is made possible by the Martin and Doris Payson Fund for Film and Media.

Generous support is also provided by Wendy Fisher and Dennis Goodman, Sara and Axel Schupf, Mark Kingdon and Anla Cheng Kingdon, The Liman Foundation, Louise and Frank Ring, an anonymous gift, the Ike, Molly and Steven Elias Foundation, Amy and Howard Rubenstein, Steven and Sheira Schacter, and through public funds from the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature and the New York City Department of Cultural Affairs in partnership with City Council.

Additional support is provided by Office of Cultural Affairs  - Consulate General of Israel in New York, the German Consulate General New York, Cultural Services of the French Embassy in the United States, the Polish Cultural Institute New York, and the Consulate General of Denmark in New York.

Nicola Galliner, Jewish Film Festival Berlin & Brandenburg; Faye Ginsburg, New York University; Stuart Hands, Toronto JFF; Natalia Indrimi, Centro Primo Levi; Judy Ironside, UK Jewish Film; Lexi Leban, Jay Rosenblatt, San Francisco JFF; Marlene Josephs, Volunteer; Cecilia Kaplan, Film Festival Intern, Aviva Kempner; Julija Lazutkaite; Linda Lipson, Volunteer; Richard Peña; Sharon Rivo, Lisa Rivo, National Center for Jewish Film; Andrea Simon; Alla Verlotsky, Seagull Films; Isaac Zablocki, JCC Manhattan


All films screen digitally at the Walter Reade Theater (165 West 65th St.) unless otherwise noted

Nabil Ayouch, France/Morocco/Belgium, 2017, 120 min
French/Arabic/Berber with English subtitles
A kaleidoscopic drama, Razzia tells the story of five Moroccans pushed to the fringes in Casablanca by the extremist government. Director Nabil Ayouch contrasts the mythic romance of the classic 1942 film Casablanca with an honest and deeply humanistic portrait of contemporary Moroccans yearning for connection amidst political crisis.  Ayouch and co-writer Maryam Touzani—who also stars in the film—paint a mesmerizing portrait of a city and a meditation on desire and love.
U.S. Premiere
WED, JAN 10, 7:30 PM + THU, JAN 11, 3:30 PM

The Cakemaker
Ofir Raul Graizer, Germany/Israel, 2017, 104 min
English/Hebrew/German with English subtitles
In this tender and moving debut, Ofir Raul Graizer explores the connection formed by a gay German baker, Thomas (Tim Kalkhof), and Anat (Sarah Adler), the Israeli widow of the man whom they both loved, Oren (Roy Miller). When Oren is killed in a car accident, Thomas moves to Jerusalem and takes a job in Anat’s café. As their relationship deepens, and pressure from Oren’s religious family rises for Anat, Graizer delicately and gracefully traces the fluidity of desire and sexuality, the bonds forged by shared grief, and the challenges those can present to faith and family. As food is one way cultures can bridge such divides, so too can it be a way to mark separation.
NY Premiere
THU, JAN 18, 6:30 PM + SAT, JAN 20, 9:30 PM

West of the Jordan River
Amos Gitai, Israel/France, 2017, 87 min
Hebrew/Arabic/English with English subtitles
Building on work he set forth in Rabin, the Last Day and Shalom Rabin, Amos Gitai returns to the West Bank to better understand the efforts of the citizens, both Israelis and Palestinians, to try to overcome the consequences of the 50-year occupation. Interspersing footage of his interviews with Yitzhak Rabin from the 1990s with the contemporary interviews of everyday citizens, Gitai emphasizes the lasting side effects of Rabin’s assassination on the twenty years since: peace was so close, and now it seems so far. Searching for hope amidst the rubble of the occupied territories, Gitai shows the many local Israelis and Palestinians who have risen to act in the name of civic consciousness and peace. West of the Jordan River is a powerful and moving film from a most important filmmaker.
U.S. Premiere
TUE, JAN 23, 12:30 & 6 PM


Across the Waters
Nicolo Donato, Denmark, 2016, 95 min
Danish with English subtitles
In this white-knuckled Danish drama based on a true story, a Jewish guitarist and his family barely escape Copenhagen after the Nazis seize control, and they set off to a remote fishing village in the north of the country where they’ve heard local fishermen are ferrying runaway Jews to Sweden. When the Gestapo starts to close in on the refugees, the family is forced to put their lives in the hands of strangers. Director Nicolo Donato, whose grandfather was one of the ferrymen in the underground, masterfully ratchets up the tension, heightening the suspense until the very last frame.
NY Premiere
THU, JAN 18, 1 PM + SAT, JAN 20, 7 PM

An Act of Defiance
Jean van de Velde
Netherlands/South Africa, 2017, 123 min
English/Afrikaans with English subtitles
Based on the true story of the Rivonia Trial in apartheid South Africa, which led to the imprisonment of Nelson Mandela and nine of his black and Jewish compatriots, An Act of Defiance is the story of Bram Fischer, the lawyer who chose to put his life and freedom at risk to defend Mandela. Peter Paul Muller’s performance as Fischer is exceptional, and captures both his sympathetic and idealistic nature and his more conflicted, practical humanity, afraid that he’ll be implicated with the Rivonia Ten for his membership in the Communist Party. Jean van de Velde has crafted a film that is both a moving and powerful meditation on the sacrifices necessary to stand against injustice, and an exciting political thriller.
NY Premiere
MON, JAN 15, 1 PM + TUE, JAN 16, 3:30 PM

The Cousin
Tzahi Grad, Israel/USA, 2017, 92 min
Hebrew/Arabic with English subtitles
In this darkly comic thriller, a progressive-minded Israeli actor Naftali (writer-director Tzahi Grad) hires a Palestinian handyman Fahed (Ala Fakka), to do some work in his home. When a young girl is assaulted nearby, the neighbors immediately begin to suspect Fahed, and so Naftali steps up as the lone voice in Fahed’s defense. Grad cleverly evokes the moral complexities through Naftali, who is no Atticus Finch. Grad portrays him as a comically stubborn and self-righteous actor—one who, in the film, is developing a reality show about bridging the gap between Israelis and Palestinians—who must reckon with the uncomfortable realization that he, too, might be letting his politics cloud his reason.
NY Premiere    
Preceded by:
The Law of Averages
Elizabeth Rose, Canada/USA, 2016, 13 min
A young woman must sort out her relationship with her mother while they await the death of her grandmother.         
TUE, JAN 16, 8:45 PM + WED, JAN 17, 6 PM

The Dead Nation (Tara Moarta)
Radu Jude, Romania, 2017, 83 min
Romanian with English subtitles
With echoes of Chris Marker, Susan Sontag, and W.G. Sebald, Radu Jude’s The Dead Nation consists entirely of photographs from Romanian photographer Costica Acsinte and audio of diary excerpts from Jewish doctor Emil Dorian, which both span the period from 1937 to 1944. A study in contrasts, The Dead Nation presents idyllic images of pastoral life, while Dorian’s diary excerpts portray a surging wave of anti-Semitism and brutality. How do our memories hide the truth of our actions, or lack thereof? How can we measure our individual experiences against the enormity of historical experience? How do we make sense of what we have not—and cannot—witness? Radu Jude’s (Aferim!) hauntingly relevant documentary is, in the words of its narrator, “torn between reality and poetry.”
NY Premiere
WED, JAN 17, 1:45 PM + SUN, JAN 21, 6:30 PM

The Impure
Daniel Najenson, Israel/Argentina, 2017, 69 min
Spanish/Hebrew/Yiddish with English subtitles
Daniel Najenson’s personal and trenchant documentary The Impure investigates the institutionalization of Jewish prostitution in Argentina in the early 20th century. During the wave of Eastern European Jewish emigration, thousands of Jewish women were lured with promises of wealth to Argentinian brothels. The prostitutes and their pimps—in some cases the husbands of the prostitutes—were also newly-emigrated Jewish men, who quickly developed an expansive, flourishing underworld in Buenos Aires. They were seen as “the impure,” provoking the shame of the Argentinian Jewish community. But, as Najenson illustrates by digging up revelations of his own family’s history, “the impure” were inextricably woven into the social and political fabric of Argentinian-Jewish life.
U.S. Premiere
Preceded by:
Daniella Koffler & Uli Seis, Germany, Israel, 15m; 2017
U.S. Premiere
Netta, a young Israeli woman, wishes to immigrate to Berlin. Her father, the son of Holocaust survivors, is horrified. Based on Daniella Koffler’s personal story, Compartments is the first German-Israeli animation to explore collective memories of the Holocaust in the third generation.
TUES, JAN 16, 1:15 & 6:30 PM

The Invisibles
Claus Raefle, Germany, 2017, 116 min
German with English subtitles
In June 1943, the German government famously declared Berlin “judenfrei”—free of Jews. But, there were still about 7,000 Jews living in hiding in the German capital. In this extraordinary film, Claus Raefle tells the story of four of the 1,700 survivors who hid in plain sight throughout the war. The Invisibles brings suspense to a remarkable true story by using a hybrid of documentary and highly accomplished dramatizations (gorgeously photographed by Joerg Widmer, whose previous credits include Terence Malick’s The Tree of Life and Wim Wenders’s Pina), which render the harrowing story even more astonishing.
NY Premiere
THU, JAN 18, 3:30 PM + SUN, JAN 21, 1:30 PM

Iom Romi (A Day in Rome)
Valerio Ciriaci, Italy/USA 2017, 30 min
Italian with English subtitles
In this intoxicating short documentary, Valerio Ciriaci chronicles a day in the life of the contemporary Roman Jewish community. The only cultural group that has lived in Rome uninterrupted since the days of the empire, Roman Jews have fostered their own unique set of traditions. Taking place over the course of one day, Iom Romi (A Day in Rome) provides a view into a way of life that is at once distinctly Roman and distinctly Jewish.
U.S. Premiere
Followed by:
Della Seta Home Movies
Italy, 10 min
In these beautiful home movies, recently unearthed by the Centro Primo Levi, an Italian family gets acquainted with film. Heartwarming and mesmerizing, these home movies are sure to captivate.
Followed by:
Maya Zack, Israel, 2016, 24 min
German with English subtitles
Inspired by the writings of the poet Paul Celan, Israeli visual artist Maya Zack crafts a hypnotic story of an archivist who becomes part of her own work. Weaving together images of death and rebirth with the map of Czernowitz, Celan’s hometown, the archivist creates a “memory golem,” blurring the boundaries between past and present, reality and document.
U.S. Premiere
SUN, JAN 21, 4:30 PM

The Last Goldfish
Su Goldfish, Australia, 2017, 81 min
As director Su Goldfish notes early in her autobiographical documentary The Last Goldfish, “my father told me stories, not always the truth.” When she discovers as an adult that she has siblings she’s never met, Goldfish burrows through her parents’ pasts to uncover the truth in her father’s tales. Spanning the globe from Australia, to Trinidad, and to Germany, The Last Goldfish is an astounding revelation not only of one woman’s discovery of her family history before and after Nazism, but also of her reconnection to her Jewish heritage. Introspective and self-aware, Goldfish confronts such universal questions as whether it is possible to separate oneself from one’s past—and what it means to try.
U.S. Premiere
WED, JAN 10, 12:30 PM + MON, JAN 15, 6:15 PM

Let Yourself Go
Francesco Amato, Italy, 2017, 98 min
Italian with English subtitles
In this delirious Italian spin on Jewish comedy, a detached psychoanalyst, Elia (Toni Servillo, wearing his misanthropy with glee), is warned by his doctor that his health is at risk, so he enlists the young, attractive, and undisciplined Claudia (Veronice Echegui) as his new personal trainer. But—despite Elia’s resistance—their relationship deepens and they come to depend on each other, as Claudia’s lack of inhibition helps Elia reignite the passion in his marriage, and Elia’s unwavering sense of propriety inspires Claudia to bring focus to her frenetic lifestyle.  As the comedy veers from the intellectual to the delightfully slapstick, director Francesco Amato deftly maintains the odd couple’s emotional grounding to hilarious effect.
NY Premiere
Preceded by:
The Backseat
Joe Stankus & Ashley Connor
USA, 2016, 8 min
In this charming documentary-fiction hybrid, two elderly parents rush to save the day when their adult daughter’s car breaks down.
SAT, JAN 13, 7 PM + SUN, JAN 14, 4 PM

Mr. and Mrs. Adelman
Nicolas Bedos, France, 2017, 120 min
French with English subtitles
Mr. and Mrs. Adelman follows Sarah Adelman (Doria Tiller) as she tries to convince Victor (Nicolas Bedos) she’s the right woman for him. Tracking their courtship from his early years as a non-committal aspiring writer through his later years as an egotistical, fame-obsessed one, this film toes the line between biting cynicism and aching romanticism. First-time director and co-writer (with Doria Tiller) Nicolas Bedos uses the changing face of Paris over the years to evoke the changing nature of the relationship. Mr. and Mrs. Adelman is a hilarious and absurd take on the romantic comedy that slyly toys with the cliché of writer and muse.
TUE, JAN 23, 3 & 8:30 PM

Praise the Lard
Chen Shelach, Israel, 2016, 60 min
Hebrew with English subtitles
The documentary Praise the Lard explores one of the biggest taboos in Judaism—pork—and how the existence of Israel’s pork industry came to exemplify much of the tension inherent in Zionism: the struggle to create a new, secular Jewish identity that exists apart from religious tradition, and whether it will be possible for this secular identity to survive in the face of mounting pressure from observant Jews. Praise the Lard presents an incisive, engaging take on how the unsuspecting pig took on such an outsized role in the land of Israel.
U.S. Premiere
Preceded by:
The Red House
Tamar Tal, Israel, 2016, 20 min
Hebrew with English subtitles
In this beautifully animated short documentary, the history of one unique building in Tel Aviv becomes a reflection for the ever-changing face of Israeli society.
U.S. Premiere
THU, JAN 11, 1 PM + SUN, JAN 14, 6:30 PM

The Prince and the Dybbuk
Piotr Rosolowski & Elwira Niewiera, Poland/Germany, 2017, 82 min
English, Italian, Spanish, Polish, German with English subtitles
He is remembered as a Polish aristocrat, Hollywood producer, a reprobate and liar, an open homosexual and husband to an Italian countess, and director of The Dybbuk, one of the most important Jewish films of all time. But who, really, was Michał Waszyński? Piotr Rosolowski and Elwira Niewiera portray Waszyński, né Moshe Waks, as a fabulist, a man of constantly shifting identity, blurring the lines between reality and illusion. A perpetually restless filmmaker, Waszyński became obsessed with his adaptation of The Dybbuk and its mythical imagery of the shtetl. A modern take on the archetype of the Wandering Jew, The Prince and the Dybbuk asks whether it is ever possible to cut oneself off from one’s roots, and at what cost. Presented in conjunction with The Dybbuk (1937) – see special programs.
U.S. Premiere
Preceded by:
A Hunger Artist
Daria Martin, UK, 2017, 17 min
Based on the 1924 short story by Franz Kafka, A Hunger Artist is the kaleidoscopic tale of an entertainer acclaimed for his ability to fast. But his act soon falls out of fashion and, left to himself with neither stage nor audience, he dies of hunger. Daria Martin’s lush adaptation understands the delicate tone of Kafka’s work: fiercely anti-authoritarian, constantly self-effacing, and toeing the line between hilarious and heartbreaking.
WED, JAN 10, 2:45 PM + THU, JAN 11, 9 PM

Sammy Davis, Jr.: I’ve Gotta Be Me
Sam Pollard, USA, 2017, 100 min
What didn’t Sammy Davis, Jr. do? In this exhilarating documentary, long-time Spike Lee collaborator Sam Pollard pays tribute to the multi-talented, multi-racial entertainer by scrutinizing the political complexities and contradictions that defined his career. Amidst the violence and tensions of the Civil Rights era and after, as the political winds shifted, Sammy Davis, Jr. struggled to maintain his identity, while embracing his Judaism.  An electric portrait spanning the Depression to the 1980s, and featuring new interviews with Whoopi Goldberg, Billy Crystal, Jerry Lewis, Norman Lear, and more, I’ve Gotta Be Me embraces the unique complexity of an iconic American entertainer.
SUN, JAN 14, 8:45 PM

Tracking Edith
Peter Stephan Jungk, Austria/Germany/Russia/UK 2016, 91 min
English/German/Russian/French with English subtitles
A documentary about the Austro-British photographer Edith Tutor-Hart, Tracking Edith follows filmmaker Peter Stephan Jungk’s journey to understand the motivations of his great aunt who, while living a double life as a spy for the KGB, recruited Kim Philby and created the Cambridge Five, the Soviet Union’s most successful spy ring in the United Kingdom, which infiltrated the very top of British intelligence (and inspired John le Carre’s Tinker Tailor Soldier Spy). As Jungk learns more about his aunt and her work, his film demands the question: why is she not recognized alongside Kim Philby and the Cambridge Five as one of the spies that change the world?
NY Premiere
MON, JAN 22, 3:30 & 8:30 PM

107 min
Various languages

The Story of Jon Burgerman
Bas Berkhout, USA/UK, 2017, 6 min
Whimsical artist Jon Burgerman explores how his family history affects his creative inspiration.

El Becerro Pintado
David Pantaléon, Spain, 2017, 10 min
In this experimental short, the biblical story of the golden calf is transported to rural Spain.
U.S. Premiere

El Hara
Margaux Fitoussi, Tunisia/France, 2017, 16 min
El Hara is a vivid, mesmerizing portrait of the old Jewish ghetto in Tunis.
NY Premiere

Pearl Gluck, USA, 2017, 18 min
Young, Orthodox Jewish girls explore their burgeoning sexuality amidst the strict rules of their sleep-away camp.
World Premiere

Shlomi & Mazy
Leonhard Hofmann, Germany, 2016, 17 min
In this tender documentary portrait, an Israeli opera singer living in Berlin struggles to balance his career with his true passion: performing in drag as his alter ego, Mazy Mazeltov.
U.S. Premiere

Heaven Is a Traffic Jam on the 405
Frank Stiefel, USA, 2016, 40 min
This warm portrait explores sculptor and visual artist Mindy Alper’s journey through extreme depression to a place of love and openness via her creative process and transformative relationship with her art teachers and therapist.
NY Premiere

SUN, JAN 21, 8:30 PM



Avanti Popolo
Rafi Bukai, Israel, 1986, 84 min
Hebrew/Arabic/English with English subtitles
In the aftermath of the Six-Day War, as the ceasefire is beginning, two Egyptian soldiers stranded in the Sinai Desert try to make their way back to safety across the Suez Canal. As they cautiously make their way west, the dangerously dehydrated Haled and Gassan stumble across a dead UN peacekeeper and help themselves to his cargo—two bottles of scotch. Instilled with liquid courage, they hitch a ride with a British journalist and a small platoon of Israeli soldiers who, they hope, can help them get home. In this absurd comedy—made all the more poignant by Salim Daw’s performance as Haled, a Shakespearean actor with aspirations to play Shylock—Rafi Bukai paints a humanistic, antiwar picture of both Israelis and Egyptians caught amidst the violent and ever-shifting winds of Middle Eastern politics.
New York Premiere of the Restoration
THU, JAN 18, 9:15 PM

The Dybbuk
Michał Waszyński, Poland, 1937, 125 min
Yiddish with English subtitles
Filmed just before the outbreak of World War II, The Dybbuk weaves a mystical story of the Hasidic shtetls of the late 19th century with the story of two close friends, Sender and Nisn, who vow to marry their first-born children. But when Sender reneges on the vow to marry his daughter to a wealthier son-in-law, the spirit of Nisn’s son arrives to haunt Lea’s wedding. A rich, ethnographic tapestry of Jewish legend, The Dybbuk, based on S. Ansky’s seminal Yiddish play, is one of the finest films ever produced in the Yiddish language, presented here in a brand-new restoration.
World Premiere of the Restoration
Presented in conjunction with The Prince and the Dybbuk
SUN, JAN 14, 1 PM + WED, JAN 17, 8:45 PM

Late Summer Blues
Renen Schorr, Israel, 1988, 103 min
Hebrew with English subtitles
Set just after the Six-Day War, in the shadow of the War of Attrition with Egypt, Late Summer Blues follows a group of high school graduates during the summer before they’re conscripted into the army. Restored after thirty years, this Israeli classic portrays the paradox of Israeli adolescence in raw, deeply human terms: the uncertainty, confusion, and playful embrace of the present are constantly tainted by the shadow of military service and the razor’s edge of anxiety, only somewhat tempered by days at the beach and rock music. Drawing from his own experiences, director Renen Schorr and writer Doron Nesher create a powerful and bitterly funny anti-war message by drawing on the restlessness of the young men and women as they cope with their growing fatalism.
U.S. Premiere of the Restoration
MON, JAN 15, 8:30 PM

The Mission of Raoul Wallenberg
Alexander Rodnyanskiy, Soviet Union, 1990, 72 min
Russian/English/German/Swedish with English subtitles
Twenty-five years after it premiered in the first NYJFF, Alexander Rodnyanskiy’s The Mission of Raoul Wallenberg returns to the festival in a brand new restoration. The film investigates the mysterious circumstances surrounding the disappearance and death of Raoul Wallenberg in the Soviet Union following the end of WWII.  Wallenberg had saved tens of thousands of Jews from the Holocaust in his role as Sweden’s special envoy in Budapest. Tireless filmmaker Rodnyanskiy searched across the globe for traces of Wallenberg, from Moscow and St. Petersburg, to the Russian interior, to Hungary, Israel, and Sweden. Featuring interviews from subjects as far-ranging as Ronald Reagan, Simon Wiesenthal, and Yelena Bonner, the film passionately confronts the shadowy circumstances of Wallenberg’s fate.
World Premiere of the Restoration
MON, JAN 15, 4 PM + WED, JAN 17, 3:45 PM

Siege (Matzor)
Gilbert Tofano, Israel, 1969, 89 min
Hebrew with English subtitles
Israel’s entry for the Best Foreign Language Film at the 42nd Academy Awards in 1970, Siege is the story of the widowed Tamar (legendary Gila Almagor) whose husband was killed in the Six-Day War who wants to begin to put her grief behind her. But her late husband’s friends and family have other ideas—they expect her to remain in mourning for the rest of her life. Through Almagor’s haunting performance, Siege presents a humanizing look at a country and people struggling with a visceral, existential anxiety hiding just below the surface of the ecstatic outpouring following the victory of the Six-Day War.
U.S. Premiere of the Restoration
SAT, JAN 13, 9:30 PM

In memory of Jeanne Moreau
One Day You’ll Understand
Amos Gitai, France/Germany/Israel, 2008, 89 min
French/German with English subtitles
When Victor (Hippolyte Girardot), a middle-aged French businessman, discovers a trove of wartime letters from his late father, he discovers his mother’s (the late Jeanne Moreau) hidden past as a Jew. When he presses her about it, she demurs, leaving Victor to uncover the secrets behind his mother’s past. Moreau inhabits the role with a stunningly reflective grace, as Amos Gitai crafts a haunting and finally optimistic tale of memory, denial, and reconciliation. With the trial of Nazi war criminal Klaus Barbie taking place, One Day You’ll Understand presents a poignant meditation on what it means to be a witness, and the weight of such a burden.
MON, JAN 22, 1 & 6 PM

Drawing the Iron Curtain
Maya Balakirsky Katz with J. Hoberman
Maya Balakirsky Katz, professor and chair of the art history department at Touro College and author of Drawing the Iron Curtain: Jews and the Golden Age of Soviet Animation, will screen shorts from the Soviet Union’s animation studio Soyuzmultfilm, which was as pervasive and influential in the Soviet imagination as Disney was in America’s. Katz and film critic J. Hoberman will discuss how the studio brought together Jewish artists from all over the USSR and served as a haven for dissident artists, allowing them to explore distinctive elements of their identity as Jews and Russians.
THU, JAN 11, 6:30 PM

Sam Pollard
Eleanor Bunin Munroe Film Center Amphitheater
Join Sam Pollard, director of NYJFF Main Slate selection Sammy Davis, Jr.: I’ve Gotta Be Me, for a behind-the-scenes master class on documentary filmmaking. An Emmy- and Peabody-winning director, Sam Pollard has directed and produced numerous documentary films.
SUN, JAN 21, 4 PM