Solomon Brager

  • Ella Ponizovsky Bergelson and Anna Elena Torres, Pseudo-territory, 2022, augmented reality sculpture. Installation view, German pavilion, Venice, 2022. Photo: Ella Ponizovsky Bergelson.
    slant August 15, 2022

    States of Mind

    WHO CARES ABOUT JEWISH ART, and where does it belong? The category has long faced a problem wherein work is either too Jewish—too niche, too religious, too rootless-cosmopolitan—or too secular, too queer, too political (often code for too anti-Zionist). Jewish spaces censor their own; non-Jewish spaces are afraid to engage. For artists, there’s often a question of what language one has to speak to obtain funding: a question of whether one can show up as their whole self. In her 2019 essay “Kaddish for an Unborn Avant-Garde,” Maia Ipp calls for a revitalization of the visionary in Jewish art,