arts

Article Israeli-Ness or Israeli-Less? How Israeli Women Artists from FSU Deal with the Place and Role of “Israeli-Ness” in the Era of Transnationalism

Yael Guilat

Interdisciplinary Graduate Studies in Humanities and Art, Oranim Academic College of Education, Kiryat Tivon 3606809, Israel; [email protected]



Received: 19 September 2019; Accepted: 28 November 2019; Published: 4 December 2019


Abstract: The Israeli art field has been negotiating with the definition of Israeli-ness since its beginnings and more even today, as “transnationalism” has become not only a lived daily experience among migrants or an ideological approach toward identity but also a challenge to the Zionist-Hebrew identity that is imposed on “repatriated” Jews. Young artists who reached Israel from the Former Soviet Union (FSU) as children in the 1990s not only retained their mother tongue but also developed a hyphenated first-generation immigrant identity and a transnational state of mind that have found artistic expression in projects and exhibitions in recent years, such as Odessa–Tel Aviv (2017), Dreamland Never Found (2017), Pravda (2018), and others. Nicolas Bourriaud’s botanical metaphor of the radicant, which insinuates successive or even “simultaneous en-rooting”, seems to be close to the 1.5-generation experience. Following the transnational perspective and the intersectional approach (the “inter” being of ethnicity, gender, and class), the article examines, among others, photographic works of three women artists: Angelika Sher (born 1969 in Vilnius, Lithuania), Vera Vladimirsky (born 1984 in Kharkiv, Ukraine), and Sarah Kaminker (born 1987 in Dnipropetrovsk, Ukraine). All three reached Israel in the 1990s, attended Bezalel Academy of Arts and Design in Jerusalem, and currently live and work in Tel Aviv or (in Kaminker’s case) Haifa. The Zionist-oriented Israeli-ness of the Israeli art field is questioned in their works. Regardless of the different and peculiar themes and approaches that characterize each of these artists, their oeuvres touch on the senses of radicantity, strangeness, and displacement and show that, in the globalization discourse and routine transnational moving around, anonymous, generic, or hybrid likenesses become characteristics of what is called “home,” “national identity,” or “promised land.” Therefore, it seems that under the influence of this young generation, the local field of art is moving toward a re-framing of its Israeli national identity.

Keywords: transnationality; radicantity; Israeli art; FSU 1.5-generation immigration; women artists; intersectional theory; contemporary photography

1. Introduction Israeli art has been negotiating the definition of Israeli-ness since its inception. These negotiations have become even more urgent today,as “transnationalism” has become not only a lived daily experience among migrants or an ideological approach toward identity but also a challenge to the Zionist-Hebrew identity, as an homogeneous, single-cultural one, in which multiplicity is undesirable—an identity imposed on “repatriated” Jews as the “normative acculturating option.” In recent years, amid global processes of migration and the rise of the transnational discourse, researchers and curators are increasingly interested in artistic manifestations that represent diversity of voices and reveal complex relations among national, cultural, gender, and class identities. Recent exhibitions in important museums, such as Odessa-Tel Aviv at the Eretz Israel Museum in Tel Aviv (2017), Pravda at the Israel

Arts 2019, 8, 159; doi:10.3390/arts8040159 www.mdpi.com/journal/arts Arts 2019, 8, 159 2 of 23

Museum in Jerusalem (2018), and the Dreamland Never Found project at the Jerusalem Biennale (2017), along with studies such as those of Dekel(2016a, 2016b, 2018), Shapira(2017), and Guilat(2017, 2019a, 2019b), deal with young artists who reached Israel in the 1990s from the former Soviet Union as children or teenagers and developed a hyphenated “1.5-generation” immigrant identity. Like all 1.5-generation immigrants, they neither experienced the full process of uprooting as would first-generation immigrants, nor were they born in the destination country. Their immigrant experience, largely discussed in the fields of education, labor, and social behavior (Leopold and Shavit 2013; Mesh 2002; Koren and Eisikovitz 2011) has not generated a “new homogenous Israeli post-Soviet style” in the art field. Instead, it has opened that field to different and diverse voices mainly labeled as a transnational approach within the national art scene. It seems that in order to shed light not only on the way these artists elaborate transnational identity issues but also on the range of this 1.5-generation immigration’s experiences and its possible influence on generational interactions, we need to expand our points of view. Nicolas Bourriaud(2010) botanical metaphor of the radicant, which insinuates “a multitude of simultaneous or successive en-rootings” (Bourriaud 2010, p. 22), seems to lend this floating status of the “1.5 generation” an aesthetic dimension that accords with the radicant art concept that he coined, referring to modes of expression and communication that transcend the discourse of authenticity of the modern mono-cultured subject and connect multicultural landscapes and passageways that characterized global times (Bourriaud 2010). According to Bourriaud, artists are now starting from a globalized state of culture and responding to a new globalized perception of their self and the art field. Basing myself on previous research, and following Bourriaud’s view of the transnational identity in globalizing times and the intersectional approach (with its nexus of ethnicity, gender, and class), below I examine photographic works of three women artists: Angelika Sher (born 1969 in Vilnius, Lithuania), Vera Vladimirsky (born 1984 in Kharkiv, Ukraine), and Sarah Kaminker (born 1987 in Dnipropetrovsk, Ukraine). All three reached Israel in the 1990s, attended Bezalel Academy of Arts and Design in Jerusalem, and currently live and work in Tel Aviv or (in Kaminker’s case) Haifa. Situated in a liminal or, perhaps, a polar position within the 1.5-generation group, Angelika Sher, the oldest of the three, interacts extensively with young artists, including by working on collective projects with them. Through their art, Sher, Vladimirsky, and Kaminker stand at the intersection of gender, migration, and biography and, by means of all of these, express a transnational identity that replaces attempts to assimilate, “fit in,” and be Israeli, with a multi-hyphenated fluid structure. Their transnationalism may be perceived as a postmodern phenomenon related to the precarity and uncertainty that typify the early twenty-first century. Additionally, and more importantly, however, one may perceive it as a powerful contestation and response to both the modern national state and its desire to forge homogenous identities (especially in its Israeli melting-pot version) and the postmodern standardizing process of globalization that coincides with “inclusive” global approaches that are sometimes regulated by nostalgia, ethno-tourism, or cultural-ghetto-seclusion. The relationship of time and place that Bourriaud proposed for the nomad-artist may be considered, in the case of the Former Soviet Union (FSU) women artists who predicate their work on photography, an articulation of the past into the present, a mobile deconstructed and reconstructed identity positioned at a new emplacement in front of the camera. Photography offers a wide range of possibilities with which one may challenge rigid identities and their representations. Its practice involves negotiations between documentary and staging options, between the real and the imaginary, and between the past and memory and current realities. Aim Deuelle Luski(2012, p. 7) defines photography as “transcendent to the time but not exterior to it, on the contrary, staying on the liminal of all the times, in a heterotopic space that the camera grasps as a fissure or crack on the margins of the culture.” Generalizing, one can say that photography is neither about the particular (even if the particular appears in the frame) nor about the generic, but about using both in order to transcend them. This “using”-based ontology has a potential radicant dimension that may, intentionally or not, be amplified in migrant situations. The digital era challenges this grammar of internal paradox even more but has not essentially changed it because its transformative qualities make it inherent. The photographic image, Barthes(1978) argues, Arts 2019, 8, 159 3 of 23 is a message without a code, a continuous message from the denotative perspective. At the same time, it is a connotative message, not at the level of the message itself but at the level of its production and reception; thus it tends to be re-coded when set atop different platforms. The photographic image is an object that is selected, structured, built, and produced according to paradigms—aesthetic, cultural, or ideological—but is concurrently a mobile one continually transported through times and places. By referring to contemporary photography works by FSU artists and subjecting them to comparative examination—among them and between them and other representative artists of the 1.5 generation, as I present in the introductory section of this article, I would like to expand the thematic mapping of the FSU 1.5 generation. The examination of photographic practices and oeuvres may abet a more complex articulation of the identity issue that immigration to Israel from the FSU raises and may also illuminate the dynamic of the local (national) field of art from a transnational (global) perspective.

2. Transnationalism, Intersectionality, Radicant Art The three concepts in this subtitle may be understood as a triangular visor that I will use in this study. By mounting three lenses with which I will observe three case studies, I will propose a number of reflections that may allow the sum of the studies to transcend all three as separate issues. From the methodological standpoint, this triangle will abet a multi-interdisciplinary approach that, in turn, may be applied more broadly to future research on FSU artists in Israel and in different diasporas—a topic that deserves much more development than this article can provide. The term “transnationalism” denotes a social phenomenon and a theoretical perspective that gained strength in the late 1980s and has evolved since then, investigating changes in nation-states and national self-definition in response to massive waves of migration. Transnationalism has implications for the way we conceptualize migration as a process of identity construction that occurs simultaneously in many places around the globe and involves people who are physically or virtually linked to more than one geo-national venue through family connections, economics, and national and cultural praxis. It opens earlier paradigms of discussion, such as assimilation versus dissimilation, to a range of variants and new critical understandings that challenge the national ones. The transnational subject goes about life in constant intercultural negotiation consisting of translation, de-codification, and recodification of cultural modalities. “Transnationalism” as a lexeme was first invoked in nineteenth-century political economy in reference to private corporations that maintained large-scale financial operations and an administrative presence in several countries. Today, it is identified with the practices of migrants and networks of social-relation and filial communities that cross-national borders. As Moctezuma Longoria argues in his analysis of the topic, “There is a tendency to relate not too rigorously to globalization and transnationalism, exaggerating the idea of the disappearance of borders, nations, and states, underscoring the perspectives of insertion of the migrants in the recipient societies and losing the richness that the simultaneity of transnational practices implies and the transformation of the states involved in international migration” (Moctezuma Longoria 2008, p. 38). This situation—a complex one in practice as well as in meta-theory—complicates the ways in which room may be made for singular manifestations and multifaceted experiences of migrants and immigrants, as Dekel(2016b) shows in her studies about transnationality and gender. Israel is an especially complex case because its selective immigration policy gives priority to jus sanguinis (the right of blood), a legal principle of nationhood.1 In accordance with this principle, Jews who immigrate to Israel, known as ‘olim’ (“ascenders” or

1 The Israeli Law of Return entitles anyone who has a Jewish grandparent, or is married to a Jew, to immigrate and receive citizenship. The immigration wave from the FSU included many who are not Jewish under the halakha (rabbinical law), such as children of a Jewish father and a non-Jewish mother, grandchildren of Jews, or non-Jewish spouses of Jews. In 1988, a year before the immigration wave began, 58 percent of married Jewish men and 47 percent of married Jewish women in the Soviet Union had non-Jewish spouses. Some 26 percent of FSU immigrants to Israel since then—240,000 people—had non-Jewish mothers and thus are not considered Jewish under religious law (Della Pergola and Reinharz 2009). Arts 2019, 8, 159 4 of 23 repatriates), are immediately entitled to citizenship—an entitlement hardly available to non-Jewish immigrants or persons of “dubious” origin. Therefore, in Israel today, “transnationalism” is not only a lived daily experience for migrants or an ideological approach toward identity but also a challenge to the monocultural Zionist-Hebrew identity that is imposed on “repatriated” Jews. Young artists who reached Israel from the FSU as children in the 1990s, as well as those who came from Ethiopia in those years, have stayed in touch with family and friends from their birth countries, not only retaining their mother tongue but also developing a first-generation or 1.5-generation immigrant identity that has found artistic expression in projects and exhibitions in recent years. The shift from the typical alienation and disengagement of the liminal stage between immigration and transnational self-awareness evidently takes place along different paths among immigrants from different countries and of different genders and classes, and can be understood better through intersectionality theory (Crenshaw 1991). To invoke “intersectionality” as a theory, one must analyze the way overlapping categories of identity impact individuals and institutions, and take these relationships into account when working to promote social and political equity. Kimberle Crenshaw, a law professor at California University, coined the term in 1989 to challenge the white-middle-class feminism that, at the time, overlooked the difference between the forms of oppression experienced by white middle-class women and those experienced by black or poor women or those with disabilities. In her pivotal paper for the University of Chicago Legal Forum, Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine, Feminist Theory and Antiracist Politics, Crenshaw wrote: I suggest further that this focus on otherwise-privileged group members creates a distorted analysis of racism and sexism because the operative conceptions of race and sex become grounded in experiences that actually represent only a subset of much more complex phenomenon. (Crenshaw 2017) Three interwoven aspects of the theory gained special focus: structural, political, and representational intersectionality. The first deals with how non-white women experience domestic violence. Political intersectionality proposes that laws and policies that ignore the difference between non-white women and white women in the visibility of violence have actually amplified inequality. Finally,representational intersectionality deals with how cultural portrayals of non-white women perpetuate stereotypes and obscure these women’s own authentic lived experiences. In the context of this article, representational intersectionality in its recent development toward migrant women in the globalizing world economy seems to be an adequate tool of analysis. The term “transnational intersectionality,” coined by Shelly Grabe (Grabe and Else-Quest 2012) attained a more comprehensive conceptualization of intersectionality by giving importance to the intersections among gender, ethnicity, sexuality, economic exploitation, and other social hierarchies, in a universal dynamic of global capitalism that is characterized by multiple migrations, displacement, and precarity. As Ranjoo S. Herr points out, Grabe also pays attention to “complex and intersecting oppressions and multiple forms of resistance” (Herr 2014). It is not only about oppression; it is also about contestation and new models of living amid constant uprooting. Originally developed as a Third World proposition, “transnational intersectionality” converges with the time at which Bourriaud wrote about nomadic art as “radicant.” The development of the neoliberal market, together with the global communication and information networks, has had significant consequences for both our daily lives as for art. Seeking to understand the effect of globalization on today’s art, Nicolas Bourriaud proposes the radicant concept. As explained above, radicant is a botanical term for organisms whose roots form new roots as they grow. In art, radicant assumes the form of a path or a trajectory; the radicant subject carries their roots along with them on their travels and questions them. The result is that “[t]o be radicant means setting one’s roots in motion, staging them in heterogeneous contexts and formats, denying them the power to completely define one’s identity, translating ideas, transcoding images, transplanting behaviours, exchanging rather than imposing” (Bourriaud 2010, p. 22). That is, instead of expressing the original roots/sources/tradition from which they come, artists and their works express the journey, the passage, Arts 2019, 8, 159 5 of 23 that they make between their cultural roots and the different contexts that they cross. In its realization, the radicant aesthetic has several characteristics. The one that I am interested in emphasizing is the focus in spacetime dimensions and, more specifically, “the crossing of the respective properties of space and time, which transforms this last in a territory” (Bourriaud 2010, p. 89), possibly a territory in a state of flight. There lies the nexus between a transnational status and transnational self-awareness. The overlapping of the three concepts seems to be not only contingent but also powerful as a tool of analysis in the case of 1.5-generation immigrants in global migrations around the world—especially migrant artists, as has been applied in the study of Cuban diaspora artists (O’Really Herrera 2011), and Canadian artists in Berlin (Phillips 2014). Moreover, and especially in the context of the present study, it is applicable to women artists who reached Israel as part of a mass immigration movement known in Israel as “the 1990s Aliya.” Their art developed in two fields of art: one global (transnational) and the other local (national). In the latter, questions of Israeli-ness are still relevant, as are those of gender, ethnic, and class inequalities.

3. The 1990s Aliya and the Israeli Field of Art Perestroika in the USSR triggered a process of renewal and reconstruction of identities, including the revival of religious traditions. Thus the masses of immigrants who reached Israel in the 1990s underwent this process between Soviet and post-Soviet values (Shternshis 2006). In the 1990s, approximately a million FSU immigrants reached Israel, which had a population of 4.5 million at the time. The impact of this mutual encounter was very significant: the “Russian ‘aliya’”2 transformed both Israel (Lerner 2012) and the FSU immigrants in respect of their national identification. Such was the case even though many immigrants chose Israel because the collapse of the Soviet regime left Zionism as only an instrumental economic way to escape (Philippov 2010, p. 3). Perhaps due to their massive presence and its resonance in the public sphere, the FSU immigrants and, in particular, the women among them have been subjected to a wide array of derogatory stereotypes, intercultural clashes, and competitive class struggles that became common themes in the artistic corpus of the 1.5 generation at large (Lomsky-Feder and Rapoport 2010; Rotenberg 2018). To construct a context that will help us compare the radicant photographic strategies that have characterized Sher’s, Vladimirsky’s, and Kaminker’s works, one needs a brief description of the main themes discussed in the current Israeli art field in reference to 1.5-generation FSU women visual artists as a whole. By mapping their solo and group exhibitions, we extract several main themes: the conditions of precarity that typify the lives of the 1990s aliya, gender clashes, Jewish religious identity, and the stereotype of the “Russian prostitute.” Precarity and class, gender and ethnic clashes: This topic became associated with 1.5-generation FSU artists as a resistance and contestation to the Israeli pictorial canon and cultural hierarchies since the advent of New Barbizon Groupe, a collective of women painters comprising five FSU-born Israeli artists (Zoya Cherkassky, Natalia Zourabova, Anna Lukashevsky, Asia Lukin, and Olga Kundina). The group calls itself the New Barbizon in homage to the nineteenth-century French Realist painters who emerged from their studios and began to paint nature from observation (Guilat 2017). The new group’s paintings, in turn, reflect the precarious “back yard” of Israeli society. All five painters attended art schools and academies in the FSU, Israel, and Europe, and took their training into the urban space (Guilat 2017; Shapira 2017). There, as what Bourriaud would call nomad-artists, they developed a pictorial language that is suited to the conditions of outdoor painting as a travel- and socially engaged practice under the tough conditions of the Israeli street, especially for women immigrants. “An immigrant’s ethnic identity,” Lilach Lev Ari points out, “is an inclusive conceptual matrix that the host society constructs through daily interaction that may assign the immigrant to a certain social group within the target society and induce changes in his/her own self-perception as an immigrant” (Lev-Ari 2013, p. 204).

2 “Aliya” being the Jewish and Zionist term for immigration, literally “ascent.” Arts 2019, 8, x FOR PEER REVIEW 6 of 23

Artscertain2019 ,social8, 159 group within the target society and induce changes in his/her own self-perception6 of as 23 an immigrant” (Lev-Ari 2013, p 204). For this reason, joining the New Barbizon Group is a declaration, so to speak, of self-presentation in the Israeli field of art that includes style, practices, and Fortopics this that, reason, although joining originating the New Barbizon in the so Group-called is “ aRussian declaration, artistic so toschool, speak,” ofact self-presentation in exchange with in the Israelilocal Israeli field ofenvironment. art that includes The result style, is practices, a translation and topicsof sorts that, into although a new context originating that, in in turn, the so-called morphs “Russianinto a successive, artistic school,” simultaneous act in exchange ongoing withprocess the or local “alternating Israeli environment. acts of en-rooting The result” (Bourriaud is a translation 2010, ofp. 46). sorts into a new context that, in turn, morphs into a successive, simultaneous ongoing process or “alternatingSince 2012, acts Zoya of en-rooting” Cherkassky (Bourriaud’s (b. 1976 2010 in Kiev), p. 46). solo paintings (i.e., those outside the context of the NewSince Barbizon2012, Zoya group) Cherkassky’s have addressed (b. 1976 in her Kiev) personal solo paintings experiences (i.e., those as well outside as the the context collective of theexperience New Barbizon of the million group)-strong have addressed immigrant her influx personal to Israel experiences in the 1990s. as well In as2017 the–2018, collective her full experience project, ofAliya the 91 million-strong (fifty paintings immigrant and fifty influxworks toon Israelpaper) in was the exhibited 1990s. In at 2017–2018, the Israel Museum her full project, in Jerusalem Aliya 91and (fifty was paintings titled Pravda and fifty. Aliya works 91 on is paper) a humoro wasus exhibited pictorial at essay the Israel that Museum transforms in Jerusalem the mythical and was“repatriation titled Pravda” embodied. Aliya 91 by is thea humorous Hebrew pictorial word ‘aliya essay’ into that a transforms simple act the of mythicalrelocation “repatriation” in an era of embodiedtransnationality. by the The Hebrew project word underscores ‘aliya’ into the contradictions a simple act of that relocation characterize in an intercultural era of transnationality. encounters The[Guilat project 2019a underscores]. Some of its the works contradictions depict embarrassing that characterize Russian intercultural-Israeli culture encounters clashes that [Guilat have earned 2019a]. Somenotoriety of its and works critical depict contestation embarrassing on social Russian-Israeli media. Cherkassky culture clashes has been that haveaccused earned of racism notoriety toward and criticalMizrahim contestation (Jews from on Muslim social media. countries), Cherkassky whom hasshe beenportrays accused as the of racismstereotypical toward “Itzik Mizrahim” (2012), (Jews “a fromprimitive Muslim abusive countries), macho whom type” she(Figure portrays 1). In as thefact, stereotypical through the “Itzik” ironic (2012), cartoonish “a primitive figures and abusive the machosatirical type” situations (Figure that1). In she fact, portrays through in the her ironic works, cartoonish Cherkassky figures tackles and taboos the satirical associated situations with that the sheethnic portrays conflicts in her in works,Israeli societyCherkassky and tackles home culture taboos associated by invoking with the the strategy ethnic conflicts of reversing in Israeli the societystereotypical and home image culture of the by “ invokingothers.” The the strategyimage, however, of reversing is thefreighted stereotypical with a image social ofand the historical “others.” Thecontext image, that however, sets the boundaries is freighted of with possible a social interpretation and historical (Ben context Dayan that 2012). sets the Following boundaries intersectional of possible interpretationtheory, one may (Ben assume Dayan that 2012 the). Followingvisuality of intersectional the gender and theory, ethnic one conflicts may assume in Cherkassky that the visuality’s pictures of therepresents gender her and experience ethnic conflicts (or the in experiences Cherkassky’s of picturesother FSU represents women) heras a experience“Russian woman (or the” experiences but no less ofthe other image FSU of women)Mizrahi asmale a “Russian and the woman”FSU women but no in lessthe thehegemonic image of European Mizrahi male Ashkenazi and the vision. FSU women Both instereotypes the hegemonic of marginalized European Ashkenazi people in vision.Israel society Both stereotypes struggle under of marginalized the eyes of peoplethe Sephardi in Israel rabbinic society struggleauthority under that appears the eyes at of the Sephardiside of the rabbinic picture. authority While they that share appears a precarity at the side that of thespans picture. class, While race, theyand gender, share a precaritythey face thatthe threat spans of class, male race, aggression and gender, through they the face empowering the threat of malemedium aggression of the religious through theissue empowering (see also the medium Star of David of the necklace). religious issue (see also the Star of David necklace).

Figure 1. Zoya Cherkassky, “Itzik,”“Itzik,” 2012,2012, oiloil onon canvas,canvas, 200200 cm cm × 150150 cm,cm, privateprivate collection.collection. Retrieved × fromRetrieved http: from//rg.co.il http://rg.co.il/artist/zoya/artist/zoya-cherkassky-cherkassky/works//works/. Used by permission. Used by permission of Rosenfeld of Gallery,Rosenfeld Tel Aviv. Gallery, Tel Aviv. Religious identity: Another trenchant theme that 1.5-generation FSU artists (again, especially the womenReligious among identity them): Another engage trenchant with is the theme Israeli-Jewish that 1.5-generation religious aFSUffiliation. artists One-third(again, especially of FSU immigrantsthe women are among not Jewish them) according engage with to Jewish is the religious Israeli-Jewish law, despite religious having affiliation. immigrated One to-third Israel of under FSU theimmigrants Law of Return, are not which Jewish guarantees according all to Jews Jewish and religious close relatives law, despite the right having to live immigrated in Israel and to receive Israel itsunder citizenship. the Law Orthodoxof Return, interpretationswhich guarantees of Jewish all Jews religious and close law, relatives which hold the right sway to in live Israel, in Israel recognize and only matrilineal descent and Orthodox conversion as indicators of Jewishness. As a result, many

Arts 2019, 8, x FOR PEER REVIEW 7 of 23 Arts 2019, 8, 159 7 of 23 receive its citizenship. Orthodox interpretations of Jewish religious law, which hold sway in Israel, recognize only matrilineal descent and Orthodox conversion as indicators of Jewishness. As a result, immigrants in Israel live in a civil limbo because, unlike most Western nation-states, which separate many immigrants in Israel live in a civil limbo because, unlike most Western nation-states, which separatenational national issues from issues religious from religious institutions, institutions, Israel defines Israel itself defines as a Jewishitself as state a Jewish and attributesstate and attributes more than morea religious than identitya religious to Jewishness—addingidentity to Jewishness citizenship,—adding nationality,citizenship, ethnicity, nationality, and ethnicity, socio-cultural and capital.socio- culturalThus, argues capital. Tal Thus, Dekel argues(2016c Tal, p. Dekel 12) in (2016 her articlec, p. 12) on in thisher theme:article on “As this so theme: many “ ofAs the so newcomers,many of the newcomers,whose Judaism whose [Jewishness] Judaism was[Jewishness] called into was question called or into rejected question upon or their rejected arrival upon in Israel, their confrontedarrival in Israel,new and confronted startling di newfficulties and startling relating to difficulties their Jewish relating identities, to their [young Jewish FSU identities, women] artists [young among FSU women]them turned artists to among express them this burningturned to theme express extensively this burning in their theme work.” extensively in their work.” TheThe Russian prostitute: prostitute:Referring Referring to to the the work work of Sasha of Sasha Kurbatov Kurbatov (b. 1987 (b. in 1987 Ukraine) in Ukraine) and Vanene and VaneneBorian (b.Borian 1984 (b. in 1984 Armenia) in Armenia) in the public in the spacepublic ( Kurbatovspace (Kurbatov and Borian and Borian2016), Masha2016), Masha Aberbuch Aberbuch claims claimsthat all that their all “provocative” their “provocative projects” projects express express “monumental “monumental dramatism, dramatism, a tendency a tendency to great gestures, to great gestures,self-sacrifice, self- fatalism,sacrifice, honestyfatalism, and honesty blatant and honesty—they blatant honesty are— thethey foundations are the foundations of Borian and of Borian Kurbatov’s and Kurbatovart” (Aberbuch’s art” 2016(Aberbuch). In 2016, 2016). the In two 2016, placed the atwo sculpture placed ina sculpture the form ofin athe three-foot form of a female three- waterfoot female organ wateron Rothschild organ on AvenueRothschild in central Avenue Tel in Aviv.central The Tel statue Aviv. wasThe statue made ofwas women’s made of prostitutionwomen’s prostitution “business “cards”business gathered cards” fromgathered the streets, from the to which streets, a tofifty-foot-long which a fifty carpet-foot-long led. It carpet is di ffi led.cult It to is estimate difficult the to estimatenumber ofthe cards number that of they cards needed that they to build needed the to statue build with the statue the carpet with that the leadscarpet to that it. Theleads experience to it. The experienceof collecting of them collecting at night them and at on night weekends and on was weekends a work inwas itself, a work one thatin itself, confronted one that attitudes confronted and attitudespotentially and delivered potentially them delivered to another them place to another of contestation. place of contestation. BorianBorian and and Kurbatov Kurbatov focused focused their their collaborative collaborative work work on on acting acting out out the the “ “RussianRussian prostitute prostitute”” ststereotypeereotype that RussophoneRussophone women women in in Israel Israel face. face. The The raw raw material material that that they they chose chose is the is mass the mass of cards of cardsthat circulate that circulate in the in streets. the streets. In another In another work work (Figure (Figure2), Kurbatov 2), Kurbatov is photographed is photographed in the in image the image of a ofUkrainian a Ukrainian bride bride (2015) (2015) who, putting who, putting on a shameless on a shameless look, is dressedlook, is in dressed white and in white wears and a traditional wears a traditionalRussian headdress Russian calledheaddress a kokoshnik, called a whichkokoshnik, became which popular became as a popular tiara style as ina tiara Western style Europe in Western in the Europelate nineteenth in the late century. nineteenth A closer century. look revealsA closer that look it is reveals a collage that of it prostitution is a collage cardsof prostitution framed in cards white framedpearlsand in white white place.earls The and kokoshnik white lace. not The only kokoshnik evokes the not connection only evokes between the connectionmarriage as between a sexual marriagecontract and as a woman’s sexual contract place in the and patriarchal woman’s order place but in the also patriarchal illustrates the order “Israeli but view,”also illustrates embodied the in “theIsraeli expectation view,” embodied of Russian-speaking in the expectation women of to provideRussian- sexspeaking services—be women they to provide imported se brides,x services tourists,—be theyor immigrants imported brides, under tourists, the Law or of immigrants Return. Lomsky-Feder under the Law and of Rapport Return. conclude:Lomsky-Feder “The and body Rapport of the conclude:‘Russian’ women“The body immigrant of the ‘Russian serves as’ women a moral immigrant marker of the serves boundaries as a moral of the marker Israeli-Jewish of the boundaries collective ofby the labeling Israeli it-Jewish as impure collective and outbreak,by labeling and it as thus impure a site and of exclusionoutbreak, andand alienation”thus a site of (Lomsky-Feder exclusion and alienationand Rapoport” (Lomsky 2010,- p.Feder 79). and By Rapoport extension, 2010, arguably, p. 79). Kurbatov By extension, and Borianarguably, undermine Kurbatov not and only Borian the undermineIsraeli-Jewish-Zionist not only the self-image Israeli-Jewish but also-Zionist they self challenge-image but boundaries also they of challenge the field boundaries of art in Israel of the by fieldreferring of art to in it. Israel by referring to it.

FigureFigure 2. 2. SashaSasha Korbatov, Korbatov, “ “Kokoshnik,”Kokoshnik,” 2015, 2015, a a traditional traditional Russian Russian headdress headdress collage collage of of prostitution prostitution cards.cards. Photographed Photographed by by Vanene Vanene Borian. Borian. Retrieved Retrieved https:// www.haaretz.co.ilhttps://www.haaretz.co.il/magazine/the/magazine/the-edge/.pre- edge/.premiummium-1.2883877-1.2883877. Courtesy. Courtesy of the artist. of the artist.

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Due to these major themes, radicant aspects of the women-immigrant experience, such as the perception of Home, Homeplace, and Family as a surrogate “motherland,” and transnationality as a cultural option that combines past and present and preserves links with the post-Soviet diaspora as well with West and East European culture, are less investigated. Artistic activism in the public sphere or its representation, and its inherent conflicts as described above, resonate more loudly in research and the media than did the activities of artists who “just” rephrased their radicant identity and re-emplaced it in a new cultural context. Sometimes it was interpreted or was seen as part of some revival of the “non-Jewish Russian” culture, a “back-to-the-roots” endeavor powered by breezes of “multicultural inclusivity” that, as a highly fashionable trend in this globalized era, made inroads into Israeli art. Focusing on this point from another perspective, I propose to see this approach as an opening, transitioning, performative flow that articulates migrant and female experiences “like an emulsion ... producing an alloy that combines, without dissolving them” (Bourriaud 2010, p. 34) through a radicant aesthetics that, like radicant plants, exists and proliferates without having “to drill down into the ground” (ibid., p. 43), making “fewer points of contact with the soil instead of enduring them” (ibid.).

4. Transnationalism, Intersectionality, and Radicant Aesthetics through the Lenses of Israeli Women Photographers from the Former Soviet Union The operation that transforms every artist, every author, into a translator of him-or-herself implies accepting the idea that no speech bears the seal of any sort of “authenticity”: we are entering the era of universal subtitling, of generalized dubbing. An era that valorizes the links that text and images establish, the paths that artists? forge in a multicultural landscape, the passageways they lay out connect modes of expression and communication. (Bourriaud 2010, p. 35)

Bourriaud places artists in the transnational era in the role of polyglot translator. The multicultural landscapes presented/translated/mediated in their works become vehicles of sorts for simultaneous expression of spaces and times, dissolving the linearity and a positivist perspective that characterized modern times and national societies. The works presented here, selected from the artistic corpus of Angelika Sher, Vera Vladimirsky, and Sarah Kaminker refer to one common theme and propose to exemplify how Home and Family can be under universal subtitling for FSU women artists in Israel. How the family nucleus and its physical environment, through time and places, its dis-integration and its possible re-integration, would reflect an intersectional representation of a radicant status. The connection between medium and content and the interpretative nexus of denotation and connotation in photographic research forces us to explore a multi-hyphenated fluid structure of transnational identities based on common but, at the same time, different biographical migration experiences and gender intersections. Angelika Sher: The Odessa exhibition (2017) and the Funeral Performance of the Novy God celebration (December 2017) (Sova 2017), both with the participation of Angelika Sher and Xenia Sova—another representative of the 1.5 generation, who calls herself a “Mediterranean Russian” (in Hebrew: Rusia Yam Tikhonit)(Brook-Blom 2017), combine humor with meticulous examination of the meaning of transnationalism through the arts in reference to the ‘aliya of the 1990s (Figure3). Sher, Sova, and Yuri Leiderman (who lives in Berlin) met at the Odessa-Tel Aviv group exhibition. Despite the geographical distance and the age gap among them, they re-created Odessa as an iconic image that replaces a real motherland, a transnational place-out-of- place that comprises a mixture of symbols, myths and allegories, language and humor, literature and theater, food, colors, fabrics, and aromas. The city thus created may be dedicated to anything one wishes as a portable identity in a global world. Sher’s “Socks and Sandals” and “Magical Tablecloth [Samobranka]” allow us to return to her entire oeuvre and reexamine what was defined as an abundance of “strangeness, foreignness, distance and alienation evident in every detail, albeit implicitly and indirectly” (Shkolnik-Brenner 2009). Arts 2019, 8, 159 9 of 23

Arts 2019, 8, x FOR PEER REVIEW 9 of 23

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Figure 3. 3. (a) Angelika(a) Angelika Sher and Sher Xenia and Sova, Xenia Funeral Sova, Performance Funeral of Performance the Novy God of Celebration, the Novy 2017, God DocumentalCelebration, materials 2017, Documental and still photo materials from YOUTUBE. and still photoRetrieved from from YOUTUBE. https://www.youtube.com/ Retrieved from watch?v=qs0Y1JtF_L4&t=119s&fbclid=IwAR3anKA7AJz5F4dUio0P8Le6hC5xCwblmrKRpeYWVzHhttps://www.youtube.com/watch?v=qs0Y1JtF_L4&t=119s&fbclid=IwAR3anKA7AJz5F4dUio0P8L Fe6hC5xCwblmrKRpeYWVzHFuwT723eDsZToMYwuwT723eDsZToMYw. Courtesy of the artist. (b) Angelika. Courtesy Sher and of theXenia artist. Sova, (b Funeral) Angelika Performance Sher and ofXenia the Sova, Novy Funeral God Performance Celebration, of the 2017, Novy Invitation God Celebration, to the 2017, event, Invitation Facebook, to the event,retrieved Facebook, from https://scontent.fsdv2retrieved from https://-1.fna.fbcdn.net/v/t31.0scontent.fsdv2-1.fna.fbcdn.net- /v/t31.0-8/s960x960/26116236_1764038536954026_ 8/s960x960/26116236_1764038536954026_6983036200907152351_o.jpg?_nc_cat=105&_nc_ohc=mm1806983036200907152351_o.jpg?_nc_cat=105&_nc_ohc=mm180P-iBfoAQk3a7arO_-L_jovfQjABDlLfM PFlRNHImm2jz4G3CxW5CA&_nc_ht-iBfoAQk3a7arO_-L_jovfQjABDlLfMFlRNHImm2jz4G3CxW5CA&_nc_ht=scontent.fsdv2=scontent.fsdv2-1.fna&oh=759b19d34b7788006416cb203c1c5b- 1.fna&oh=759b19d34b7788006416cb203c1c5b68&oe=68&oe=5E81C9E0. Courtesy of the artist. 5E81C9E0. Courtesy of the artist.

In Sher Sher’s’s “ “SocksSocks and and Sandals Sandals”” (Figure (Figure 44),), createdcreated especiallyespecially forfor thethe OdessaOdessa-Tel-Tel Aviv Aviv exhibition, socks in in sandals sandals stand stand alone alone in in a cold, a cold, white, white, deserted deserted landscape landscape under under a blue a blue sky. sky.“Amputated “Amputated”” legs presentlegs present a disembodied a disembodied metonymic metonymic image image that emphasizes that emphasizes the strangeness the strangeness of the background. of the background. Every detailEvery seemsdetail seems to be a to fragment be a fragment of a different of a diff erent story. story. While While the blue the blue sky may sky may be indicative be indicative of the of Mediterraneanthe Mediterranean sky, sky,the light the light is different. is different. It is true It is that true wearing that wearing sandals sandals with socks with eve socksn in even the heavy in the heatheavy of heatthe Israeli of the Israelisummer summer has been has a beencultural a cultural hallmark hallmark of former of former Soviet Soviet immigrants. immigrants. Angelika Angelika Sher, however,Sher, however, does does not produce not produce a realist a realist representation representation of ofthis this habitus; habitus; instead, instead, she she puts puts forward forward an ambivalent sign that indicates the possibili possibilityty of a unique form of acclimation that is not fully adapted to the environment but preserves, survives, and marches … and, by doing so, portrays a fragmentary (radicant) existence, in which the past is a kind of “phantom.” The image that operates within and

Arts 2019, 8, 159 10 of 23 to the environment but preserves, survives, and marches ... and, by doing so, portrays a fragmentary Arts 2019, 8, x FOR PEER REVIEW 10 of 23 Arts(radicant) 2019, 8, x existence, FOR PEER REVIEW in which the past is a kind of “phantom.” The image that operates within10 of and 23 through the stereotypes bursts with self-humor. This approach recurs in “Russian Herring under a Fur through the stereotypes bursts with self-humor. This approach recurs in “Russian Herring under a throughCoat” [Shuba], the stereotypes first exhibited bursts in withMayonnaise self-humor. Snow This(2015), approach in which recurs the translation in “Russian mode Herring is adopted under toa Fur Coat” [Shuba], first exhibited in Mayonnaise Snow (2015), in which the translation mode is adopted Furinscribe Coat the” [Shuba], Soviet repertoirefirst exhibited onto in the Mayonnaise Israeli one. Snow Another (2015), work in which displays the the translation top of St. mode Basil’s is Cathedral adopted to inscribe the Soviet repertoire onto the Israeli one. Another work displays the top of St. Basil’s to(Figure inscribe5), its the vibrant Soviet colorful repertoire towers onto and the dome Israeli “buried” one. Another in a desert work of displays sand. The the temple, top of one St. Basil of the’s Cathedral (Figure 5), its vibrant colorful towers and dome “buried” in a desert of sand. The temple, Cathedralworld’s most (Figure famous 5), its buildings—it vibrant colorful dominates towers Redand Squaredome “buried in Moscow,” in a thedesert very ofheart sand. of The Russia—is temple, one of the world’s most famous buildings—it dominates Red Square in Moscow, the very heart of onetransplanted of the world into’s themost sands famous of Israel, buildings forming—it dominates an image drawnRed Square from in the Moscow, Middle Agesthe very and heart Middle of Russia—is transplanted into the sands of Israel, forming an image drawn from the Middle Ages and RussiaEastern— tales,is transplanted again allegorizing into the sands an intercultural of Israel, forming encounter an image as a milestone drawn from in an the uncertain Middle Ages trajectory and Middle Eastern tales, again allegorizing an intercultural encounter as a milestone in an uncertain Middleand at theEastern same tales, time asagain a distorted allegorizing icon. Thean intercultural distortion of encounter the symbolic as a icons milestone can be in interpreted an uncertain as a trajectory and at the same time as a distorted icon. The distortion of the symbolic icons can be trajectoryresult of the and re-rooting at the same in Bourriaud’s time as a distorted radicant theory, icon. The which, distortion while facilitated of the symbolic by the iconsconditions can be of interpreted as a result of the re-rooting in Bourriaud’s radicant theory, which, while facilitated by the interpretedthe soil rooting, as a result is but of a temporalthe re-rooting “multicultural in Bourriaud landscape,’s radicant the theory, passageways” which, while (Bourriaud facilitated 2010 ,by p. the 35) conditions of the soil rooting, is but a temporal “multicultural landscape, the passageways” conditionsto other distortions of the soil that, rooting, in turn, isproblematize but a temporal the essence “multicultural of authenticity. landscape, Is this the non-authentic passageways and” (Bourriaud 2010, p. 35) to other distortions that, in turn, problematize the essence of authenticity. Is (Bourriaudabsurd image 2010, the p. “authentic” 35) to other mode distortions of the expressionthat, in turn, of aproblematize radicant status? the essence of authenticity. Is thisthis nonnon--authentic and absurd imageimage thethe “authentic” mode of the expression of a radicant status?

Figure 4. Angelika Sher, “Socks and Sandals,” 2017, Photography. Retrieved from FigureFigure 4. 4.Angelika Angelika Sher, Sher,“Socks and“Socks Sandals,” and 2017, Sandals, Photography.” 2017, RetrievedPhotography. from https: Retrieved//www.eretzm from https://www.eretzmuseum.org.il/e/376/. Courtesy of the artist and Zemack Contemporary Art https://www.eretzmuseum.org.il/e/376/useum.org.il/e/376/. Courtesy of the artist. Courtesy and Zemack of Contemporarythe artist and Art Zemack Gallery. Contemporary Art Gallery.

Figure 5. Angelika Sher, “Untitled” (Saint Basil’s Cathedral in the Rishon Lezion dunes), 2015. FigureFigure 5. 5. AngelikaAngelika Sher, Sher, “ “Untitled”Untitled” (Saint (Saint Basil Basil’s’s Cathedral Cathedral in in the the Rishon Rishon Lezion Lezion dunes), dunes), 2015. 2015. Photography. Retrieved from https://zcagallery.com/artist/angelika-sher/. Courtesy of the artist and Photography.Photography. Retrieved Retrieved from from https://zcagallery.com/artist/angelikahttps://zcagallery.com/artist/angelika-sher-sher/./ .Courtesy Courtesy of of the the artist artist and and Zemack Contemporary Art Gallery. ZemackZemack Contemporary Contemporary Art Art Gallery. Gallery.

When she acceptedted thethe postpost ofof curatorcurator ofof Odessa,, SherSher waswas consideredconsidered aa successfulsuccessful photographerphotographer due to her previous solo exhibitions: My Mother’’s Fur Coat (Figure(Figure 6),6), RamatRamat GanGan Museum,Museum, IsraelIsrael (2007),(2007), 13 ((Thirteen series)) andand Twilight Sleep,, TaviTavi DresdnerDresdner Gallery,Gallery, TelTel Aviv,Aviv, IsraelIsrael (2009),(2009), InsideInside MyMy

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When she accepted the post of curator of Odessa, Sher was considered a successful photographer due to her previous solo exhibitions: My Mother’s Fur Coat (Figure6), Ramat Gan Museum, Israel Arts(2007), 2019,13 8, x( ThirteenFOR PEERseries REVIEW) and Twilight Sleep, Tavi Dresdner Gallery, Tel Aviv, Israel (2009), Inside11 of My 23 Life, Reartuno Gallery, Brescia, Italy; 13, Pobeda Gallery, Moscow; the Third Moscow Biennale of Life, Reartuno Gallery, Brescia, Italy; 13, Pobeda Gallery, Moscow; the Third Moscow Biennale of Contemporary Art, Fotografiya Gallery, Ljubljana, Slovenia, New York, and Milano. Contemporary Art, Fotografiya Gallery, Ljubljana, Slovenia, New York, and Milano.

FigureFigure 6. 6. AngelAngelikaika Sher, Sher, “Untitled,” “Untitled,” 2007, 2007, exhibited exhibited in in My My Mother’s Mother’s Fur Fur Coat, Coat, Ramat Ramat Gan Gan Museum, Museum, Israel.Israel. Retrieved Retrieved from from https://www.artsy.net/artist/angelikahttps://www.artsy.net/artist/angelika-sher-sher.Courtesy. Courtesy of of the the artist artist and and Zemack Zemack ContempContemporaryorary Art Art Gallery. Gallery.

TenTen years years before before OdessaOdessa–Tel–Tel Aviv Aviv,, the the project project culminating culminating her her studies studies at at Bezalel Bezalel Academy, Academy, FamilyFamily AlbumAlbum, , depicted depicted immigrant immigrant families families and and created created “ “timetime bubbles bubbles”” of of sorts sorts that that were were interpreted interpreted as as attemptsattempts to to preserve preserve the the way way of of life life of of thei theirr origin origin countries. countries. Yehudit Yehudit Matzkel, Matzkel, curator curator of of emerging emerging artistsartists in those those years, years, curated curated Sher’s Sher first’s first solo solo exhibition, exhibition,Mother’s Mother Fur’s Coat Fur, at Coat the, Ramat at the Gan Ramat Museum. Gan Museum.This autobiographical This autobiographical exhibition marked exhibition Sher asmarked an intriguing Sher as artist an and intriguing gave her artist a thematic and gave and stylistic her a thematicfoundation and for stylistic her next foundation projects. Thefor her raw next material projects. of Sher’s The raw photographic material of workSher’s was, photographic and continues work to was,be, supplied and continues by her to family be, supplied and immediate by her family environment. and immediate Personal environment. relations and Personal domestic relations spaces and are domesticcaptured spaces in moments are captured full of longing, in moments remoteness, full of longing, and a beauty remoten thatess, can and hurt. a beauty that can hurt. SherSher invokes invokes these these images images to to explore explore ideas ideas of of foreignness, foreignness, girl girl-ness,-ness, and and woman woman’s’s identity, identity, with with specialspecial interest interest in in adolescence, adolescence, parenting, parenting, and and family family links amidlinks wanderings amid wanderings and journeys and journeys of uprooting. of uprooting.In her Growing In her Down Growingproject, Down she pr looksoject, at she adolescents looks at adolescents and their relationships and their relationships with each other, with space,each other,and the space, body. and 13 continues the body. by 13 focusing continues on bymotherhood focusing onand motherhood exploring the and effect exploring of placing the the effect camera of placingand its the subject camera at greater and its distancesubject at (Figure greater7a,b). distanceTwilight (Figure Sleep 7a,b).strays Twilight from Sleep the nuclear strays fro familym the to nuclearinvestigate family notions to investigate of cultural notions memory, of cultural destiny, memory, and death. destiny, In and his essaydeath. aboutIn his essay Sher’s about works, Sher Yair’s works,Barak( 2009Yair )Barak argues (2009) that thearguesmemento that the mori mementomotif is mori central motif to is the central genre to that the Sher genre adopted that Sher in this adopted series. in“At this the series. same time,“At the there’s same a sensetime, thatthere Sher’s a issense creating that aSher whole is creating different a syntax—less whole different specific, syntax deceptive,—less specific,dialectic. deceptive, Birth and dialectic. death are Birth not dichotomous;and death are theynot dichotomous; dwell together they and dwell echo together each other.” and echo each other.” Throughout the series, Angelika Sher offers an image of family and children to which strangeness, alienation, and detachment are intrinsic. She often deals with childhood, adolescence, and the transition between them as a suspended time between times and cultural worlds. This transitional status and its transcultural implications are presented as an existential question that embraces all aspects of life. In these series, the repetitive themes that arise from the staging, the clothes, and material culture used portray a sense of transnationalism that has nothing to do with joy, healthy maturity, and childish delight, instead reminding us much more of a process of withering or

Arts 2019, 8, x FOR PEER REVIEW 12 of 23 mourning. At this time, in my opinion, Sher does not celebrate transnationality; she just lives it. Although the photographs are undoubtedly staged and every detail is significant, the thing they convey more than anything else is indifference. They are deeply connected to the “suspended time” and “the flying carpet” that Rosi Braidotti (2012) attributes to the “nomadic”3 state of mind—what BarakArts 2019 calls, 8, 159 the memento mori. It is from the dualism of the meticulously arranged setting and12 ofthe 23 indifferent gaze that her oeuvre in the “aughts” decade acquires its intriguing power and its multiple significations.

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FigureFigure 7. 7.(a )( Angelikaa) Angelika Sher, “Untitled” Sher, “Untitled (Thirteen” series),(Thirteen 2008–2009, series retrieved), 2008– from2009, https: retrieved//zcagallery.c from https://zcagallery.com/artist/angelikaom/artist/angelika-sher/. Courtesy of- thesher/.Courtesy artist and Zemack of the Contemporary artist and Zemack Art Gallery. Contemporary (b) Angelika Art Gallery.Sher, “Untitled” (b) Angelika (Thirteen series), Sher, 2008–2009, “Untitled” retrieved (Thirteen from https: series),//zcagallery.com 2008–2009,/artist retrieved/angelika-sher from/ . https://zcagallery.com/artist/angelikaCourtesy of the artist and Zemack Contemporary-sher/. Courtesy Art Gallery. of the artist and Zemack Contemporary Art Gallery. Throughout the series, Angelika Sher offers an image of family and children to which strangeness, alienation,In recent and years, detachment the works are intrinsic. of these She young often 1.5deals-generation with childhood, artists adolescence, have shifted and to thean explicitlytransition transnationalbetween them level as a that, suspended while no time less between interesting, times appears and cultural to have worlds. much more This humor, transitional irony, status and self and- reflectionits transcultural about implications what a transnational are presented self as an is, existential including question traditional that embraces Soviet “rites, all aspects” Christian of life. iconography,In these series, and the Russian repetitive folk themes tales. thatThrough arise fromSher’ thes trajectory staging, one the clothes,can see anda radicant material trajectory culture usedthat evolvedportray ainsense the course of transnationalism of her career and that reflected has nothing the exchange to do with between joy, healthy her and maturity, the Israeli and field childish of art anddelight, the mutual instead transformation, reminding us much in terms more of of the a process artist’s ofattitude withering but no or mourning.less in those At of this reception time, in and my interpretation.opinion, Sher doesA case not in celebratepoint is Sher transnationality;’s latest exhibition she (May just lives 2019) it. at Although the Beeri Gallery, the photographs A Green Oak are Growsundoubtedly in the Bay staged (Figure and every8), based detail on is a significant,sentence from the thingthe famous they convey poem more“Ruslan than and anything Lyudmila, else is” indi ff erence. They are deeply connected to the “suspended time” and “the flying carpet” that Rosi 3 3Ben I use Dayan the (word2012 )“nomadic” attributes figuratively, to the “nomadic” as Rosi Braidottistate of (2012) mind—what defines it: Barak “My project calls the of mementofeminist nomadism mori. It is fromtraces the dualismto more than of the an meticulously intellectual itinerary; arranged it setting also reflects and the the indi existentialfferent gaze situation that asher a oeuvre multicultural in the “aughts”individual, decade a migrant acquires who its turned intriguing nomad.” power and its multiple significations.

3 I use the word “nomadic” figuratively, as Rosi Braidotti(2012) defines it: “My project of feminist nomadism traces to more than an intellectual itinerary; it also reflects the existential situation as a multicultural individual, a migrant who turned nomad.” Arts 2019, 8, 159 13 of 23

In recent years, the works of these young 1.5-generation artists have shifted to an explicitly transnational level that, while no less interesting, appears to have much more humor, irony, and self-reflection about what a transnational self is, including traditional Soviet “rites,” Christian iconography, and Russian folk tales. Through Sher’s trajectory one can see a radicant trajectory that evolved in the course of her career and reflected the exchange between her and the Israeli field of art and the mutual transformation, in terms of the artist’s attitude but no less in those of reception Artsand 2019 interpretation., 8, x FOR PEER AREVIEW case in point is Sher’s latest exhibition (May 2019) at the Beeri Gallery, A13 Green of 23 Oak Grows in the Bay (Figure8), based on a sentence from the famous poem “Ruslan and Lyudmila,” written in 1817–1820 by Alexander Pushkin, Russia’s greatest poet, and theatrically relocated to a written in 1817–1820 by Alexander Pushkin, Russia’s greatest poet, and theatrically relocated to a pseudo-Israeli context. The exhibition featured a journey story in a remote, dramatic setting—a pseudo-Israeli context. The exhibition featured a journey story in a remote, dramatic setting—a fantasy fantasy that is nevertheless rooted between Israel and Lithuania, creating a magical background of that is nevertheless rooted between Israel and Lithuania, creating a magical background of sorts for sorts for a complex narrative of immigration embedded in folk tales and folklore that translated each a complex narrative of immigration embedded in folk tales and folklore that translated each other. other. The space is designed as an archetypal paradise from which all human beings are exiled to a The space is designed as an archetypal paradise from which all human beings are exiled to a foreign and foreign and unknown land. Like other projects, this exhibition was autobiographical but it unknown land. Like other projects, this exhibition was autobiographical but it transformed personal transformed personal experiences into fantasy, with collages consisting of objects scattered around experiences into fantasy, with collages consisting of objects scattered around the home of the artist the home of the artist or her family, and characters comprising her nuclear and distant family, her or her family, and characters comprising her nuclear and distant family, her friends, and even their friends, and even their cat. As the curator, Sophie Barzon Makai, pointed out, “Multicultural wealth cat. As the curator, Sophie Barzon Makai, pointed out, “Multicultural wealth is on the walls. Eastern is on the walls. Eastern European, Middle Eastern, Israeli, Lithuanian, Russian, human rule. A European, Middle Eastern, Israeli, Lithuanian, Russian, human rule. A proposal for a broad human proposal for a broad human identity of a new kind” (Barzon Makai 2019). From a “time-specific” identity of a new kind” (Barzon Makai 2019). From a “time-specific” perspective (Bourriaud 2010, perspective (Bourriaud 2010, p. 79), this work does more than span cultures and territories; it was p. 79), this work does more than span cultures and territories; it was created for a specific time in Israeli created for a specific time in Israeli culture that corresponds to early ethno-nationalism and the late culture that corresponds to early ethno-nationalism and the late globalization. globalization.

Figure 8. Angelika Sher, “Untitled,” exhibited in A Green Oak Grows in the Bay, 2019, Beeri Gallery, Figure 8. Angelika Sher, “Untitled,” exhibited in A Green Oak Grows in the Bay, 2019, Beeri Gallery, retrieved from http://www.gallerybeeri.co.il. Courtesy of the artist and Zemack Gallery. retrieved from http://www.gallerybeeri.co.il. Courtesy of the artist and Zemack Gallery.

UsingUsing “ “representationalrepresentational intersectionality intersectionality”” as as an an analytic analytic tool, tool, I Iargue argue that that Sher Sher’s’s portrayals portrayals of of people,people, particularly particularly women, women, adolescents, adolescents, and and girls girls from from the the first, first, 1.5, 1.5, and and second second generations generations of of FSU FSU immigrationimmigration to to Israel, Israel, use use and manipulate stereotypesstereotypes ofof “Russian “Russian families” families” in in order order to to reverse reverse them them in ina very a very sophisticated sophisticated way. way. Through Through her camera, her camera, she appears she appearsto have assumed to have the assumed role of translator—a the role of translatorfantastical— repetitivea fantastical stating, repetitive a mirror stating, of sorts a that mirror reflects of sorts the image that reflects of the Russian the image cultural of the heritage Russian in culturalthe eyes heritage of the Israelis. in the All eyes these of strangethe Israelis. situations, All these the heavy strange furniture, situations, the theforeign heavy costumes, furniture, and the the foreignEast European costumes, facial and featuresthe East configureEuropean afacial family features affiliation configure that alludes a family to affiliation themes from that Western alludes artto themeshistory from through Western the personas art history of “Russianthrough the actors” personas and forcesof “Russian us to readactors these” and pictures forces us with to read “subtitles,” these picturesas Bourriaud with “ indicates.subtitles,” This as Bourriaud strategy allows indicates. the “universal” This strategy viewer allows to confrontthe “universal the lived” viewer radicant to confrontexperiences the lived of generations radicant experiences of migrants of in generations transnational of times.migrants In ain similar transnational way, intersections times. In a similar among way, intersections among gender, ethnicity, sexuality, and other social hierarchies in Israeli society appear in Sher’s works, their connotative significance emerging not via the individual picture but across complete series. Vera Vladimirsky, a young artist born in the FSU, bases her conceptual approach on large research stages, manual procedures, and a sophisticated style. All these elements are crystallized into a unique transnational state of mind reflected in photos/wall papers that defy the rigid categorization of the “traditional” dichotomy: mutual acculturation versus national assimilation. In her project The Last Apartment, Where Are You from Originally? (Figure 9a,b) first presented at the Bezalel Academy graduate exhibition in 2014, Vladimirsky asks, through a series of photos of

Arts 2019, 8, 159 14 of 23 gender, ethnicity, sexuality, and other social hierarchies in Israeli society appear in Sher’s works, their connotative significance emerging not via the individual picture but across complete series. Vera Vladimirsky, a young artist born in the FSU, bases her conceptual approach on large research stages, manual procedures, and a sophisticated style. All these elements are crystallized into a unique transnational state of mind reflected in photos/wall papers that defy the rigid categorization of the “traditional” dichotomy: mutual acculturation versus national assimilation. In her project The Last Apartment, Where Are You from Originally? (Figure9a,b) first presented at the Bezalel Academy graduate exhibition in 2014, Vladimirsky asks, through a series of photos of home environments,Arts 2019, 8, x WhereFOR PEER are REVIEW you originally from? This seemingly candid question triggers an14intensive of 23 engagement with transnational migrations at times of constant “moving” and “relocation.” home environments, Where are you originally from? This seemingly candid question triggers an “Iintensive am moving engagement [again],” with she transnational writes. “When migrations I was seven at times I came of constant with my “moving parents” and from “relocation. Ukraine as” part of“I am the moving mass immigration [again],” she in writes. 1991. “ AsWhen we I acclimatized, was seven I came we movedwith my house parents a lot.from Since Ukraine I turned eighteen,as part I’ve of the been mass moving immigration on my in own. 1991.I As seem we acclimatized, to have adopted we moved the moving house a pattern. lot. Since In I this project,turned I returned eighteen, to I’ allve been the placesmoving that on my I had own. called I seem ‘home.’ to have I adopted photographed the moving neighborhoods, pattern. buildings,In this and project, apartments I returned in which to all other the plpeopleaces that currently I had live. called I used ‘home. the’ printI photographed photographs to neighborhoods, buildings, and apartments in which other people currently live. I used the compose three-dimensional assemblages of space, which I re-photographed in the apartment print photographs to compose three-dimensional assemblages of space, which I re- that I have been living in over the last year—my twenty-sixth apartment”. (Vladimirsky 2014b) photographed in the apartment that I have been living in over the last year—my twenty- sixth apartment” (Vladimirsky 2014b).

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FigureFigure 9. (a ) 9. Vera (a) Vladimirsky,Vera Vladimirsky, “The “ LastThe Apartment, Last Apartment, Where Where Are You Are From You From Originally?” Originally? 2014.” 2014. Courtesy of theCourtesy artist. of (b the) Vera artist. Vladimirsky, (b) Vera Vladimirsky, “The Last “The Apartment, Last Apartment, Where Where Are Are You You From From Originally?” Originally?” 2014. 2014. Courtesy of the artist. Courtesy of the artist. Vladimirsky’s description and the alienated and “outsider” quality of her assemblages deliver us to an unusual visual treatment of immigration, belonging, and longing in a national context. She focuses not on the efforts or difficulties that accompany the construction of a new national identity through the medium of places that are called home but on the sense of disconnection or just the realization that, in the discourse of globalization and the transnational routine of moving about,

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Vladimirsky’s description and the alienated and “outsider” quality of her assemblages deliver us to an unusual visual treatment of immigration, belonging, and longing in a national context. She focuses not on the efforts or difficulties that accompany the construction of a new national identity Artsthrough 2019, 8 the, x FOR medium PEER REVIEW of places that are called home but on the sense of disconnection or just15 of the 23 realization that, in the discourse of globalization and the transnational routine of moving about, anonymous likeness and emptiness become characteristics of home (Guilat 2019b). At the group anonymous likeness and emptiness become characteristics of home (Guilat 2019b). At the group exhibition Dreamland Never Found (curated by Maria Veits at the 2017 Jerusalem Biennale), exhibition Dreamland Never Found (curated by Maria Veits at the 2017 Jerusalem Biennale), Vladimirsky Vladimirsky unveiled a new project called “Paper Walls” (2015–2018) in which richly decorated unveiled a new project called “Paper Walls” (2015–2018) in which richly decorated wallpapers, typical wallpapers, typical of Soviet living rooms, become metonymic artifacts or attributes of of Soviet living rooms, become metonymic artifacts or attributes of transnationality. She paid special transnationality. She paid special attention to the local flora that she used to “produce” her attention to the local flora that she used to “produce” her wallpapers (Figure 10). In a lengthy process, wallpapers (Figure 10). In a lengthy process, she created seamless, detailed and high-resolution floral she created seamless, detailed and high-resolution floral patterns that she imprinted on her wallpaper patterns that she imprinted on her wallpaper sheets, merging childhood memories of richly sheets, merging childhood memories of richly decorated home interiors in the FSU with the common decorated home interiors in the FSU with the common generic stuff of the local Israeli aesthetic. She generic stuff of the local Israeli aesthetic. She observed her two cultures, the Ukrainian and the Israeli, observed her two cultures, the Ukrainian and the Israeli, focusing on their codes, ethos, and focusing on their codes, ethos, and narratives. She sees “home” as a critical issue, through which narratives. She sees “home” as a critical issue, through which she challenges not only the link between she challenges not only the link between the mono-cultural identity discourse and the home but the mono-cultural identity discourse and the home but also the immigrant’s illusory and unfulfilled also the immigrant’s illusory and unfulfilled desire to feel at home and, even more, the medium of desire to feel at home and, even more, the medium of photography itself, by questioning photography itself, by questioning representation and interpretation of social realities and manual and representation and interpretation of social realities and manual and digital practices. As the paper digital practices. As the paper walls evolved and were exhibited in group settings at Bat Yam Museum walls evolved and were exhibited in group settings at Bat Yam Museum (2018) and the Bezalel (2018) and the Bezalel Master’s Degree Exhibition (2019), they became more and more complex. Master’s Degree Exhibition (2019), they became more and more complex.

Figure 10. 10. VeraVera Vladimirsky, Vladimirsky, “Paper “Paper Walls,” Walls, 2015–2018,” 2015– exhibited2018, exhibited in Dreamland in Dreamland Never Found Never, Jerusalem Found, JerusalemBiennale 2017. Biennale Courtesy 2017. ofCourtesy the artist. of the artist.

No less less important important from from the the transnational transnational perspective perspective is is the the photo photo essay essay project project titled titled ManyMany Years Years (Figure 11a,b),11a,b), a areconstructed reconstructed journey journey comprising comprising forty forty images images taken taken between between 2010 2010and 2014 and in 2014 Israel in andIsrael also and in also Ukraine, in Ukraine, England, England, and and Germany Germany—countries—countries wher wheree Vladimirsky Vladimirsky went went to to visit visit family family members who who emigrated after after the collapse of the Soviet Union. The The images images were were compiled compiled into into a a book, as noted on her site. In these documentary photos, her distanced but paradoxically emotive photographic gaze remains the same as that which which characterized characterized Last Apartment Apartment,, although although the the images images are produced withoutwithout any any manipulation. manipulation. Reverting Reverting to to Barthes, Barthes, they they have have the dualitythe duality of being of being un-coded un- codeddue to due their to simpletheir simple family-album-photo family-album-photo appearance, appearance, a characteristic a characteristic that that is, however, is, however, coded coded in the in thecontext context of theof the sense sense of of “transitional “transitional home” home and” and transnational transnational links links full full ofof dislocateddislocated and relocated objects, signs of of alienated alienated identity, identity, and life aboard a metaphorical “ “flyingflying carpet carpet”” as a sort of radicant radicant aesthetics. Again, the gaze comes to rest on the home space, one so dislodged from its family continuity as to have become unipersonal and defined no less by what is outside the frame than by what is in it. From this angle, one image is exceptional: “A rare self-portrait in my grandparents’ home in Ukraine and a small homage to Gerhard Richter” (2012) (Figure 12), as she titled it (Vladimirsky 2014a). It is one of the photos included in her artist book Many Years, published in 2014 (Vladimirsky 2014b). This image evokes the all-women transnational package with the multilayered

Arts 2019, 8, 159 16 of 23 aesthetics. Again, the gaze comes to rest on the home space, one so dislodged from its family continuity as to have become unipersonal and defined no less by what is outside the frame than by what is in it. From this angle, one image is exceptional: “A rare self-portrait in my grandparents’ home in Ukraine and a small homage to Gerhard Richter” (2012) (Figure 12), as she titled it (Vladimirsky 2014a). It is one of the photos included in her artist book Many Years, published in 2014 (Vladimirsky 2014b). This image evokes the all-women transnational package with the multilayered cultural, national, aesthetic, and emotive levels that have evolved within it, to which it adds intensity by breaking down the typical Arts 2019, 8, x FOR PEER REVIEW 16 of 23 distance that the artist establishes from “home” and family sites. In her grandparents’ home, fusional timescultural, come about national, and aesthetic, a physical and and emotive visceral levels link that is have achieved. evolved In within this atypical it, to which photo, it adds we intensity can see some affinityby breaking with Sher’s down staging the typical of andistance approach that the that artist refers establishes to art from history. “home The” and granddaughter, family sites. In aher young woman,grandparen is bothts an’ home, adolescent fusional who times misses come her about childhood and a physical and an and artist visceral who quoteslink is achieved. a famous In work. this For the firstatypical time, photo, the migrant we can see body—her some affinity body—is with Sher the’s protagoniststaging of an andapproach the image that refers carries to art a history. strangeness The granddaughter, a young woman, is both an adolescent who misses her childhood and an artist that, while intimate, is different from Paper Walls or the spatial home-based projects. Whereas in these who quotes a famous work. For the first time, the migrant body—her body—is the protagonist and projects the ascent of the body, the silence of the empty spaces, and the disengaged artifacts of the the image carries a strangeness that, while intimate, is different from Paper Walls or the spatial home- homebased are protagonistsprojects. Whereas that in represent these projects radicant the ascent experiences, of the body, this the photo silence serves of the as empty a sort spaces, of “translator.” and Eventhe though disengaged the artist artifacts occupies of the home a space are fullprotagonists of family that memories, represent aromas,radicant experiences, and words this in thephoto mother tongue,serves the as past, a sort the of “origin,” “translator. is now” Even absent though and the unattainable. artist occupies As a aspace result, full she of familycan manipulate memories, all of thesearomas, in an artistic and words setting. in the It seemsmother that tongue, the subtitlethe past, wantsthe “origin, to express” is now “the absent impossibility and unattainable. of authenticity” As that alla result, of Vladimirsky’s she can manipulate works all tackle. of these The in an intersection artistic setting. of genderIt seems andthat the displacement subtitle wants emphasizes to express and amplifies“the impossibility this radicant of dimension. authenticity” that all of Vladimirsky’s works tackle. The intersection of gender and displacement emphasizes and amplifies this radicant dimension.

(a)

(b)

Figure 11. (a) Vera Vladimirsky, Many Years series, 2010–2014. Retrieved from Figure 11. (a) Vera Vladimirsky, Many Years series, 2010–2014. Retrieved from http://www.veravl http://www.veravladimirsky.com/many-years, (b) Vera Vladimirsky, Many Years series, 2010–2014. adimirsky.com/many-years,(b) Vera Vladimirsky, Many Years series, 2010–2014. Retrieved from Retrieved from http://www.veravladimirsky.com/many-years .Courtesy of the artist. http://www.veravladimirsky.com/many-years. Courtesy of the artist.

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Figure 12. Vera, Vladimirsky “A Rare Self-Portrait in My Grandparents’ Home,” 2012. Retrieved from https://www.instagram.com/p/BvJTa9igdIk/ Courtesy of the artist Word: Sarah Kaminker

My work originates in where I am. In 1990, I immigrated with my mother from the former Soviet Union to an old neighborhood in Ashkelon, Israel. I am in the process of establishing my identity, a kind of fluid identity in which I can live in harmony with the different, diverse, and even contradictory identities that I harbor. My identity is an emergent one: not only a singular self, a subjective matter, but one shaped by dynamic negotiation with the environment in which I live. (Kaminker 2019)

After graduating from Bezalel Academy in 2013, Sarah Kaminker focused her work on the fluidity of the feminine body and the boundaries of artistry in clay to express it. This stage of her career centered on hierarchies of gender and art materials as the class and ethnic dimensions that affected her life as an FSU woman immigrant in the Israeli social and geographical periphery bided their time to emerge. As they waited, they manifested a complex statement from the intersectional approach (Crenshaw 1991). Kaminker spent all of 2019 documenting the places where she lived in precarious neighborhoods in Ashkelon. Her strategy is very different from Vladimirsky’s relocation photography inquiry and Sher’s intergenerational journey by stating places. In her current project, she aims to reconstruct the map of her immigration journey as an intersectional representation reflecting the junction of gender, class, ethic, and migration. Her mother, who still lives in the neighborhood where they first settled as a single-parent family, joined her. In three sequences, the two women, armed with video cameras, returned to all their erstwhile apartments. Choosing the cooperative work with her mother was not only a practical decision. From the intersectional point of view, this bond of solidarity between mothers and daughters in immigrant women’s single-parenthood is a gender issue that has social and economic implications. In this series, the dialogue between them, in situ and afterward, is not only part of the multilayered raw material but also a sort of co-author. In some places, they set their eyes on abandoned backyards full of waste (Figure 13); in others, they focused on interior staircases (Figure 14) or dilapidated façades of so-called “modernist housing” (Figure 15) defaced with graffiti Arts 2019, 8, 159 18 of 23

that had also faded. Throughout, they tried to rewind their trajectory, guided only by what their eyes beheld, stopping wherever one of them suggested that they stop, recalling from the present the images that emerged with neither nostalgia nor fury nor shame. Sarah brings to the foreground the “double, triple, and sometimes quadruple forms of oppression: These are women in a male-dominated society, in a capitalist economy, and not part of the hegemonic ethnic, religious, or national group” (Dekel 2018, p. 30). Arts 2019, 8, x FOR PEER REVIEW 18 of 23 Arts 2019, 8, x FOR PEER REVIEW 18 of 23

Figure 13. Sarah Kaminker, “17 Yoseftal Str.” (Antiquities Neighborhood 3–4 Ashkelon series), 2019. Figure 13. Sarah Kaminker, “17 Yoseftal Str.” (Antiquities Neighborhood 3–4 Ashkelon series), 2019. FigureCourtesy 13. of Sarah the artist. Kaminker, “17 Yoseftal Str.” (Antiquities Neighborhood 3–4 Ashkelon series), 2019. CourtesyCourtesy of of the the artist. artist.

Figure 14. Sarah Kaminker, “5 Avshalom Habib Str.” (Antiquities Neighborhood 3–4 Ashkelon series), Figure2019.Figure Courtesy 14. 14. SarahSarah of Kaminker, Kaminker,the artist. “ “55 Avshalom Avshalom Habib Habib Str. Str.”” ( (AntiquitiesAntiquities Neighborhood Neighborhood 3 3–4–4 Ashkelon Ashkelon series),series), 2019.2019. Courtesy Courtesy of of the the artist. artist.

Arts 2019, 8, 159 19 of 23 Arts 2019, 8, x FOR PEER REVIEW 19 of 23

Figure 15.Figure Sarah 15. Kaminker,Sarah Kaminker, “17 “17 Yoseftal Yoseftal St Str”.r”. (Antiquities (Antiquities Neighborhood Neighborhood 3–4 3Ashkelon–4 Ashkelonseries), series), 2019. 2019. CourtesyCourtesy of the artist. of the artist.

Kaminker describes her work as a detective story that she composes from evidence “left at the Kaminker describes her work as a detective story that she composes from evidence “left at the scene of the crime. [ ... ] I take the photos as an attempt to expose some ‘truth,’” she says. “Yet when I scene of thefeel uncomfortablecrime. […] I take with thisthe truth,photos I choose as an to attempt cover it upto byexpose spattering some it with‘truth, gold’” powderedshe says. glitz”“Yet when I feel uncomfortable(Kaminker 2019 with). Unlike this truth, the provocative I choose manner to cover of Borianit up by and spattering Kurbatov and it with Cherkassky, gold powdered Kaminker glitz” (Kaminkerchooses 2019). a poeticUnlike vein, the reexamining provocative what manner she wants of Borian to do in and the Kurbatov present with and her Cherkassky, multiple burden, Kaminker chooses wherea poetic to placevein, power-gold reexamining more what as a mark she ofwants self-recognition to do in the than present as a gesture with of her concealing multiple this burden, “truth.” The path of the power-gold traverses the series of photos and produces a metaphorical aerial where to place power-gold more as a mark of self-recognition than as a gesture of concealing this root much as would a radicant, i.e., not linking the works but establishing stops and then starts for “truth.” Theanother path journey of the (Figure power 16-).gold Without traverses any practice the series that relates of photos remotely and to produces the impulse a ofmetaphorical “purifying, aerial root mucheliminating, as would extracting” a radicant, (Bourriaud i.e., not 2010 linking, p. 35) asthe the works modern but discourse establishing demands, stops or to and the return then tostarts for another journeyan imagined (Figure national 16). or Without ethnic roots, any Kaminker practice elaborates that relates her radicant remotely claim to fromthe impulse an un-privileged of “purifying, eliminating,place, extracting “shaped by” dynamic(Bourriaud negotiation 2010, p. with 35) the as environmentthe modern in discourse which I live” demands, (Kaminker or 2019 to )the that return to makes the precarious living places in the Israel periphery a central issue. an imagined national or ethnic roots, Kaminker elaborates her radicant claim from an un-privileged place, “shaped by dynamic negotiation with the environment in which I live” (Kaminker 2019) that makes the precarious living places in the Israel periphery a central issue.

Arts 2019, 8, 159 20 of 23 Arts 2019, 8, x FOR PEER REVIEW 20 of 23

Figure 16. Sarah Kaminker, “HaHistadrut Str.” (Antiquities Neighborhood 3–4 Ashkelon series), 2019. Figure 16. Sarah Kaminker, “HaHistadrut Str.” (Antiquities Neighborhood 3–4 Ashkelon series), 2019. Courtesy of the artist. Courtesy of the artist.

5.5. Conclusions Conclusions BourriaudBourriaud’s’s radicant radicant aesthetic aesthetic sheds sheds light light on onthe the multiplicity multiplicity of simultaneous of simultaneous and andsuccessive successive en- rootingsen-rootings that that the the radicant radicant or or the the nomad nomad can can produce produce versus versus the the simplifi simplifieded “ “multicultural”multicultural” standardizationstandardization that that global global capitalism capitalism demands. demands. In the In Israeli the Israelifield of field art, however, of art, however, in which inthe which Law ofthe Return Law of makes Return immigration makes immigration a gendered a gendered ethno-religious ethno-religious issue, the issue, case the of case“repatriated of “repatriated”” Jews from Jews thefrom FSU the— FSU—thethe 1990s 1990s ‘aliya ‘aliya’—is’—is a singular a singular case case within within the thegenerality generality as asit itwas was shown. shown. The The ways ways in in whichwhich the first first and, and, especially, especially, the the 1.5 1.5 generation generation of FSU of FSU artists artists re-elaborate re-elaborate their identity their identity in the context in the contextof global of processes global processes of migration of migrationand the rise and of the the transnational rise of the discoursetransnational combine discours a nomadice combine state ofa nomadicmind with state intersectional of mind with struggles. intersectional struggles. WhileWhile the the explicitly explicitly provocative provocative approach approach of of some some women women artists artists toward toward the the main main issues issues in in the the fieldfield relating relating to to the the FSU FSU 1.5.generation 1.5.generation has resonated inin thethe public,public, Sher,Sher, Vladimirsky, Vladimirsky, and and Kaminker Kaminker in intheir their photographic photographic works works portray portray an an intimate intimate transnationaltransnational meditativemeditative state of of mind mind that, that, although although farfar from from indulging indulging in in overt overt social social critique, critique, makes makes a a powerful powerful impact impact that that allows allows us us to to reflect reflect on on the the wayway photography photography can reveal muchmuch moremore than than a a documentary documentary description description of of the the 1990s 1990s ‘aliya’. ‘aliya Like’. Like the theradicant radicant metaphor, metaphor, the connotative the connotative message message of the of photos the photos at the level at the of level its production of its production and reception and receptionmust be re-coded must be by re- crossingcoded by di ff crossingerent platforms different as platforms a continuum as a of continuum uprooting ofand uprooting re-rooting, and which, re- rooting,in turn, which, offers a in multiplicity turn, offers of a interpretations. multiplicity of interpretations. Despite the diff Despiteerent themes the different and approaches themes and that approachescharacterize that each characterize of these artists each andof these despite artists their and age despite differences their age within differences the first within or 1.5 the generation, first or 1.5their generation, oeuvres nod their to oeuvres strangeness nod andto strangeness displacement and and displacement show variant an characteristicsd show variant of characteristics what is called of“home,” what is “national called “home, identity,”” “national and “promised identity,” land”and “promised that have beenland”so that fundamental have been so in fundamental the Israeli art indiscourse the Israeli since art discourse its inception. since Initstheir inception. works, In more their thanworks, a qualitymore than of “Israel-less,”a quality of “ theIsrael visual-less,” e fftheect visualis one effect of an is Israeli-ness one of an thatIsraeli still-ness refers that to still the refers same to national the same issue. national From issue. the radicant From the perspective, radicant perspective,it seems than it seems the tension than the between tension Israeli-ness between Israeli and Israeli-less-ness and Israeli is an unresolved-less is an unresolved theme in ourtheme times. in ourAfter times. Nancy After Frazer, Nancy who Frazer, argues who that argues struggles that for struggles recognition for recognittake placeion at take times place of transcultural at times of transcultural interaction and accelerated migration and global media flows, and demands more than “simplify[ing] and reify[ing] group identities” (Frazer 2000, p. 108), it seems that neither total

Arts 2019, 8, 159 21 of 23 interaction and accelerated migration and global media flows, and demands more than “simplify[ing] and reify[ing] group identities” (Frazer 2000, p. 108), it seems that neither total assimilation into the national cultural landscapes nor the specific identity of the self-group, but rather the living places of social exchange, can play a fundamental role as substitutes for the lost place of birth. These living places are shown in Sher’s, Vladimirsky’s and Kaminker’s works as fantastic and stylized scenarios, deconstructed and recomposed apartments or dilapidated peripheral homes marked with power-gold. These representations deal with the complexity of people’s lives, the multiplicity of their self-identities, and the clashing pulls of their various affiliations. Living places create a diverse version of home, a real and imagined place of the family, and family is the medium and the object of a continuum between the real and the optional world, acting like a magic carpet that flies over the territorializing of Israeliness or even seeks to undermine it. By refusing to privilege remedies for misrecognition and exclusion of the “Russian” immigrants through the valorization of origin identities only, the approaches adopted by Sher, Vladimirsky, and Kaminker refrain from essentializing consensual configurations of both the Israeli field of art and the FSU origins.

Funding: This research was supported by the Research Unity- Oranim Academic College of Education, 2018–2019. Conflicts of Interest: The authors declare no conflicts of interest.

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