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Journal of Israeli History: Politics, Society, Culture This article was downloaded by: [Harvard Library] On: 07 January 2015, At: 10:52 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Journal of Israeli History: Politics, Society, Culture Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/fjih20 Motherhood and nation: The voice of women artists in Israel's bereavement and memorial discourse Yael Guilat Published online: 28 Sep 2012. To cite this article: Yael Guilat (2012) Motherhood and nation: The voice of women artists in Israel's bereavement and memorial discourse, Journal of Israeli History: Politics, Society, Culture, 31:2, 283-318, DOI: 10.1080/13531042.2012.710774 To link to this article: http://dx.doi.org/10.1080/13531042.2012.710774 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. Terms & Conditions of access and use can be found at http://www.tandfonline.com/page/terms- and-conditions The Journal of Israeli History Vol. 31, No. 2, September 2012, 283–318 Motherhood and nation: The voice of women artists in Israel’s bereavement and memorial discourse Yael Guilat* This article offers an interpretive reading of current works of art by women that indicate the paradoxical place of the woman artist as a mother in the cycle of militarism and attitudes toward the discourse of bereavement and commemoration. My hypothesis is that the arts herald or anticipate the trauma by seeking to express something that may be called “pre- and counter-commemoration.” This interpretation of these artists’ stance expands on insights arising from the notion of “counter- memory” to discuss a paradoxical form of commemoration that refuses to acquiesce in the cycle of militarism and memorialization. The article offers an integrated examination of theory and practices in the historical context of motherhood and nationalism and, specifically, of women artists in Israel in recent decades in the “discourse of bereavement” as opposed to the “discourse of the bereaved.” Keywords: motherhood; nationalism; militarism; women artists; counter-memory; bereavement; commemoration; collective memory Introduction Sarah Metzer’s article, “The Silent Voice of the Combat Soldiers’ Mothers,” begins by stating: “To be a combat soldier’s mother is to be in a paradox.”1 This sentence accompanies my article, which explores the works of women artists who seek to contend with potential bereavement and anxiety while expressing their resistance to being passively and automatically drawn into the cycle of militarism. This ambivalence recurs in most discussions about motherhood in the nationalist discourse and about motherhood as a stance in the public discourse.2 These women artists’ endeavors were prompted by a complex linkage among different aspects of their identity. Some produced their works in response to their sons’ military induction; others were driven by feminist and anti-militarist political attitudes. The former refused to play the role of mothers who silently acquiesce in the occupation sustained by their soldier-sons, as in Shoshan Brosh-Weitz’s work (Figure 1); their Downloaded by [Harvard Library] at 10:52 07 January 2015 conduct was subversive relative to what isexpectedofthem.InthecaseofYehudit Matzkel, who produced several series of worksonthetopic(Figure2),thearticulation between feminist positions and “motherhood in conflict” is generating a corpus of work that oscillates between the two and offersaplethoraofattitudesandpositionsfrom empathy to overt protest, focusing on the body as woman-mother and culminating with her gaze over the landscape of grief at the cemeteries. The women artists whom Idiscussbelowdidnotexperiencebereavement under military circumstances. I chose them to expand the discussion of what may be called the separate voice of women and women artists in the “discourse of bereavement” as opposed to the “discourse of the bereaved.” In Israel, this voice was first heard in the 1990s and found expression in *Email: [email protected] ISSN 1353-1042 print/ISSN 1744-0548 online q 2012 Taylor & Francis http://dx.doi.org/10.1080/13531042.2012.710774 http://www.tandfonline.com 284 Y. Guilat Figure 1. Shoshan Brosh-Weitz, The Silence of the Washerwomen (2006), mixed technique on plaque (www.e-mago.co.il/Editor/feminism-1129.htm). literature, philosophy, and the plastic arts.3 Thus, this article offers an integrated examination of theory and practices in thehistoricalcontextofmotherhoodand, specifically, of women artists in Israel in recent decades. During these years and particularly aftertheYomKippurWar(1973),theIsraeli memorial discourse becameabattlefieldamongdiversevoices and attested to a profound change in relations betweentheindividualandthecollective.4 The debate was not confined to the nature of memorial sites and their ability to accommodate individual narratives; in the past two decades, it has spread to the designing of tombstones in military cemeteries as a place for personalgriefininsteadofpubliccommemoration.5 This article focuses on women artists whochosetoexpressthematernalaspectof their identity either directly, through the artistic themes, motives, and devices of their works, or indirectly, via the strategies and cultural contexts that they selected. Their works abound with references to maternal roles, address the way these roles are Downloaded by [Harvard Library] at 10:52 07 January 2015 structured, and respond to the appropriationoftherolesbynationalismandmilitarism. These artists neither acted as a group nor were treated as such in exhibitions or any other event. They represent a phenomenon that I will use to illuminate the issue of motherhood and nationalism from an angle that has not been investigated thus far. Unlike other studies that focus on the place and function of monuments in Israeli society, the presence of women in these monuments, or the image of the mother in Israeli art, my aim in this article is to offer an interpretive reading of current works of art by women that indicate the paradoxical place of the woman artist as a mother in the cycle of militarism and attitudes toward the discourse of bereavement and commemoration.6 My hypothesis is that the arts herald or anticipate the trauma by seeking to express something that may be called “pre- and counter-commemoration.” This interpretation of these artists’ stance expands on insights arising from the notion of “counter-memory” to discuss a paradoxical form of commemoration that refuses to acquiesce in the cycle of militarism and memorialization. The Journal of Israeli History 285 Downloaded by [Harvard Library] at 10:52 07 January 2015 Figure 2. Yehudit Matzkel, photograph (1998), in “Hatza’it ba-derekh!” Shalosh shanim im Givati: Yehudit Matzkel, tzilumim (“Skirt on the way!” Three years with the Givati Brigade: Yehudit Matzkel, photographs) (Tel Aviv: Eretz Israel Museum, 2000), 98. 286 Y. Guilat The counter-memory concept evolved from a confrontation with the collective memory, which essentially banishes or represses memory that is personal or that fails to conform with hegemonic group memory. Counter-memory undermines the legitimacy of the historical memory that the collective memorycreatedandstrivesforsymbolicrepresen- tation in history.7 James Young, discussing the same issue inthecontextofHolocaustcommemora- tion, deconstructs the concept of commemoration and discusses the structural failure that takes place when an absence is marked by a monumental “presence.” Basing myself on the constantly expanding discussion of counter-memory, I wish to construe these women artists’ anti-monumental works asaproposalfora“counter-memorial.”8 The “counter” in these works is resistance that anticipates loss – the active resistance of an artistic endeavor that uses memorial strategies to dispense with the need to memorialize, asortoffetishistpracticeofprotectiveness on the one hand and protest on the other. Iprecedethisinterpretivereading with historical background about the place of women and mothers in monuments for the fallen and with feminist theories on motherhood and its position in the public discourse. In a certain sense, the interpretation that follows reverberates in David Grossman’s novel To the End of the Land.Theheroine,Ora,deniesbeing“oneofthosemotherswho sends [her sons] into battle. [She is] not from those dynasties,
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