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Ngurungaeta Simon Wonga of the Woi Wurrung Clan

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Simon Wonga became Ngurungaeta (leader) of the Woi Wurrung Clan after the death of his father, Billibellary (c. 1799-1846) at age 22. He was born at Wonga (area near Arthur's Seat) & in 1863 with his maternal cousin, William Barrack, established Corranderrk Mission Station, after leading his people across the Black Spur's Songline to the Upper Yarra. Although access to the land was granted, this was never freehold. The Melbourne suburb Wonga Park & Wonga Road are named after him.
https://www.wurundjeri.com.au/our-story/ancestors-past/

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Nicholas Currie identifies as a mixed Indigenous & Anglo Saxon Australian male. Artist, performer & writer. Large non-figurative works depicting gestural movements of the body in dance, manual labour & sport. Sculpture & painting of masculine family imagery, a visual language of storytelling invoking conversations surrounding self-identification.

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https://www.moreland.vic.gov.au/building-and-business/business/investing-in-moreland2/partnerships/brunswick-design-district/

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Brunswick will become a state and national leader in fashion, art and creative design following an announcement by the State Government in 2018, to name the precinct the Brunswick Design District (BDD).

The BDD includes Brunswick's industrial land zones and civic and cultural precincts that centre around the Sydney Road and Dawson Street intersection, and RMIT's Brunswick Design Campus, home to a world-class School of Fashion and Textiles.

The BDD is a collaboration between RMIT University, Moreland City Council and the State Government's Creative Victoria to create opportunities and activity that support the development of the precinct. The aims of the BDD are to:

grow local jobs and opportunities for design-related businesses

attract high-potential startups and design entrepreneurs

develop educational programs and pathways to employment

encourage industry partnerships and collaborations

develop support programs that explore and connect with local and export markets to accelerate commercialisation; and

develop accessible and affordable community infrastructure

More information about the Brunswick Design District (BDD)
The BDD Memorandum of Understanding (PDF)

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Brunswick will become a state and national leader in fashion, art and creative design following an announcement by the State Government in 2018, to name the precinct the Brunswick Design District (BDD). The BDD includes Brunswick's industrial land zones and civic and cultural precincts that centre around the Sydney Road and Dawson Street intersection, and RMIT's Brunswick Design Campus, home to a world-class School of Fashion and Textiles.

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https://www.moreland.vic.gov.au/my-council/grants-and-awards/arts-grants/

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Making Space Program

The recipients of the 2022 Making Space program have been announced.

'Making Space' offers a residency at one of our partner venues. These venues include Blak Dot Gallery, BRUDI (Brunswick Design and Innovation Centre), Brunswick Library, Brunswick Town Hall (Seat at the Table), Coburg Library, Siteworks and Schoolhouse Studios.

Each residency includes the use of a space for 1 to 5 months duration and a small stipend for the resident of $1,000 to support the development of a creative project or idea.

Making Space is proudly delivered by Moreland City Council along with Creative Victoria, RMIT and the Brunswick Design District (BBD). You can find out more about these organisations at:

2022 recipients

Eugene Shenton (Visual Arts - Painting) - Blakademy

Sharn Geary (Jewellery) - Blakademy

Lily Fish (Exhibition of cancelled shows) - BRUDI

Lucy Beattie Hughes (Wallpaper) - BRUDI

Olivia Floate (Ceramics) - BRUDI

Angela Costi (Writing - Poetry) - Brunswick Library

Stephanie Dix (Writing for young people) - Brunswick Library

Sharni Louise Hodge (Writing- magazine) - Seat at the Table

Angeline Armstrong (Writing - Screenplay) - Brunswick Town Hall

Anne Moffat (Visual Arts) - Brunswick Town Hall
Isobel D'Cruz Barnes (Music - Research) - Brunswick Town Hall

Jess Dandelion Mitchell (Immersive Installation) - Coburg Library

Vivian Qiu (Jewellery) - Coburg Library

Eileen Braybrook (Textiles) - Schoolhouse

Emma Riches (Live Performance - Dance) - Schoolhouse

Evie (Evangeline) Clark (Visual Arts - Painting) - Schoolhouse

Georgia Ruby Polichroniadis (Social engagement project) - Schoolhouse

Michelle Dong (Textiles - Living Garment) - Schoolhouse
Veisinia Tonga (Writing) - Schoolhouse

Amy Evans (Public Artwork) - Siteworks

Belle Hansen (Live Performance) - Siteworks

Betty Musgrove (Textiles) - Siteworks

Chantelle Mitchell (Writing) - Siteworks

Clare Rankine (Writing) - Siteworks

Deb K Williams (Ceramics) - Siteworks

Elena Gonzalez (Visual Arts) - Siteworks

Emerald MacGill (Visual Arts) - Siteworks

Emilie Walsh (Workshop series) - Siteworks

Emily Simek (Visual Arts) - Siteworks

Emma Hall (Writing - Novel) - Siteworks

Eric Butler (Writing - Poetry) - Siteworks

Faith Hunter (Writing - Nonfiction) - Siteworks

Fiz Eustance (Visual Arts) - Siteworks

Harry Dowling (Live Performance) - Siteworks

Hugo Williams (Live Performance) - Siteworks

Janine Barrand (Research) - Siteworks

Jessie DiBlasi (Visual Arts - Photography) - Siteworks

Kasey Gambling (Audiovisual - guided walk) - Siteworks

Kelly Yoon (Mapping Moreland) - Siteworks

Kitty Owens (Writing - Historical) - Siteworks

Melanie Read (Textiles - Sustainable) - Siteworks

MJ Flamiano (Community Workshops) - Siteworks

Sandra Tobias (Architecture) - Siteworks

Stephanie Rose Wood (Workshop - Photography) - Siteworks

Sunanda Sachatrakul (Performance) - Siteworks

Tamara Leacock (Textiles) - Siteworks

Valentina Palonen (Ceramics) - Siteworks

Program objectives

The objectives of the 'Making Space' residency program is to:

support a diverse range of creative individuals and collectives

support and connect a network of creative venues

develop multi-sector partnerships focused on strengthening two of Victoria's key creative neighbourhoods, Brunswick and Coburg

Summer Community Event Grant

Our annual carols by candlelight tradition will not go ahead once again in 2021. Instead community events will shine this Summer through the Summer Community Event Grant.

The grant round was competitive with 17 eligible applications received. Requests for funding totalled over $43,000 for a total funding pool of approximately $15,000.

Grant recipients have been announced. We look forward to seeing their events come to life this Summer.

You can see the full details about these events on our What's on page.

The full recipient list for this grant is below.

2021 Summer Community Event Grant Recipients

The 2021 Summer Community Event Grant recipients are:

Auspicious Arts for Jayson Patterson: Soft Reality at Coburg Lake

Brunswick Neighbourhood House: Brunswick Multicultural Festival

Casa de Cultura: South America in Four Seasons

Fawkner Food Bowls: Basant Festival and Community Mural Unveiling!

Newlands & East Coburg Community Hubs Inc - NECCHi: Passata Party - Summer Series

Yamunindi Art & Culture: Meridiana festival of fusion Mediterranean dance, music, and culture

Flourish Arts Recovery Program

The COVID-19 pandemic has had a significant impact on the Australian arts and culture sector. Many artists and arts organisations have reported considerable financial hardship due to event cancellations and loss of income. These grants aim to help Moreland's arts and culture sector recover and flourish.

The Flourish: Arts Recovery Grant for 2021/2022 has just been announced following a highly competitive grant round with 66 eligible applications received.

Requests for funding in 2021/2022 totalled over $453,000. As a result, council approved an additional $100,000 in funding to provide a total budget pool of over $200,000. The successful applicants reflect the diversity and strength of creative practices in Moreland and we look forward to supporting recipients to fulfill their projects in 2022.

The full recipient list for this program is below.

2021 Flourish Recipients

The 2021 Flourish recipients are:

7th Floor: 7th Floor 2022 Program

Alison Adriano: Ali Adriano - EP Project

Barry Solomon: Camping with Mrs Barb Wire

Belinda Locke: Disability Pride Month

Bonita Carzino: Purchasing Camera Equipment for Cinematography

Chelsea Hickman: Lockdown Response: Digital Adaptation Project

Commoners Press: 10 Press

Ell Sachs: We Too Us Too Me Too Too Too - Rehearsal Period

Gamaka Incorporated: Gamaka presents REVIVAL

Georgie Darvidis: Georgina Darvidis - Music Video

Jemma Cotter: The Fling - Short Film

Josh Glanc: Josh Glanc - Vroom Vroom

June Lamb: Writing, recording, production, mixing, and mastering of June Jones EP

Jungle City projects: Movement Maps

Lemony S Puppet Theatre: Lemony S Puppet Theatre Lab

Margaret Mayhew: Queers Draw BEEF: Dancing, drawing, and colouring in for LGBTIQA+ people in Moreland

Moreland City Band: Getting Better

New North: New North 2022 Program: Elevating Exploratory Music with Concerts, New Works & Audience Development

Norm Warehouse: Norm Warehouse Survival Reboot

ON3 Studio: ON3 Artist Development Workshops

Outer Urban Projects Ltd: TRANSMISSION

Pink Ember Studio: Pink Ember Workshops & Open studio days

Prue Stent: Still Almost Blue

Roosevelt Street Studios: Surviving COVID-19 hardship

Schoolhouse Studios: Schoolhouse Studios Rent Relief

Seat at the Table: Race on the Table Vodcast Series

Sofie Dieu: Hyper Sensorial Art

Vardos ANTFARM: an Anthropomorphosis

Zoë Bastin: Waves Are Disturbances

2020 Flourish Recipients

The 2020 Flourish recipients were:

Alana Holmberg: 'Porch Diaries' (Exhibition)

Blakademy - Blak Dot Gallery: 'Around the Fire' (Blakademy Public Program 2020-2021)

Bunk Puppets: 'Organisational Funding' - Company diversification and core planning

Dylan Martorell: 'Sonaflora Field Guide' (Interactive Experience)

Eddie Botha Creations: Fawkner Bowls Club Community Mural

Fleur Murphy: Research and development of a new play script, 'The Fence'

GalleryGalleryInc: 'Inside Out Projection Window' (Exhibition)

Jade Imagine: Recoding of their second album

James Ruse: Untitled short film project

Jazzlab: Jazzlab Digital Corona Sessions (Pilot program)

Joel Ma: Development of 'Joelistics Presents Film School' into a live performance and short film

June Lamb: Creation of Video clip for 'Home', the 3rd single off June Jones' upcoming album release

Kate Lefoe: Development of an online LGBTIQ community for 'Wicked Women' web series

Lemony S Puppet Theatre: Open design process and puppetry workshops

Melbourne Minute: Melbourne lo-fi hip hop radio

Melbourne Sound School: Sound School - 'Watch and Learn' Program

Merlo Art Collective: 'People on the Streets' (Exhibition)

Milk Records Pty Ltd: Organisational Funding - Supporting Moreland based recording artists at Milk Records

Nicola Castle: 'The Alt-Right Addiction' (Film)

NOIR Darkroom: Organisational Funding - Supporting Exhibiting Moreland Artists at NOIR

Norm Warehouse: Organisational Funding - Supporting Moreland Artists at NORM Warehouse

Pink Ember Studio: Pink Ember Workshops Series

Riot Stage: 'Everyone Is Famous' (short film)

Roosevelt Street Studios Inc: Organisational Funding - Supporting Moreland Artists at Roosevelt Street Studios

Simon Aubor: 'Moreland: 23/03/2020 to xx/xx/xxxx' (Photographic project)

Stephanie Lake Company: Creation of new work, 'Manifesto' (Dance)

TCB Art Inc: 'Mulana - First Nations Residency Programme'

The Listies: 'SMELLOVISION!' Filmclips for forthcoming comedy album for children

The Wandering Room: 2021 Solo Exhibition Program

Varuni Kanagasundaram: 'Messages That Link Us' (Kolam Ritual Drawing)

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The recipients of the 2022 Making Space program have been announced. 'Making Space' offers a residency at one of our partner venues. These venues include Blak Dot Gallery, BRUDI (Brunswick Design and Innovation Centre), Brunswick Library, Brunswick Town Hall (Seat at the Table), Coburg Library, Siteworks and Schoolhouse Studios.

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https://www.clothingthegaps.com.au/

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Clothing The Gaps honours Aboriginal and Torres Strait Islander people as the rightful Custodians of the lands and waterways across the country.

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https://blakdot.com.au/

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Blak Dot Gallery is a contemporary Indigenous-run art gallery & performance space showcasing modern & traditional artworks from world Indigenous cultures.

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http://saffronnewey.com/
International renowned artist

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Saffron Newey Artist is an exhibiting fine art painter based in Melbourne, Australia. Saffron's concentration is abstract landscape and photo-realistic painting.

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https://www.abc.net.au/news/2022-07-03/moreland-council-votes-change-name-merri-bek/101204252?utm_campaign=abc_news_web&utm_content=link&utm_medium=content_shared&utm_source=abc_news_web

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After 183 years, part of Melbourne will ditch its slavery-linked name for a local Aboriginal word

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The shift comes after residents in the inner-Melbourne local government area were given an opportunity to vote for one of three Aboriginal Woi-wurrung words as the new name.

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https://www.google.com/search?sxsrf=ALiCzsZ_Ho0OnC-qAmgNjAg8aqjCy9EfJw:1659841100750&source=univ&tbm=isch&q=sydney+road+street+party&client=avast-a-2&fir=cFs2UQOj7aqpAM%252C4WwHQAt1vqhS8M%252C_%253BpM54AHGrJQOJZM%252CqLnEHYaYdoSduM%252C_%253BhLY9Y9X8CxVmPM%252CUU6qzeFGRUlejM%252C_%253Bb-97l3EGCmVuGM%252Cpz3GwXAiPwQv2M%252C_%253BEtwVUdo1yikWkM%252C-1ax2v-40INktM%252C_%253Bp2YXEGMamJNK_M%252C-vCQVl_rZwhTRM%252C_%253BsCHTHIqTP1zX8M%252CahiNjifg2kgbPM%252C_%253BJ2JsBntD12jmTM%252CYZoGP6UT1dkWbM%252C_%253BBEb_wMfAMRYMUM%252C4WwHQAt1vqhS8M%252C_%253Bep7q_SCIZmXXjM%252CH2NVV6OV638D3M%252C_&usg=AI4_-kSK83JYpLIKzDHIguvStcI5_HbNVQ&sa=X&ved=2ahUKEwiIjsb53bP5AhWjxDgGHdA3DooQ7Al6BAgwECY&biw=1280&bih=569&dpr=1.5#imgrc=3yZHwWLuiwZwDM

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sydney road street party - Google Search

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flickr climate crowd hannah flickr melbourne performers brunswick music festival flickr pro venues event

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https://soca.com.au/

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SoCA is a place to explore
the possibilities of clay and art.

Founded by ceramic artist and teacher Shane Kent, SoCA brings together years of experience at the interface of clay and art, a deep interest in creative processes, and a commitment to effective stewardship of ceramic traditions through quality education.

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SoCA - School of Clay and Art School of Clay and Art, Brunswick, Melbourne

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Founded by ceramic artist and teacher Shane Kent, SoCA brings together years of experience at the interface of clay and art, a deep interest in creative processes, and a commitment to effective stewardship of ceramic traditions through quality education.

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https://eastbrunswickvillage.com.au/discover-local-artists-and-designers/#gallery-62eef3bd63ebd-8

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We are commissioning works from local artists to help create a sense of time and place; works that engage with the history of East Brunswick and the site's industrial past, along with the culturally diverse community and urban environment of today. The artwork looks forward too, encapsulating our hopes and wishes for the future.

There will be artworks in a range of mediums including sculpture, painting, photography and murals spread throughout EBV, helping to ensure that art is a part of everyday life. Here are some examples.

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Discover Local Artists & Designers | EBV

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We are commissioning works from local artists to help create a sense of time and place; works that engage with the history of East Brunswick and the site's industrial past, along with the culturally diverse community and urban environment of today. The artwork looks forward too, encapsulating our hopes and wishes for the future.

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https://www.google.com/search?client=avast-a-2&q=map+of+brunswick+melbourne&oq=map+of+brunswick&aqs=avast.1.69i57j0l7.9767j0j1&ie=UTF-8

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https://www.google.com/search?sxsrf=ALiCzsazeEMQ_6aQFBlWJBvqyUYC-tcWzw:1659852258855&source=univ&tbm=isch&q=map+of+woi+wurrung+land&client=avast-a-2&fir=oCk47YzmAvIX0M%252CQ5sXOZiqvVdwXM%252C_%253B-rqxpAR9HkBQIM%252C0wLlqfe1kf9R4M%252C_%253BcmxDAKKZPsasMM%252ChTDuizu53DSNNM%252C_%253Blm2Wx_T5IoLX0M%252CGtNkKsoSHz2q1M%252C_%253BSQUaL-CA-rxIFM%252C2GDzC02lcf0WMM%252C_%253BRmiLIp7WUzMBrM%252CwbenrS1rdpU85M%252C_%253BxziMWrBn0VsrXM%252C2kEnWgeCceaKfM%252C_%253B-xbBJudXa1m3PM%252Cy81f4OBjw9K2nM%252C_%253B6wDutzuVDVYydM%252C2GDzC02lcf0WMM%252C_%253BuNk6J-rvp9XOxM%252CDVzQKgfqQEKb3M%252C_&usg=AI4_-kRTdt5J09FufSkpdiKMAmTFgflekA&sa=X&ved=2ahUKEwjZ5JLCh7T5AhWI7jgGHReiAQ0QjJkEegQILxAC&biw=1280&bih=569&dpr=1.5

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BCHG operates on the un-ceded lands of the Wurundjeri Woi Wurrung people of the Kulin nation and pays its respects to its elders.

BCHG was formed in 1983 and aims to explore the history of the area covered by the former City of Brunswick. It incorporates the suburbs of Brunswick, Brunswick East, Brunswick West and a few streets in North Fitzroy.

The City of Brunswick was incorporated into the Moreland City Council in 1994.

Membership is open to anyone with an interest in the history of Brunswick.

Brunswick is located immediately to the north of the City of Melbourne. It is bounded by the Moonee Ponds Creek to the west, Merri Creek to the east, Park Street to the south and Moreland Road to the North.

The original inhabitants were the Wurundjeri (also known as Woiworung) tribe of the Kulin Nation. They knew the area as Iramoo.

Brunswick was surveyed in 1839 and a number of farming allotments were created fronting on to the north-south track which later became Sydney Road.

One of the early purchasers was Thomas Wilkinson in 1841. He became the first Chairman of the Municipality in 1857. He named his estate on Sydney Road near Albert Street "Brunswick" and the suburb took its name from this. It is generally believed that the estate was named after Princess Caroline of Brunswick - the estranged wife of George IV. As a young man in England, Wilkinson had been a supporter of Caroline's cause. Another theory is that it was named after the royal house of the newly married Queen Victoria.

Sydney Road soon became the main route to Sydney and to the goldfields and construction of the road began in 1851, initially using prisoners from the Pentridge Stockade in Coburg as labour. Many hotels were established along the road to cater for people travelling to the goldfields.

Bluestone quarries were established near the Merri Creek from the 1860s and much of the bluestone used in Melbourne roads and buildings originated here. A quarry started by Alexander P. Wales in the 1860s remained in operation for about one hundred years and became the largest producer of Victorian road stone in the period after the First World War.

Clay quarries and associated brickworks and potteries were also established from the 1840s. A number of smaller operators such as John Glew, Thomas Manallack and the Stroud brothers established clay pits on the site of the present Temple Park and the Barkly Square Shopping Centre carpark. Workers'cottages were built in the surrounding streets to house the workers in the brickworks. Hoffman Patent Brick and Tile Company was formed by a consortium of businessmen in 1870. Large clay pits were established and the large brickworks and pottery built in Dawson Street.

From the 1920s textile industries were set up in Brunswick. Prestige and Holeproof were the two largest textile mills. Other industries in Brunswick included the large Miller's Ropeworks and a number of foundries and food processers.

Affordable housing and plentiful employment opportunities made Brunswick attractive to new migrants in the period after the Second World War. People from Italy, Malta, Greece arrived and by 1960 had transformed the formerly English and Irish working class nature of the suburb. Later waves of immigrants came from Turkey, Lebanon, Vietnam and China. Restaurants and shops reflecting many different cultures appeared along Sydney Road and Lygon Street.

Political radicalism has always been part of Brunswick life. There was a strong anti-conscription movement in Brunswick during the First World War with the community divided along Catholic/Protestant lines. Labor Prime Minister John Curtin lived at various addresses in Brunswick during and after the First World War During the depression the police attempted to ban public meetings and the Brunswick Council and community united in a Free Speech movement. Artist Noel Counihan had himself locked in a cage in Sydney Rd in 1933 as a statement in support of free speech.

Brunswick's population increased rapidly in its first century. From 3000 in 1865, it was 18,500 in 1890 and 57,233 in 1930. It remained at a similar level until the mid-1950s when it started to decline and was 55,900 in 1960. Rising living standards meant people lived in less crowded conditions and it had dropped to under 40,000 by 1994. Since then the population has increased again as large former industrial estates have been converted to residential use with many apartment buildings.

Brunswick became a borough in 1857, a town in 1888 and was declared a City in 1908. In 1994, as part of the state-wide amalgamation of Councils, the City of Brunswick was combined with Coburg and parts of Broadmeadows to form City of Moreland.

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Brunswick Community History Group | Site of the Brunswick Community History Group

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BCHG operates on the un-ceded lands of the Wurundjeri Woi Wurrung people of the Kulin nation and pays its respects to its elders. BCHG was formed in 1983 and aims to explore the history of the area covered by the former City of Brunswick.

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Frankston Arts Centre, Davey Street, Frankston VIC

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Frankston Arts Centre, Davey Street, Frankston VIC

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Frankston Arts Centre, Davey Street, Frankston VIC

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Frankston Arts Centre

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Street Art and Murals in Frankston

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Murals by local, national and international artists bring the city's buildings and laneways to life. Wander the streets to discover iconic images of the Frankston's past, relive childhood imagery and celebrate Frankston's urban culture. For apersonalised experience, book a Street Art Walking Tour.

View the Frankston City Guide and follow the trails to discover the artwork or download the Discover Frankston app and take a guided Digital Walking Tour.

Got little ones who are interested in the art? Check out the Street Art Explorers Program!

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Murals by local, national and international artists bring the city's buildings and laneways to life. Wander the streets to discover iconic images of the Frankston's past, relive childhood imagery and celebrate Frankston's urban culture. For apersonalised experience, book a Street Art Walking Tour.

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"NP23 Blackburn Road looking south circa1912"

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Part of the Bunwurrung / Boonwurrung land, Blackburn is where I (Issy) live! Originally Blackburn Creek, it was a staging post on the way to Lilydale.

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After the festival, our artworks travel all around the world. The team at Light Art Collection ensures they get an international stage.

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Amsterdam Funds for the Arts is a metropolitan cultural fund that boosters arts in the city. It encourages quality, dynamism & diversity & is available to all disciplines within the cultural sector for cultural organisations & artists & supports both experimentational works & proven quality.

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About the Amsterdam Fund for the Arts (AFK)

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The Amsterdam Fund for the Arts (AFK) invests in the arts which enrich the experience of life in the city of Amsterdam. The AFK encourages the quality, dynamism and diversity of the arts in Amsterdam, and contributes to the city’s strong and richly varied cultural climate. The fund is available to a

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Amsterdam University of the Arts offers a massive variety of courses from fine Art, music & dance to design & technology & cultural heritage.

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The Amsterdam University of the Arts is an institute for higher professional education in the arts, with bachelor’s and master’s programmes in music, dance, theatre, film and television, architecture, fine arts and museology.

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SAE Creative Media Education provides specialist vocational & higher education courses worldwide & welcomes international students. Game Art, Animation, Audio & Film Production.

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What's on

Virtual Info Session: Certificate Courses

Virtual Info Session Amsterdam

Virtual Info Session: Short Certificate Courses

In this Virtual Info Session you will have a complete presentation of the short certificate courses about Electronic Music Production, Music Business and Video Production

Animation Traditional skills, such as sketching and life drawing, inform character design work in 3D.

Audio Prestigious track record of winning awards at the Oscars, Grammys and BAFTAs.

Film Gain essential skills to earn your place on any film set around the world.

MA/MSc Professional Practice Provides a coherent but flexible course of postgraduate study, for experienced creative professionals.

Music Business Industry knowledge and entrepreneurial skills required to pursue a successful career in the music business.

Animation Traditional skills, such as sketching and life drawing, inform character design work in 3D.

Audio Prestigious track record of winning awards at the Oscars, Grammys and BAFTAs.

Film Gain essential skills to earn your place on any film set around the world.

MA/MSc Professional Practice Provides a coherent but flexible course of postgraduate study, for experienced creative professionals.

Music Business Industry knowledge and entrepreneurial skills required to pursue a successful career in the music business.

This is your chance to learn more about the SAE Experience. Attendees will get to speak to current students and alumni, learn more about our courses, and learn about your career opportunities.

Our degree courses start in January and September at SAE Amsterdam, certificate courses start in January, May and September.

Explore our range of courses.

Two-year Degrees in Audio, Film, Game Art & Animation, Music Business. Enquire now, and our friendly team will be in touch soon.

Amsterdam

Online

Read about all the exciting things that happen at SAE or meet with us in person at an event near you.

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Study at SAE Netherlands | Kickstart your creative career

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What's on Virtual Info Session Amsterdam Virtual Info Session: Short Certificate Courses In this Virtual Info Session you will have a complete presentation of the short certificate courses about Electronic Music Production, Music Business and Video Production Animation Animation Traditional skills, such as sketching and life drawing, inform character design work in 3D.

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Catharina Backer (1689-1766) was taught to paint by a professional tutor & copied artwork  from the Dutch Golden Age owned by her family to augment her skills. She produced many portraits, but is famous for her still life & floral paintings.

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Since the early modern period Amsterdam has nurtured scores of artists and remained one of the most important cultural centers in western Europe. In fact, many famous figures were born and raised in the city including the following eight pioneering artists.

Adriaen Backer was born in Amsterdam around 1635 and worked in the city as a painter for most of his life. His artwork was deeply ingrained in Dutch Golden Age portraiture and frequently depicted affluent Amsterdammers or romanticised historical scenes.

Although Adriana Spilberg was born in Amsterdam her family originated in Düsseldorf, Germany and relocated to the Netherlands during the Dutch Golden Age. Her father Johanes Spilberg taught her to paint when she was a child and Adriana created many artworks in Amsterdam before moving to Düsseldorf in 1681 to become Archduchess Maria Anna Josepha's court painter.

Whilst living with her parents in Amsterdam Catharina Backer was taught to paint by a professional tutor and augmented her skills by copying from the large collection of Dutch Golden Age artwork that was owned by her family. Although Backer became famous for her still life and floral paintings she also produced many portraits of her contemporaries.

Willem Roelof's work influenced an entire generation of Dutch artists including Willem Hendrik Mesdag, Anton Mauve and Vincent van Gogh. His work was largely inspired by French Realism and employed sober, grey tones in order to portray rural landscapes.

During the last few decades of the 19 th century a group of female Impressionist artists would meet in Amsterdam to paint and present their work. These women were known as de Amsterdamse Joffers and mostly came from rich backgrounds meaning that they could pursue their craft relatively freely. Thérèse Schwartze was associated with this group and mainly painted highly detailed portraits of Amsterdam's wealthy and underprivileged inhabitants.

Samuel Jessurun de Mesquita taught several famous Dutch artists during his time at Haarlem's most prestigious art academy de Kunstnijverheidsschool including M.C. Escher. Besides tutoring Mesquita he also worked as a graphic artist and created countless lithographs, sketches and etchings that fused natural figures with dreamlike or geometrical motifs

In 1948 Karel Appel and several other avant-garde artists from the Netherlands, Belgium and Denmark formed the COBRA movement. These artists were united by their experimental approach towards composition and believed that contemporary art lacked spontaneity or spirit. Although COBRA eventually disbanded Appel continued to develop upon the group's methods and goals for the rest of his career and created hundreds of abstract, playful artworks that often depicted warped human or animalistic figures.

Whilst living in Paris during the 1950s Ed van der Elsken began to develop a distinctive style of photography that revolved around improvisation. Over the next forty years van der Elsken created many well-received photographic series that have since become iconic and helped turn street photography into a recognised art form in the Netherlands.

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8 Artists From Amsterdam You Should Know

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Since the early modern period Amsterdam has nurtured scores of artists and remained one of the most important cultural centers in western Europe. In fact, many famous figures were born and raised in the city including the following eight pioneering artists.

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Check out the tree in the house! Architect Koen van Velsen build a house with a glass roof around a 10 metre acacia tree! Love it! I lived in a stone cottage in Canungra, Queensland which was built around a tree.

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10 of the best hidden art and culture gems in Amsterdam

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Delphine Robiot and Marjolijn van Eys, authors of Jonglez’s Secret Amsterdam guide, select the city’s best finds

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Koninklijk Theater Carre is where I will be going to work with Team MAI in October. Marina Abramovic will perform in collaboration with the MAI community over one week before her one week solo performance of the 7 Operas of Maria Callas which she has performed in Greece & now takes to Amsterdam.

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During the press conference on Monday, March 8, it was announced that the current lockdown will be extended up and including March 30. This results in theaters having to keep their doors closed for the coming weeks.

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During the press conference on Monday, March 8, it was announced that the current lockdown will be extended up and including March 30. This results in theaters having to keep their doors closed for the coming weeks.

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Moco Museum is an independent museum in both Amsterdam & Barcelona which showcases modern, contemporary & street art.

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Discover our exhibitions & experiences

Before your visit, we advise you to reserve a date and time slot. Moco Museum has a limited number of tickets available per time slot. In this way, we can ensure the best experience for you! Thank you for trusting in us and art.

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Before your visit, we advise you to reserve a date and time slot. Moco Museum has a limited number of tickets available per time slot. In this way, we can ensure the best experience for you! Thank you for trusting in us and art.

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Amsterdam, not as liberal & progressive as one may imagine - equality doesn’t always translate to gender & diversity & very expensive living.

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Living in Amsterdam: the ultimate guide to Amsterdam life

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Thinking about starting fresh and living in Amsterdam? You might be wondering things like, how's the Dutch food? And, do I have to wear clogs to fit in? Well, you've got the questions - and we've got the answers. Amsterdam is the cultural and financial centre of the Netherlands, and life in this bustling metropolis is certainly unique.

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Plenty of street art in the city centre, but apparently it gets better if you venture further afield.

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For one day only, don't think of Amsterdam in terms of Golden Age, historical canals and Rembrandt's old stomping ground. For just one day during your visit think about contemporary art in Amsterdam. Discover all about Dutch Design, modern architecture, street art and groundbreaking museums.
It's easy to get lost in Golden Age Amsterdam. The leaning historical buildings along the canals, the Rijksmuseum celebrating the grand old masters of The Netherlands, like Vermeer and Rembrandt. But Amsterdam has a modern face too and it's not even that difficult to see it. Here's how you discover contemporary Amsterdam.

Modern art in Amsterdam

Of course, you'd like to visit The Rijksmuseum during your visit to Amsterdam. But there's something to say for visiting lesser well-known museums that show off some amazing contemporary art. You will never have to wait in line to visit these museums, you'll be surrounded by mostly locals and you will get to see a side of Amsterdam that hardly any tourist gets to see. If you're after modern art? Don't skip these museums in Amsterdam.

Stedelijk Museum
Stedelijk Museum is actually near Rijksmuseum and Van Gogh Museum, but for 'Het Stedelijk' (as locals call it) you hardly ever have to queue. And that's due to it being lesser known, not because of the contemporary collection, because that is excellent. The building used to be a bank and was restructured by Rem Koolhaas. The collection features Van Gogh, Warhol, Rothko and Picasso.

FOAM
Though FOAM is famous as Amsterdam's most important photography museum and has featured works by Anton Corbijn, Alex Prager and Diane Arbus, FOAM is actually about much more than just photography. It's also to go for speeches and lectures. On Thursday night you can take a free guided tour through the museum.

See Banksy in Moco Museum
Not too far from Rijksmuseum and Van Gogh Museum is the mansion that currently houses The Moco Museum, where currently 50 works by street art legend Banksy are being shown. The Banksy exhibit is on until January 2019, but the other temporary exhibits, showcasing works by other street artists, are also worth your time.

Cobra Museum
There isn't an art movement as Dutch as the Cobra Art Movement. The movement started after World War II and is characterised by bold colours and signs that everyone in the world should be able to 'read'. The museum is set outside the city centre, a great excuse to escape the crowds, and was designed by Dutch architect Wim Quist. The collections, which contains works by Karel Appel and Corneille, as well as the temporary exhibits are excellent.

See some Dutch Design

Dutch design is all about minimalism, a sense of humour and innovation. The first time the term Dutch Design was used, was in 1993 when Dutch designers drew the attention of all the journalist attending a trade fair in Milan. Dutch design is often, but not always, inspired by De Stijl, which is also minimal and only uses primary colours. Famous designers are Marcel Wander and Piet Hein Eek.

In Amsterdam follow the free Dutch Design tour to see the best art, shops, galleries and hotel that celebrate Dutch Design. The walk starts at Moooi showroom, brand store by Marcel Wanders, and ends at the iconic Stedelijk Museum, which not only hosts the most groundbreaking contemporary art to be found in The Netherlands but is also designed by Dutch top architect Rem Koolhaas.

Modern architecture in Amsterdam

Amsterdam is generally associated with the large gabled canal houses which were so typical for the Golden Age, though those who'll dare to look close enough, also find lots of examples of modern architecture in Amsterdam, very unconventional and intriguing. The most famous one is EYE, which houses a cinema and film institute, but is also an excellent place for lunch and drinks as it provides a great view over the Amsterdam skyline.

From EYE you will be able to spot Muziekgebouw aan 't IJ, Amsterdam's classical music venue along the IJ river. The concert halls are designed to host all kinds of performances, from small and intimate shows to large dance festivals.

IJ river has proven to be the particular spot for modern architecture in Amsterdam, as it also houses the floating restaurant REM, which was actually built in Ireland in the 1960's before towing it to the North Sea. Now, the platform has moved to Amsterdam Houthavens where it now is a popular spot for dinner.

Street art in Amsterdam

Seeing street art in Amsterdam is mostly about paying attention. I know this sounds a little obvious. But really, street art in Amsterdam is all around. If you don't have time to explore Amsterdam beyond the city centre, keep an eye out in Jordaan, Spuistraat, Vinkenstraat and Prinsengracht, though you will see more and better murals if you venture further afield, like Amsterdam Oost and NDSM where you'll be able to spot work by Rimon Guimarães, Paulo Consentino, I am Eelco and Kobra.

If you have the time and you'd like to visit some lesser-known neighbourhoods in Amsterdam, whilst seeing some exceptional murals, I highly recommend joining this street art walking tour, or be like a Dutchie and join this street art cycling tour. Make sure you have your iAmsterdam City Card before joining these tours, so you'll be able to go on public transport for free.

The heart of contemporary Amsterdam: NDSM

A shipyard along the IJ riverbanks turned into an alternative cultural hotspot. NDSM Wharf is my favourite go-to spot in Amsterdam. Within a couple of years, it has turned into a fabulous community and every time I go there new bars, galleries and shops have popped up, though NDSM has been able to remain rugged, colourful and alternative frayed image. The wharf, which is basically an island, hosts dozens of festivals, contemporary art exhibits and parties throughout the year. You can read more about NDSM in my article about the undiscovered north of Amsterdam.

Plan your trip to Amsterdam

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Travel journalist, organised chaot, Tour de France lover, black cat and black coffee aficionado all rolled into one. The voice behind Your Dutch Guide, helping you to explore The Netherlands beyond Amsterdam.

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For one day only, don't think of Amsterdam in terms of Golden Age, historical canals and Rembrandt's old stomping ground. For just one day during your visit think about contemporary art in Amsterdam. Discover all about Dutch Design, modern architecture, street art and groundbreaking museums. It's easy to get lost in Golden Age Amsterdam.

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So many festivals! I have selected a few! SPRING - DGTL Electronic Music Festival: Global music & mix of art installations & sustainability projects; Amsterdam Art Week: Various exhibitions, performances, screenings, debates & gallery tours; SUMMER - Holland Festival: Performing arts, including visual arts; NO ART Festival: Unconventional art; AUTUMN - Ambacht in Beeld is a craft festival with workshops, masterclasses & documentary films; WINTER - Illuminations is a festival of light art installations; Uitmarkt: Arts festival which is the largest cultural festival which takes place over a week.

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Amsterdam is well-renowned for having a large number of diverse festivals on its cultural calendar. Events run throughout the entire year, although the main festival season peaks during the summer months. The city's major festivals include Holland Festival, Uitmarkt, Grachten Festival, Amsterdam Dance Event and the Amsterdam Light Festival. In the following listing, we mention over 45 Amsterdam festivals ordered by season, plus a few more around the rest of the Netherlands.

Note due to many event cancellations over 2020-2022, some festivals may be re-scheduled to off-season dates.

Spring festivals in Amsterdam

Kaboom Animation Festival [ANIMATION FILM] - Cutting-edge films from experimental art-house to colorful stories for families and kids. Date: early April 2023. Location: various venues in Amsterdam and Utrecht.

Amsterdam Coffee Festival - [COFFEE] A festival event for coffee lovers and industry professionals featuring artisan coffee, gourmet food stalls, barista demonstrations, live music and art exhibitions. Founded 2014. Date: rescheduled for 30 Mar - 1 Apr 2023. Location: Westergas, Amsterdam.

Tulp Festival - [FLOWERS] Tulip Festival Amsterdam, tulips will be on display across the entire city during the whole month of April 2023.

DGTL Festival - [ELECTRONIC MUSIC] Global electronic music festival with mix of art installations and sustainability projects. Date: expected April 2023. Location: NDSM wharf, Amsterdam.

King's Day - [STREET PARTY] Amsterdam goes orange crazy one day each year with this huge street party and market celebrating the King's birthday. Date: 27 Apr 2023.

Amsterdam Art Week - [ART] The Amsterdam Art Week event features various exhibitions, performances, screenings, debates and gallery tours. Date: expected May 2023. Location: Galleries and project spaces around Amsterdam.

Rolling Kitchens - [FOOD] The Rollende Keukens food festival (free entry) features dozens of mobile kitchens and food trucks offering appetising dishes plus live music. Date: Expected late May 2023 (15th edition). Location: Westerpark, Amsterdam.

Taste of Amsterdam - [FOOD] Culinary festival held over 4 days with dishes from some of Amsterdam's best restaurants and chefs. Events include tastings, workshops, a food market and live music. Date: expected June 2023. Location: expected at Amstelpark, Amsterdam.

Summer festivals in Amsterdam

Holland Festival - [PERFORMING ARTS] The country's biggest performing arts festival running most of June every year. The event features scores of performances including theatre, visual arts, classical, dance, opera and film. It attracts a high calibre of local and international performers with around 75,000 visitors. Founded 1947. Date: June 2023 (76th edition). Locations: Multiple locations in Amsterdam.

Amsterdam Open Air - [ELECTRONIC MUSIC] Outdoor music festival with camping area held over a weekend. Founded 2011. Date: expected June 2023. Location: Gaasperpark, south-east Amsterdam.

CineDans Fest - [DANCE FILM] International 'dance on screen' festival with around 60 film screenings plus debates and workshops. Date: expected June 2023 (19th edition). Location: EYE Film, Amsterdam.

Amsterdam Roots Festival - [WORLD MUSIC] Well-established international music and circus festival held at various venues around the city. Founded in 1983 as the Africa Roots Festival, and since 1998 as the Amsterdam Roots Festival. Date: late June/early July 2023. Locations: Muziekgebouw aan 't IJ, Bimhuis, TapasTheater, CC Amstel, OSCAM, New Metropolis ZO, all in Amsterdam. The free Roots Open Air will be at Oosterpark, Amsterdam on 2 Jul 2023 (date to be confirmed).

Julidans - [DANCE] International contemporary dance festival with a broad programme. Date: 2-16 Jul 2022. location: Internationaal Theater Amsterdam and at other locations in the city.

Over het IJ Festival - [THEATRE] A 10 day summer theatre festival held on the waterfront of the IJ river and around Amsterdam Noord. It also includes live bands, DJs and plenty of good food and drink. Date: 8-17 Jul 2022 (30th edition). Location: NDSM wharf, Amsterdam (accessible by free ferry from Amsterdam Central).

Guilty Pleasures Festival - [PARTY] Party festival with nostalgic theme and wide array of activities. Date: 9-10 Jul 2022. Location: Gaasperplas, Amsterdam.

Kwaku Summer Festival - [WORLD MUSIC] Large summer festival (founded in 1975 as a local football tournament) focussed around the culturally diverse Zuidoost (south-east) district of Amsterdam. Has a broad range of activities including art and music, a football tournament and food offerings. Date: 16 Jul - 7 Aug 2022 each weekend. Location: Nelson Mandela Park, Amsterdam.

No Art Festival - [UNCONVENTIONAL ART] Inaugural festival edition featuring unconventional art-performances and pioneering musicians. Date: 30 Jul 2022. Location: NDSM wharf in Amsterdam.

Milkshake Festival - [DANCE PARTY] Gay-friendly dance music festival over a weekend organised by Paradiso and AIR which includes a camping area. Date: 30-31 Jul 2022. Location: Westerpark, Amsterdam.

Pride Amsterdam - [LGBT EVENT] World famous annual LGBT event held over a week at the end of July/beginning of August. The highlight is the spectacular canal parade around the Prinsengracht canal and river Amstel which attracts large crowds. Date: expected 30 Jul - 7 Aug 2022. Location: around Amsterdam.

Dekmantel Festival - [ELECTRONIC MUSIC] Electro music festival featuring a large line-up of cutting-edge artists. Date: 3-7 Aug 2022. Location: Held at 8 stages in Amsterdamse Bos and at various venues around the IJ river in Amsterdam.

Sail Amsterdam 2025 - [TALL SHIPS] Major international tall ships event held in Amsterdam every 5 years. With around 600 ships moored around the IJ, it has become Europe's largest free-access nautical event. 2020 event was cancelled. Date: expected Aug 2025. Location: IJ harbour Amsterdam.

De Parade - [THEATRE] A travelling theatre festival which visits Rotterdam, The Hague, Eindhoven, Utrecht and Amsterdam. The Amsterdam event normally takes place in the Rivierenbuurt district. Date: 12-28 Aug 2022. Location: Martin Luther King Park, Amsterdam.

Grachtenfestival - [CLASSICAL MUSIC] Canal festival featuring classical and jazz music performances throughout Amsterdam, many on unique stages on the city's waterways. Date: 12-21 Aug 2022 (25th edition). Location: various around Amsterdam.

Loveland Festival - [DANCE PARTY] Big DJ dance festival event with a local and international line-up in the western suburbs of Amsterdam. Date: expected 13-14 Aug 2022. Location: Sloterpark, Amsterdam.

Reggae Lake Festival - [REGGAE] The largest reggae music festival to be held in the Netherlands. Date: 20-21 Aug 2022. Location: Gaasperpark in Amsterdam.

Uitmarkt - [ARTS] The largest cultural festival (normally 300 performances across 25 stages) in the Netherlands taking place in central Amsterdam over a single weekend, marking the start of the new Dutch cultural season. Free entry. Date: 26-28 Aug 2022 (45th edition). Location: various around Amsterdam.

Mysteryland Festival - [ELECTRONIC MUSIC] Large electronic music festival event with multiple stages held over an August weekend just outside Amsterdam. Features over 250 artists and 100,000 visitors. Includes a well-equipped camping site. Founded 1993. Date: 26-28 Aug 2022 (27th edition). Location: Floriade festival grounds, Haarlemmermeer (near Hoofddoprp).

Pluk de Nacht Festival - [OPEN-AIR FILM] "Seize the night" open-air film festival (free entry) showing a variety of unreleased international films, animations and documentaries. Also held in Utrecht. Founded 2003. Date: 24 Aug - 3 Sep 2022 (19th edition). Location: Het Stenen Hoofd, Amsterdam.

Autumn festivals in Amsterdam

Amsterdam Fringe Festival - [THEATRE] The Dutch Theatre Festival shows the best of last season's productions whilst the Fringe offers avant-garde theatre. Date: 1-11 Sep 2022. Location: various around Amsterdam.

Valtifest - [ELECTRONIC MUSIC] DJs perform dance, house, electro and hip-hop. Date: 3 Sep 2022. Location: Kaap Oost (Zeeburgereiland) in Amsterdam.

ZeeZout Festival - [DANCE PARTY] Electronic music festival with the motto 'making friends dance'. Date: 3 Sep 2022. Location: Tuinen van West in Amsterdam.

Jordaan Festival - [FOLK MUSIC] Dutch musical singers gather in the streets of the Jordaan neighbourhood. Founded 1975. Date: Sep 2022 (unconfirmed). Location: Appeltjesmarkt, Amsterdam.

Ambacht in Beeld Festival - [CRAFT] Festival offering workshops, masterclasses and documentary films covering a wide range of craft skills. Date: 24-25 Sep 2022. Location: NDSM Loods in Amsterdam.

Camera Japan - [JAPANESE CULTURE] Japanese cultural festival which features film, art, music, architecture plus Japanese food. Founded 2006. Date: expected 29 Sep - 2 Oct 2022 (17th edition). Location: LAB111

Lift-Off Film Festival - [INDEPENDENT FILM] International film festival showcasing emerging artists and featuring shorts, documentaries, animations and features. Date: 9-16 Oct 2022. Location: LAB111, Amsterdam.

Cinekid - [KIDS FILM] International film, television and new media festival for kids. Date: 15-30 Oct 2022. Location: Pathé Amsterdam Noord.

Amsterdam Dance Event (ADE) - [ELECTRONIC MUSIC] Major international conference and festival for electronic music. The festival normally has an extensive range of electronic sub-genres; it's also the world's most important electric music conference for industry professionals. Date: 19-23 Oct 2022 (27th edition). Location: various around Amsterdam.

Imagine Film Festival - [CULT FILM] Well-established international film festival (formerly Amsterdam Fantastic Film Festival) showing sci-fi, cult, fantasy and horror films. Founded 1984. Date: 38th edition rescheduled for 26 Oct - 4 Nov 2022. Location: EYE Film, Amsterdam.

IDFA - [DOCUMENTARY FILM] International documentary film festival Amsterdam. Annual event showing a wide variety of thought-provoking documentaries. Date: 9-20 Nov 2022 (34th edition). Location: Pathé Tuschinski, Het Ketelhuis, de Brakke Grond theatre, Amsterdam plus others.

Winter festivals in Amsterdam

Note, some of the winter festivals have been impacted by the lockdowns and their future status is unknown.

Amsterdam Light Festival - [ILLUMINATIONS] Light art installations around the centre of Amsterdam. Date: expected 1 Dec 2022 - 22 Jan 2023 (11th edition). Location: Amsterdam

Tangotrain - [TANGO] Tango festival cooperative event which runs the last week of December. 2021 event was cancelled. Date: last week of December 2022 (unconfirmed). Location: various around Amsterdam.

Whisky Weekend - [WHISKY] Annual whisky festival featuring some 30 whisky-themed stalls. Date: rescheduled for 13-14 January 2023. Location: De Posthoornkerk (Amsterdam West).

IMPRO Amsterdam - [IMPRO THEATRE] Improvisation theatre festival which attracts a high calibre of international impro players. Date: unknown (27th edition). Location: to be announced.

Chocoa Festival - [CHOCOLATE] Chocolate festival promoting sustainable and good quality chocolate including workshops and tastings. Date: unknown. Location: Beurs van Berlage, Amsterdam.

Other festivals in the Netherlands

Pinkpop - [POP/ROCK] Large annual music festival running which features major artists playing on 4 stages. Founded 1970. Date: 16-18 Jun 2023. Location: Megaland, Landgraaf in Limburg, south Netherlands.

North Sea Jazz Festival - [JAZZ] The world's largest indoor music festival held over 3 days featuring international jazz plus blues, soul, funk, hip hop, world music and more. Founded 1976. Date: 8-10 Jul 2022. Location: Ahoy Rotterdam.

Redhead Days - [REDHEADS] Gathering of 'redhead' people from all over the world. Festival includes about 50 activities and a group photoshoot. Founded 2005. Date: 26-28 Aug 2022 (15th edition). Location: Spoorpark Tilburg.
NOTE - We try to provide as accurate info as possible, however some smaller events may only confirm exact dates a few weeks beforehand; events can also be changed or cancelled at short notice. Last updated 4 July 2022. This article was first published in 2019 and has been regularly updated.

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Festivals in Amsterdam - Annual Calendar - AmsterdamTips.com

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Amsterdam is well-renowned for having a large number of diverse festivals on its cultural calendar. Events run throughout the entire year, although the main festival season peaks during the summer months. The city's major festivals include Holland Festival, Uitmarkt, Grachten Festival, Amsterdam Dance Event and the Amsterdam Light Festival.

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Amsterdam is located in Western Netherlands, IJsselmeer & connected to the North Sea. It is the capital & principle commercial financial centre of the Netherlands, known for its historical attractions & collections of great art. More than 700 years old, it has well preserved old sections, ancient patrician houses & a network of canals into 90 ‘islands’ with 1,300 bridges & viaducts. Amsterdam has an attitude of freedom & tolerance, but is a crowded & congested modern city beset by environmental pollution & housing shortages. The city is 165 square kilometres with a population of 1,165,898. A major physical change occurred in the late 19th & early 20th centuries with booming colonial trade fueled by industrialisation & expansion of the city’s population. Amsterdam suffered less damage than other European cities during world war two, but the old Jewish quarter was razed. The urban renewal programs after the war with new large-scale housing estates were an attempt to accommodate the increasing population, rising incomes & vehicle traffic. Amsterdam has excellent transport connections via rail, water, road & air. With the constant influx of younger people the city has not become older demographically & has 40 museums & over 100 galleries & is attractive to those looking for an alternative lifestyle.

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Amsterdam is the capital and most populous city of the Kingdom of the Netherlands. Amsterdam is located in the North Holland province in the western area of the country, and it comprises a great deal of Randstad, one of the largest conurbations in Europe with a population of more than 7 million. In 2016, Amsterdam had an estimated population of 813,562 within the city limits.

Population and Density of Amsterdam

While Amsterdam has a 2016 population of 813,562 in the city limits, the urban area has a population estimated at 1.1 million and a greater metropolitan area with a population close to 1.6 million. The city has a population density of 4,908 people per square kilometer (12,710/sq mi).

Tourist Interests

Amsterdam is known for its live-and-let-live attitude and acceptance, as well as its rich history. Its cannabis coffee shops, red-light district and historical sites like the Van Gogh Museum and Anne Frank House draw in over 5 million visitors each year.

Amsterdam Demographics

The racial and ethnic makeup of Amsterdam as of 2012 was 49.5% Dutch and 50.5% foreign ancestry. Non-Dutch immigrants in the 16th and 17th century were primarily Sephardi Jews, Huguenots, Flemings, and Westphalians. Huguenots came to Amsterdam after the 1685 Edict of Fontainebleau, which rescinded the right of the Huguenots to practice their religion without persecution in France. Flemish Protestants immigrated to the area during the Eighty Years' War. Westphalians migrated to the area in the 18th and 19th century for better economic conditions.

Amsterdam experienced its first mass immigration in the 20th century as Indonesians moved to the area following the independence of the Dutch East Indies. By the 1960s, guest workers emigrated from Italy, Spain, Morocco, and Turkey. In the 1970s, a large number of Surinamese moved to the city after Suriname gained independence. There have also been waves of illegal immigrants and asylum seekers from Asia, Europe, America, and Africa.

Individuals of non-Western origin account for 35% of Amsterdam's population and over half of all children in the city. Non-Westerners are concentrated in certain neighborhoods, such as Nieuw-West, Bijlmer, Zeeburg, and Amsterdam-Noord.

Amsterdam had a 10% population of Jewish people before World War II, but only 20% survived the Holocaust.

Amsterdam has 176 different nationalities, which makes it one of the most diverse cities in the world in terms of citizenship.

Amsterdam History

The name Amsterdam has been used in the region since at least 1275. The city's founding is relatively recent compared to older Dutch cities like Rotterdam. It was granted city rights in 1300 or 1306, and it flourished quickly due to trading. An alleged Eucharistic miracle made the city a place of pilgrimage in 1345 until the Protestant faith was adopted.

In the 16th century, the Dutch rebelled against Spain, an uprising due in part to new taxes and religious persecution of Protestants during the Spanish Inquisition. This revolt eventually became the Eighty Years' War which led to Dutch independence. The new Dutch Republic became known for religious tolerance. Soon, Huguenots from France, Jews from the Iberian Peninsula and Flanders painters came to the area, as well as religious refugees from Spanish-controlled regions of the Low Countries.

The 17th century was the Golden Age of Amsterdam. It was during this time that it became the wealthiest city in the world and the center of a worldwide trading network. Prosperity eventually declined in the 18th century as wars with France and England took a toll. During the Napoleonic Wars, the city reached its lowest point as Holland was absorbed into the French Empire. The establishment of the United Kingdom of the Netherlands in 1815 was a turning point for the city and led to a second Golden Age at the end of the 19th century.

Amsterdam began to expand before World War I. While it remained neutral in the war, food and heating fuel became scarce, and there were riots and looting. Germany invaded the Netherlands in 1940 and took control. Many Amsterdam citizens protected Jews, and were thus sent to concentration camps along with them. Over 100,000 Dutch Jews were deported to concentration camps, of which 60,000 were from Amsterdam. The most famous was Anne Frank, who died in the Bergen-Belsen concentration camp.

Amsterdam Population Growth

Amsterdam has shown the fastest population growth rate among major Dutch cities, which in turn have grown three times faster than the 1% average of the Netherlands as a whole since 2009. Amsterdam increased by 25,000 people between 2009 and 2011, compared to an increase of less than 1,000 per year in the previous decade. Accelerated growth in Amsterdam is due to foreign and domestic inflow into the area.

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Amsterdam is the capital and most populous city of the Kingdom of the Netherlands. Amsterdam is located in the North Holland province in the western area of the country, and it comprises a great deal of Randstad, one of the largest conurbations in Europe with a population of more than 7 million.

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The beauty of Uganda the Pearl of Africa surpasses its natural flora, fauna and landscapes, and includes her Peoples, their cultures historical background. One peripheral aspect of Uganda's uniqueness lies in her traditional Arts and Crafts. And there is no better place to experience this, than in the remote country sides, where modern technologies have had little to no impact on this crude art and its numerous applications.

Growing up in the country side, I experienced and interacted with this art first hand. Grandmother's Ot O-lum (Langi name for grass thatched house) made of mud walls, a papyrus thatched roof and dung plastered floor, stood adjacent to boma's granary. Our toys were made of sisal strands and dry banana fibers. From these, my siblings would weave balls. They did not have money to afford the fancied inflatable leather balls. At the time, I was too young to make out the significance the various art and crafts to our traditions. Neither did could I comprehend how diverse these were in the different parts of the country. With age, I came to realize how inseparable the various types of crafts were to each community. And they are so many, ranging from pottery, wood curving, sculpture, weaving, and painting. In Uganda, traditional art is a way of life. Commercially; the art and crafts industry is a source of employment to a growing number of practitioners both in and out of Uganda. Allow me indulge you on the various traditional art and craft forms common in Uganda.
Pottery in Uganda
Among the Acholi, Atesot and Langi, pottery is predominantly practiced by men. This is however different in other tribes of people. Clay is extracted from pits dug in the swamps. It is then transferred to the workshops and turned into amazing products like cooking pots, water pots, multi-mouthed pots used in ritual ceremonies like libation. Other crafts here include dolls, jars and other clay sculptures. To make the clay products attractive, they are decorated with peculiar designs, and later kilned to make them strong and durable. Some are painted with attractive colors before being transported to markets for sale or bartering.
Weaving in the community
Weaving in Uganda is dominated by the women. It is commonly practiced among the Lugbara, Nubian, Ganda, and Ankole. Products include mats, baskets, and hats sewn out of materials such as sisal, palm leaves, papyrus reeds and elephant grass. This skill is mostly introduced to girls at an early age so that they grow up to perfect it. Men on the other hand weave more technical things like food baskets, granaries and fishing baskets in different shapes and sizes which they decorated with chalk, paint, blood. This is still practiced. Their products can be seen at craft shops and galleries across the country.
Wood curving
Wood curving and sculpture making is another practice among the traditional crafts men as wood is used for curving products like canoes, the motor and pestle used for pounding food product, and making weapons like shields, arrow, spears, clubs and other. Wood is also used for making home furniture like stools, chairs and thrones for the royal families. The widen thrones are coated with the finest metal like bronze, iron or even gold in rare cases. Sculptures are used in idol worship among traditional African religious believers they are designed to represent gods or the spirits of ancestor. Warrior tribes like the Karamojong curved wood masks which they decorate with multi colored beads and animal feathers as a war attire. Masks are also made out of fine pepper and glue and are often used during traditional dance ceremonies, marriages and coronation of traditional rulers.
Raw Materials
For the Art and crafts industry, Wild nature provides the raw materials. Wild beans, wild gourds, Snail Shells, Tree barks, clay and tree stumps, feathers and even some skins and hides, are still sourced from their natural habitats. Although the growth in animal rights, natural and climate activism has seen an increase in the number of game farming for purposes of extracting skins. Wild gourds are used to make calabashes which are used to store brews, wines and milk and so many other items. Gourds in the ancient time were cut open and used as make plates, or cups from which food, water or wine were served.

The crafts men also harvest the bark of particular tree species like the Fig tree (omutuba) to make specific cloth by beating the bark continuously until it makes a flat surface like a cloth. The Ganda have a very strong cultural connection to the bark cloth. It is used in places of traditional worship and funeral rites as a connection to the ancestors. One can also make clothing, bags, hats and whatever else they wish.

To Ugandans, Art is a lifestyle. Since the old times, animals like elephants were hunted for their tusks. While zebras, cheetahs and leopards, were hunted for their beautiful skin prints. Reptiles like pythons, monitor lizards, crocodiles and snake provided skins, which were used as inputs for items like leather bags, wine skins, sandals, accessories, headdress, crowns, shields and in most cases are used for making musical instruments like drums. Skins are also used in the traditional textile industry for making clothes; the fur from the skin is mostly used for making pillows, fur coats and for decorating other products. Skins from wild animals are used for making traditional clothing, for example in Buganda the Kabaka puts on a leopard skin to symbolize traditional power. Other animal products like mammalian tooth, claws and bones are used for making necklaces, wristbands anklets and other beauteous products. Animal horn are used to make trumpets, flutes while the feathers from the birds are used for designing other products like hats, headdress and crowns as well as bags and other products.

Other things used in the art and craft industry are beads, beans, cowrie shells and snails that are used for decorating other products as well as making necklaces, waistbands, and so on.
Iron Curving
Iron curving is also an important activity in the traditional art and craft industry of Uganda. As early as the sixteenth century, Ugandans discovered how to use iron ore to make iron products, this was common in Bunyoro and the Luo Babito dynasty. It is still practiced up to date. It is a form of employment to the black Smith who uses their formidable skill to turn iron ore into multiple products like spears; arrow heads metal plates, locally made sauce pans, jars and other products. Other minerals other than iron ore were mined and for example the gold among the Karamojong which is used for making beautiful jewelry which is sold at a price. Apart from the precious jewelry and ornaments, mineral in the past times were used for making coins which were minted as a form of exchange currency. Gold bars, iron and brass and copper ore was exported for a living. However much of it was snapped into items of different figure and sold in the crafts market at a price.
Architecture
The other aspect of art and craft is architecture, the shapes of the huts, and the nature of the thatch is another amazing adventure. Huts are built with mud, and in most cases given a circular roof which is thatched with spear grass or papyrus reeds. Among the tribes in northern and eastern Uganda this art of construction is still evident however its rare in central Uganda due to technology advancements. In most cases these hut have a central pillar to hold the roof firm. The mud walls of the house are painted with chalk or lime. Pictures of animals, birds, flags and other imaginary things are drawn to make the hut have a unique exterior view. The interior of the house in most cases is smeared with cow dung and skins of different creatures hang around the walls to give the interior of the hut an exceptional outlook. Painting also is a skill in art and craft that is still cherished up to date. The earliest evidence of paintings are seen in Nyero rock paintings which are believed to have inhabited the first humans in the region of east Africa. Painting of the sun, moon, animals gods are still seen inside the cave of the cultural site.
Stone curving
Stone curving where big rock is curved into images of ancient gods and important personalities is another form of art that should not be ignored. Stone products like the grinding stone, stone gods and idols are some of the products in this field and one is sure to find them displayed in art and cultural centers all over the country. Other forms of art that are worthy a mention are the traditional music instruments like the drums, xylophone, the Adungu and the Akogo which is the Atesot traditional thumb piano, uniquely designed to suit its purpose.

Other things include Cotton weaving to make traditional clothes, this is common among the Karamojong who weave cotton to make beautiful clothes with amazing colors and patterns. Such clothes are in most cases handmade and really good looking compared to the one made in modern textile industries. Other items include bangles, table cloths, headgear, and wrappers.

The art and craft industry has greatly influenced the tourism sector as it attracts people from far and wide to come to Uganda and witness the uniqueness, beauty and diversity of the craft industry. Many of the products have found their way out of the country as they are bought by tourists who later display them in foreign art and craft markets. While on a safari in Uganda, you will have quite a number of chances to visit some of the markets and even better, indulge in making some of these materials.

We are here to enable you experience Art in Uganda. You can send us an email on info@ntungosafaris.com or check out our website www.ntungosafaris.com for great safari offers!

Yours truly

Atim Sheilah -Marketing department- Ntungo Wildlife Safaris Ltd

Book your Cultural trip with us by sending us an email on info@ntungosafaris.com or call us directly on +256 706772990/ +256 701 027620

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Uganda's Traditional Art And Craft Industry | Ntungo Wildlife Safaris

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The beauty of Uganda the Pearl of Africa surpasses its natural flora, fauna and landscapes, and includes her Peoples, their cultures historical background. One peripheral aspect of Uganda's uniqueness lies in her traditional Arts and Crafts.

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If you visited any of Uganda's largest art galleries last year, you would see that the exhibitions were almost exclusively by male artists. Why is that the case? Startjournal has interviewed Lilian Nabulime, Venny Nakazibwe, Sarah Nakisanze and Jana Twinomugisha in search of reasons.
Written by Rebecca Birungi and Anne Kari Garberg, Mama FM

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Since she graduated from Makerere School of Fine Arts, Lillian Nabulime has continuously practiced her art. She has travelled around the world, held numerous exhibitions both abroad and home. She has been able to make a living from her arts. But Lillian Nabulime is an exception.

In the last five years, statistics from Makerere University shows that an equal number of girls and boys have graduated with degrees in fine arts. But then the girls tend to disappear. Few young women go into professional practice. Out of more than 40 exhibitions hosted by Uganda's largest art galleries last year, only one was by a female artist.

A need to fight for exposure

Today Lillian Nabulime is one of Uganda's leading artists, but she did not reach this point without a struggle. When she graduated she was not only a young and talented artist. She was also a young mother, lacking tools and finances to practice her arts.

Surrounded by her elegant women sculptures in her colourful apartment in Makerere, she explains how it was not only her talent but also determination and aggressiveness that enabled her to brush shoulders with fellow male artists, and to make a career in arts:

"I decided that I would make sure to hold at least one exhibition every year. And I would always run to the newspapers and TV-stations to get coverage and exposure. People would say 'oh, this woman is everywhere'. And I was! I wanted exposure; I needed exposure to make a name."

Lillian went abroad, publicised her work on the internet, enhanced her position in academia and eventually made a career as a sculptor. But few female artists make it as far as Lillian.

A competetive industry

"The arts industry has become a competitive industry and you have to be aggressive to be able to stand out. Although we have some women who have made it through, our male counterparts are still far ahead of us when it comes to building a name," Venny Nakazibwe says. She is Deputy Dean at the Faculty of Fine Arts and observes the graduates as they venture into the field.

"Some of them find the market to tough. Since the bachelors' degree in Fine Arts also offers skills in business and administration, some students end up working in other areas like banking or in NGOs," she says.

These jobs are better paid and they offer more security. This takes the graduates away from professional practice. According to Nakazibwe, that is a tendency more so for the girls than the boys.

A good number of the students are also in some way practicing their art but through their own small enterprises, the Dean explains:

"Some of the girls are practicing their art in small enterprises often in the field of fashion. They are engaged in business and their products are therefore exposed within the business sector, not necessarily within the fine arts galleries."

An Entrepreneur or a Fine Artist?

One woman who is practicing her arts within a business setting is Sarah Nakisanze. She designs everything from dresses to cushions covers made from barkcloth and has set up a successful business in Uganda. One of the reasons why we do not find many exhibitions by female artists in the galleries or magazines has to do with the way fine arts is defined, she says:

"I see myself as an artist, but because what I do has an element of functionality many people will say I am an entrepreneur and that what I do run more into the crafts. And the fine artists are pretty good at keeping a distance from the crafts."

If she wanted to get into the galleries she would have to produce her art in a specific way, in one offs the way a plastic artist does.

However, Nakisanze is more concerned with her work being financially viable than she is with getting exhibitions in the galleries: "When I work with barkcloth design I am doing what I love the most. At the same time I am earning money to put food on the table for my two kids and my husband," she says.

Inherent attitudes

Another reason for the absence of women in fine arts is cultural attitudes. At the Nommo Art Gallery in Nakasero, gallery officer Jane Twinomugisha says they have hosted few exhibitions by women throughout the last years. But that is not because they don't want women to exhibit:

"Women have multiple responsibilities. They raise children; they do household chores and don't have time to devote the necessary attention to complete an art piece. That is why you don't see that many of them".

Sarah Nakisanze agrees:

"Although the men are starting to take their share of the responsibility, we still expect the woman to take care of the children and the home."

Nakisanze believes these responsibilities hinder many young female artists from pursuing a career in fine arts:

"By the time the girls leave university, they are in that age where they are likely to get married and have children. They have to take that into consideration when they choose what to do. And since it is hard to make a living from fine arts, they choose to go into other professions," she says.

Fashion is easier

According to Nakisanze, the industrial arts and especially fashion design is in many ways an easier profession for women, since it gives them freedom:

"As a designer, I can design and make production working drawing and then someone else can produce the work. So I don't have to be there throughout the whole process, and can use my time elsewhere."

Having done painting earlier in her career she knows that working with fine artist can sometime involve a very specific lifestyle and that creativity and inspiration sometimes comes at a cost and inconvenient hours:

"As a mother with young children, can you go into your studio and work when they have just had bad dreams? Or can you expose your children to the paint? That kind of lifestyle isn't easy for anyone, but it is still easier for men," she says.

Back in the colourful apartment at Makerere, Lillian supports Nakisanzes view:

"No doubt the art profession is a tough one, it is hard work, it requires a lot of investment and we are poor" she says laughing. Still she would encourage young women with a passion for art to pursue their dreams:

"Art has given me so many opportunities, it has taken me to places and introduced me to people that money could not. It is a tough, but rewarding profession!" she says smiling.

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Rebecca Birungi: Anne Kari Garberg: Anne Kari is a journalist from Norway. She is currently working with Uganda Media Women's Association and Mama FM. She has been working for the Norwegian Broadcasting Corporation. Rebecca is a journalist working for Uganda Media Women's Association and their women's radio station Mama FM.
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If you visited any of Uganda's largest art galleries last year, you would see that the exhibitions were almost exclusively by male artists. Why is that the case? Startjournal has interviewed Lilian Nabulime, Venny Nakazibwe, Sarah Nakisanze and Jana Twinomugisha in search of reasons.

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Guruve - ethical experts in Shona sculpture

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Ugandan art has produced a host of famous artists in recent generations, despite experiencing a political rollercoaster and huge social upheaval. How did they do it?
Uganda has a long history of formal art education. Under British colonial rule as a Protectorate, it was seen as being of less strategic importance than Kenya and this allowed the establishment of art as a school subject. By contrast, art was only taught in white-only schools in Kenya.

Art was extended to degree level through the efforts of Margaret Trowell, who founded the Fine Art school at Makerere University in Kampala. Her courses emphasised the importance of building on existing artistic practices, but introduced new techniques such as silkscreen printing. This echoed the British style of administration in protectorates, that of 'indirect rule' where colonial power structures used existing forms of government. Students came from all over eastern and south-eastern Africa, from the Sudan to Zimbabwe.

Early students at the Margaret Trowell Fine Art School include the sculptor Francis Nnaggenda, a Kenyan, and the painter Sam Ntiro from Tanzania. Exhibitions of outstanding students ' work were held in prestigious London galleries. Some went on the study at London art schools or the Royal Academy. Many such students became lecturers at the school and helped nurture the talents of younger artists.

When the East African countries of Uganda, Kenya and Tanzania achieved independence in the early 1960s, they formed the East African Community. Part of this structure involved sharing university facilities. Uganda, with its fine art school, continued its tradition of providing art education for much of East Africa.

However, all this changed in 1971 when a coup d'état brought Idi Amin to power. Kampala had been the centre of Uganda's intellectual life, but in a very short time this fertile artistic environment had evaporated and all public debate was stifled. Many prominent artists went into exile and those that remained lived a very precarious life indeed. The University lost many outspoken tutors, included its Vice Chancellor who 'disappeared'. An entire generation was traumatised by fourteen years of civil war.

The Fine Art school miraculously stayed open throughout this dreadful time. The old patrons of Kampala's élite and middle-classes were replaced with new patrons from the military, producing not only medals and insignia but commissioned sculpture and paintings for those rising fast through the army ranks. It managed this by employing recent graduates as lecturers. In a way, this gave the school a new lease of life by providing opportunities for innovative young artists and breaking links with those whose training was based on the colonial system.

Current resident artists and lecturers include the sculptors Lilian Nabulime and Rose Kirumira and painters Godfrey Banadda and Paul Lubowa. Their work has been featured in definitive texts on African art such as 'Contemporary African Art' by Sidney Littlefield Kasfir, and also in ground-breaking exhibitions such as 'Seven Stories of Modern Art in Africa' (1995-6, London, Sweden and New York). Guruve has developed excellent relationships with such senior artists, and with many of their most promising students. We promote these artists and their work as part of our mission to raise the profile of contemporary African art in the UK.

This text is copyright (please see statement on our homepage) and is the intellectual property of Guruve Ltd and must not be reproduced without our permission and attribution to www.guruve.com
Related links:
Gallery artist: Godfrey Banadda

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Art and Artists in Uganda - Guruve - ethical experts in Shona sculpture

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Ugandan art has a long history. Under British colonial rule as a Protectorate, it was seen as being of less strategic importance than Kenya and this allowed the establishment of art as a school subject. By contrast, art was only taught in white-only schools in Kenya.

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Amsterdam Events in History at BrainyHistory.com

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Today in History and Famous Birthdays. Find out what happened and who was born on this day in history. Events and birthdays for each day of the year.

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An art school is an educational institution with a primary focus on the visual arts, including fine art, especially illustration, painting, photography, sculpture, and graphic design
Below are the List of Art Schools In Uganda Margaret Trowell School of Industrial & Fine Arts - Makerere University
Phone: 041 4531423
Faculty of Industrial Fine Art
Address: Makerere Hill Rd, Kampala
Nagenda International Academy of Art and Design (NIAAD)
Phone: 0772 247239
michelangeo college of creative arts in uganda
Address: 4GGP+45G, Kisubi
Proline Film Academy
Phone: 0774 189999
The Triangle : Centre Of Music and the Arts.
Phone: 0777 553025
GWOKTCHO ART STUDIO MAKERERE
Address: University Rd, Kampala
Art And Theatre Uganda
Phone: 0771 407039
Makerere University College of Engineering Design Art and Technology
Phone: 0771 407039

Which degree is best for drawing?

Bachelor of Arts or BA in Drawing and Painting is a widely studied undergraduate course by students these days. It is a popular course among students who are aspiring artists, and also offers good and secure jobs in the future. The course is a three-year undergraduate course.

What subjects do you need to be an artist?

Courses an artist may take include art history, studio art, and core subjects such as social science, English, and natural science. Independent schools of design and art may also offer certifications in an art-related specialty and also have associate's, bachelors, or master's degree programs.

How do I start a career in art?
Still, in many ways, all art careers require the same amount of hard work, planning, and networking.

1. Develop Your Skills. Before you can begin a successful career in art, you must first develop solid artistic skills.

2. Find Your Artistic Voice.

3. Make Yourself Known.

4. Learn to Run a Business.

Where can I study drawing?
Sites That Will Teach You How to Draw Well

Drawspace. Unique Feature: More than 500 classes for all levels.

Drawing Coach. Unique Feature: Dive into the art of cartoons and caricatures.

Arty Factory.

Drawing Now.

Daily Sketch Challenge.

Ctrl+Paint.

Pinterest.

YouTube.

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List of Art Schools In Uganda - Ugfacts.net

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An art school is an educational institution with a primary focus on the visual arts, including fine art, especially illustration, painting, photography, sculpture, and graphic design Below are the List of Art Schools In Uganda Margaret Trowell School of Industrial & Fine Arts - Makerere University Phone: 041 4531423 Faculty of Industrial Fine Art Address: Makerere Hill Rd, Kampala Nagenda International Academy of Art and Design (NIAAD) Phone: 0772 247239 michelangeo college of creative arts in uganda Address: 4GGP+45G, Kisubi Proline Film Academy Phone: 0774 189999 The Triangle : Centre Of Music and the Arts.

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In 2016, Jonathan Kintu (not real name) had an idea to build an installation in his community. The functional artwork was intended to engage the community of Kasubi, a city suburb, into responsible waste dumping and also provide recreational facilities to children in the slummy neighbourhood where there's little opportunity to be creative. Almost four years later after its inaugural launch, the project has stalled because of financial hiccups. The estimated meager budget for the project was nearly depleted within the first one year because of the ever-emerging expenses from pilot studies, routine community sensitization campaigns and operating licenses from the local government.

Financial constraints & Creative compromises

This unfortunate scenario continues to be-devil many creative projects by artists in the local communities. It is one thing to have a brilliant idea on paper and another altogether to be able to execute it as a result of the financial constraints. Unluckily, unlike many entrepreneurial ventures that can elicit government funding through schemes like Youth Livelihood Fund or adequate access to finance through banks, many "creatives" have little mandate and expertise to attract funding because of their informal structures. To subdue this disparity in the creative sector, local funding of art projects has often been proposed. This is critical in perpetuating local relevance of creativity and sustainability of the projects. This uniqueness may not be realized with foreign funding that is usually limited or might require a certain level of creative compromise to the project as spelt out by the donor.

A new Arts fund for individual artists

Kuonyesha Arts Fund has certainly created a precedent in this tradition of cultural trusts that are notoriously elusive to a larger group of artists. The fund established in October 2019, is openly extended to all creative genres like visual arts, performing arts and Arts research.

The procedure to apply has been simplified to undercut the idea of selectiveness. In this, applications forms are filled in with basic information with background knowledge of the informal nature of several artists. They're then sent to the organizers through the friendliest means; either through email or physically dropped at respective arts spaces like Uganda National Cultural Centre (UNCC) and private art galleries.

Artist at the info session at the Uganda National Cultural Centre

Inclusiveness

A more interesting facet of the cultural fund is its nationwide interest and not focusing on Kampala like the previous funds have done. Although it is still a pilot project engagement, the objectivity and inclusiveness of the project is already visible in its presence in spaces like Karamoja and Gulu. Karamoja was selected because of the perpetual prejudice with the locale.

The Karamonja region is often described by many Ugandans as a back-ward place that is entirely detached from the rest of the country. For Gulu, it is endorsed as a priority because of its turbulent political past that led to many community structures to be broken. Although the community is slowly undergoing a recovery and rehabilitation process, funding of creative projects within the community is identified as a more potential means to perpetuate the recuperation. Kampala was obviously identified in this project because of its centrality in the culture scene of Uganda. Every culture is sufficiently presented in Kampala because of the business potential in unfolds.

The success of this venture nonetheless will depend on the adequate response of artists in all their multiplicity. Through application to the fund, individual artists or groups of artists will get money to support their projects for a period of eight months. The aftermath of such an initial grant - the project takes on a philanthropy procedure- will determine the continuity of the project within the spheres of spreading it to other regions of the country and increasing funds to respective projects in the long-run.

Artists at the info session at the Uganda National Cultural Centre

In the midst of a growing young population that increasingly subscribes to the creative sector for employment and financial empowerment, it is certain that this cultural fund will provide the necessary financial assistance to the youth to realize their dreams of creativity and innovation. Albeit this useful intervention in the arts sector, government participation to create substantial policies to streamline the creative sector is still much needed.
The Kuonyesha Arts Fund is an initiative of Civ Source Africa with collaboration from Robert Bosch Stiftung and Stichting Doen

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A new dawn in arts funding in Uganda's creative sector

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Lack of funding and the 'strings attached' to donor funding scenarios continue to be-devil many creative projects by artists in the local communities. It is one thing to have a brilliant idea on paper and another altogether to be able to execute it as a result of the financial constraints or because of creativity being compromised by the many donor requirements.

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Uganda: Funding for Locally Based Projects in Art and Culture

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Deadline: 30-Nov-21 Goethe-Zentrum Kampala/ UGCS is offering funding for locally based projects in the different fields of art and culture. This call for projects targets the following disciplines: Visual Arts Performance Art Photography Fashion Design Digital Arts

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Ronald Kerango specialised in Sculpture at Margaret Trowell school of Industrial & Fine Arts at Makerere University. Prolific artist not bound to one medium with a preoccupation for the waning state of the environment. Uses recycled fabric to create collages...& more!

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Republic of Uganda is situated in the African Great Lakes Region, east central, landlocked & bordered by Lake Victoria. 8 major rivers, capital is Kampala, currency is Ugandan shillings (UGX), population is 44,269,594

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Widely recognised as birthplace of humankind, occupied + 4,000,000 years, 2nd largest continent, more languages spoken than any other continent, developing region where agriculture is key to economy. Diamond & gold mining in the south, petroleum & natural gas in the west.

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Peoples, geography, and history of Africa

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Africa, Second largest continent on Earth.

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In the early 1990s, Drexciya, a Detroit-based techno duo made up of James Stinson and Gerald Donald, imagined an underwater kingdom populated by the children of pregnant women who had been thrown overboard or jumped voluntarily into the ocean during the transatlantic slave trade.

Drexciya's founding myth has inspired numerous artists, among them Ayana V. Jackson who, in this exhibition, brings to life an immersive, feminist, and sacred aquatopia where African water spirits from Senegal to South Africa both midwife and protect the Drexciyans. Jackson asks that we reckon with the brutal history that cast these beings to the sea while simultaneously envisioning a world of powerful, resilient women. By using her own body to convey her message, Jackson actively engages in what it might have meant to be among the estimated two million captives who never made it to shore. What do you imagine the Drexciyans see looking back at us?

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National Museum of African Art - Smithsonian Institution

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In the early 1990s, Drexciya, a Detroit-based techno duo made up of James Stinson and Gerald Donald, imagined an underwater kingdom populated by the children of pregnant women who had been thrown overboard or jumped voluntarily into the ocean during the transatlantic slave trade. Drexciya's founding myth has inspired numerous artists, among them Ayana V.

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Peoples, geography, and history of Africa

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Africa, Second largest continent on Earth.

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African History

African Origin of Modern Humans

As for Africa, scientists have formerly concluded that it is the birthplace of mankind, as large numbers of human-like fossils (discovered no where else) were found on the continent, some dating back 3.5 million years.

About 1.75 million years ago, early man spread throughout parts of Africa. They became aggressive hunters, lived in caves and used fire and their ability to create stone tools just to survive.

The Neanderthals arose some 200,000 years ago and inhabited regions in northern Africa and across parts of southern Europe. There is also clear evidence that they had control of fire, lived in caves, as well as open-air structures of stone and vegetation.

One of the most important developments of primitive man was the creation of stone tools. By 5000 BC farming was somewhat common in the northern areas of Africa, as people were growing crops and herding livestock. During that time the Sahara Desert was a fertile area.

Ancient African History

In 3200 BC the Egyptian culture emerged along the lower reaches of the Nile River; it was among the earliest civilizations and their tools and weapons were made of bronze. They also pioneered the building of massive pyramids and temples.

Egyptians also developed mathematics, an innovative system of medicine, irrigation and agricultural production techniques, writing and the first ships. In short, the Egyptians left a lasting legacy upon the world.

Around 600 BC the use of metal tools spread across small population bases and farming groups in North Africa, and their use gradually spread south into what is now called South Africa.

The Phoenicians were an enterprising maritime trading culture from Lebanon who spread across the Mediterranean from 1550 BC to 300 BC. In 814 BC, they founded the city of Carthage in what is now Tunisia in north Africa; only to be destroyed by the Romans in 146 BC.

Meanwhile, the Egyptians continued to spread their culture across Northern Africa, and kingdoms were created in Ethiopia and Sudan. The then-growing Roman Empire continued to expand its influence, and in 30 BC Egypt became a province of Rome; Morocco the same in 42 AD.

Before the Middle Ages began, the Roman Empire collapsed and the Arabs quickly took their place on the continent. In 698-700 they invaded Tunis and Carthage and soon controlled all of coastal North Africa. The Arabs were Muslims, and most of North Africa converted to Islam; Ethiopia was the exception.

Soon kingdoms emerged in Africa; they traded with the Arabs using gold plus a valuable commodity - slaves. One of the first kingdoms was Ghana, located in what is now southeastern Mauritania and western Mali. The empire grew rich from the trans-Saharan trade in gold and salt, but then lost its power in the 11th century.

Additional kingdoms developed across the continent, including those in Benin and Both became rich by trading in gold, horse salt, and of course, slaves. And like most kingdoms before them on any continent, they were invaded and in the end destroyed.

Mogadishu, the now largest city in Somalia, was settled by Arabs who traveled and traded on the east coast of Africa. The Arabs' reach extended to Zanzibar, which was used as a base for voyages between the Middle East and India.

As other organized kingdoms were formed in central and southern Africa, the Portuguese began to explore the western coast of Africa. By 1445 they reached the Cape Verde Islands and the coast of Senegal, and the mouth of the River Congo in 1482. They even sailed around the Cape of Good Hope.

African Colonization and the Slave Trade

The continent-changing 16th Century began with Europeans transporting African slaves to the Americas for profit. A slave purchased on the African coast for the equivalent of 14 English pounds in bartered goods could sell for 45 pounds in the American market.

The best-known method of commerce at the time was called the Triangular Trading System. It involved British and other European countries' manufactured goods which were shipped to Africa, then slaves from there to the West Indies and then sugar and other products back to Europe.

At the same time, Barbary pirates along the North African coast captured thousands of ships. From the 16th to 19th century, an estimated 800,000 to 1.25 million people were taken captive as slaves. The pirates' impact on the continent, however, peaked in the early to mid-17th century.

As tales of African riches spread north, the Europeans founded their first real colonies in the early 16th century, when the Portuguese settled in what is now Angola. Later, the Dutch founded a colony in what is now South Africa.

Strong movements to end slavery began in the late 18th century. France became one of the first countries to abolish slavery in 1794. Britain banned slave trade in 1807, but it was not officially abolished for good until 1848. In some parts of Africa, slave-like practices continue to this day and have proven difficult to eliminate.

Wholesale colonization of Africa by European countries began in 1814 when the snatched the Dutch Colony of South Africa. Carved up like a large pie, the Brits, Dutch, French, Germans and Portuguese grabbed all of the available pieces.

By the end of the 19th century, from Algeria to Zimbabwe, and from Botswana to the continent was now all but controlled by European powers. In the early 20th century the land grab continued as the British took control of Egypt.

By 1920, the forced occupation of African lands began to sour in Europe, and change was in the wind. Africans were also driven by their passionate desire for independence and the movement for same became unstoppable. By mid-century most of the continent was independent, with Angola finally free in 1975.

Post-Colonial Africa

Self-government brought more than its share of civil wars, coup d'états and ethnic conflicts to the newly emerged countries. Add to that mix some horrible genocides, along with famines and out-of-control disease (HIV/AIDS), and Africa was teetering on the edge, and in many areas still does today.

Although Africa remains the world's poorest inhabited continent, there are many bright spots in this land of over one billion people and its 2,000 + languages. Significant economic and social gains have taken place over the last few years, with South Africa, Nigeria, and Egypt leading the way.

The largest segments of modern Africa's economies are agriculture and mining, with tourism growing in some areas. Manufacturing industries have grown large enough to ship products across the planet, and the oil export revenues of Angola, Libya and Nigeria have the potential to change the lives of millions.

Today the 54 countries of Africa have great potential, but this question must be asked: "Can it change soon enough to meet the needs of its people?" We can only hope so.

Africa Geography Facts

For additional geography details please use the yellow navigation bar at the top of this page.

Interesting Facts About Africa

Two of Africa's most interesting geographical features are the Nile River System and Sahara Desert; both impressive in so many ways.

Nile River System: The Nile is a north-flowing river considered the longest river in the world at 6,650 km (4,130 mi) long. It is shared by and benefits eleven countries. The White Nile and Blue Nile are its major tributaries. The White Nile is longer and rises in the Great Lakes region of central Africa, flowing north from Tanzania to South Sudan. The Blue Nile is the source of most of the water and both rivers join near Khartoum, Sudan The northern section of the river flows almost entirely through desert, from Sudan into Egypt. The Nile ends in a large delta that empties into the Mediterranean Sea.

Sahara Desert: It's the world's hottest desert, the third largest desert after Antarctica and the Arctic, and almost as large as China. Covering almost one-third of the continent, the Sahara is the largest hot desert in the world at approximately 3,500,000 sq. miles (9,065,000 sq. km) in total size. Topography includes areas of rock-strewn plains, rolling sand dunes and numerous sand seas. It ranges in elevation from 100 ft. below sea level, to peaks in the Ahaggar and Tibesti Mountains, that exceed 11,000 ft. (3,350m). Regional deserts include the Libyan, Nubian and the Western desert of Egypt, just to the west of the Nile. Almost completely without rainfall, a few underground rivers flow from the Atlas Mountains, helping to irrigate isolated oases. In the east, the waters of the Nile help fertilize smaller parts of the landscape.

Africa Information

Africa famous native sons and daughters

Africa facts and figures, capital cities and currency

Africa country flags

Africa land statistics, highest and lowest points

Africa landforms, lakes, mountains and rivers

Africa latitude, longitude and relative locations

Africa links to major attractions and points of interest

Africa maps, outline, political and topographical

Africa symbols, coat of arms and flags

Africa time zones and current times

Africa timeline of events and history

Africa travel information, airfares, cruises and train travel

Africa weather forecasts and current conditions

Maps of Africa

Africa, the planet's 2nd largest continent and the second most-populous continent (after Asia) includes (54) individual countries, and Western Sahara, a member state of the African Union whose statehood is disputed by Morocco. Note that South Sudan is the continent's newest country.

With a 2011 population of 1,032,532,974, it accounts for just over 14% of the world's human population. It also contains the Nile River system, the world's longest, and the massive Sahara Desert, the world's largest.

Africa is surrounded by the Mediterranean Sea to the north, both the Suez Canal and the Red Sea along the Sinai Peninsula to the northeast, the Indian Ocean to the east and southeast, and the Atlantic Ocean to the west.

Country Map of Africa Outline

Outline map of the Africa continent including the disputed territory of Western Sahara

print this map

Political Map of Africa

Political maps are designed to show governmental boundaries of countries, states, and counties, the location of major cities, and they usually include significant bodies of water. Like in the sample, bright colors are often used to help the user find the borders. A larger version of this map here.

Topographical Map of Africa

A topographic map highlights hills, mountains and valleys of a specific land area by exaggerated shading rather than by using contour lines. This topo map clearly shows the flatness of the Sahara Desert, the depression that Lake Chad sits in, the high mountains of the Great Rift Valley, and it also highlights Lake Victoria, all but surrounded by mountains.

Great Rift Valley African Map

This is a slice of a larger topographical map that highlights the Great Rift Valley, a dramatic depression on the earth's surface, approximately 4,000 miles (6,400 km) in length, extends from the Red Sea area near Jordan in the Middle East,, south to the African country of Mozambique. In essence, it's a series of geological faults caused by huge volcanic eruptions centuries back, that subsequently created what we now call the Ethiopian Highlands, and a series of perpendicular cliffs, mountain ridges, rugged valleys and very deep lakes along its entire length. Many of Africa's highest mountains front the Rift Valley, including Mount Kilimanjaro,Mount Kenya and Mount Margherita.

For additional details on many of the landforms of Africa, this page will help

Africa Satellite View Map

This NASA satellite view of Africa can be useful in many applications, including agriculture, geology, forestry, meteorology, intelligence and warfare. In addition, it's a great education tool as it provides an overview of Africa, with the desert areas of the north, the central fertile areas and the varied topography of the southern regions of the continent are clearly visible.

Historical African Map 1570

Beautifully designed the map represents a high mark of 16th-century mapmaking, it shows Africa in a recognizable shape, with a more pointed southern cape. Madagascar appears, as do the place-names of numerous towns along the coasts and in the interior, although large empty spaces begin to dominate there. No animal or plant life is indicated, but the oceans contain swordfish and a whale. Three ships in the lower right are caught in the smoke of battle. The map was designed by Abraham Ortelius who published the Theatrum, the worlds first atlas.

Map of Africa Prior to Colonization

A map depicting Africa before colonization in 1812 by Arrowsmith and Lewis, printed in Boston by Thomas & Andrews.

1910 Map of the Colonization of Africa

Historical map of Africa shows the possessions of the different European Powers in 1910

What Countries are in Africa?

There are 54 countries the are internationally recognized. Full list bellow, for individual country maps follow the links

World Facts

Useful information on populations and more that are updated weekly.

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Africa Map / Map of Africa - Worldatlas.com

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Free political, physical and outline maps of Africa and individual country maps. Detailed geography information for teachers, students and travelers.

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" There are +- 40 different tribal groups who are all part of the Bantu linguistic history except for a few thousand of original pygmies still living in the forests. From a traditional art perspective, the most important people are the Fang who make up a large part of the population and also reside in neighbouring Cameroon and Equatorial Guinea. Other important producers of unique traditional art are the Punu, The Kota, the Mbete, the Misogho and the Teke."

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Vanishing African Art | A Personal Collection

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Gabon is situated on the Equator on the West Coast of Africa. The population count is about 2 Million and the official language is French. Most of the country is covered in dense tropical forest. There are +- 40 different tribal groups who are all part of the Bantu linguistic history except for a few thousand of original pygmies still living in the forests.

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One Off Art Gallery
Art gallery in Nairobi, Kenya
Address: Rosslyn Lone Tree Estate, off Limuru Road, Nairobi City, Kenya

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https://embassies.gov.il/UnGeneva/AboutIsrael/history/Pages/History-Israel-Timeline.aspx

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https://genderinstitute.anu.edu.au/status-women-israel-relative-rest-world

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Presenter/s: Dr Elana Maryles Sztokman, Founding Director of the Centre for Jewish Feminism

Event type: Seminar

Event date:

Event venue: Hedley Bull Theatre 2, ANU

In this talk Dr Elana Sztokman, the 2016 National Council of Jewish Women Australia (NCJWA) Scholar will look at areas such as wage gaps, political participation, business ownership, personal status issues, women's education, women in the army and reproductive rights to reflect on the status of women in Israel and other countries, including Australia.

Video podcast now available to view or download - mp4 166MB

Dr Elana Maryles Sztokman is the Founding Director of the Centre for Jewish Feminism. She holds a doctorate in education and sociology from Hebrew University of Jerusalem, and wrote her dissertation on the identity development of adolescent religious girls in school. She has written three books on Jewish feminism - The Men's Section, Educating in the Divine Image (with Dr Chaya Gorsetman), and The War on Women in Israel. The first two won the National Jewish Book Council award. Elana writes regularly about feminist issues in Judaism in many forums: The Atlantic Slate, The Forward, Haaretz, The Jerusalem Post, Lilith, The Australian Jewish News, JOFA Journal, Jewish Educational Leadership, and more.

A flyer with more details about Dr Elana Maryles Sztokman's tour in Australia is available below.
Please register for this event online.
Attachment/s:

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The status of women in Israel relative to the rest of the world

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Presenter/s: Dr Elana Maryles Sztokman, Founding Director of the Centre for Jewish Feminism Event type: Seminar Event date: Event venue: Hedley Bull Theatre 2, ANU In this talk Dr Elana Sztokman, the 2016 National Council of Jewish Women Australia (NCJWA) Scholar will look at areas such as wage gaps, political participation, business ownership, personal status issues, women's education, women in the army and reproductive rights to reflect on the status of women in Israel and other countries, including Australia.

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https://dynamicsofinequality.org/the-work-and-family-lives-of-women-in-israel/

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In the third Episode of Series 2 of our podcast looking at research emerging from the Equal Lives project, we talk to Zafer Büyükkeçeci from Humboldt University in Berlin and Professor Vered Kraus from the University of Haifa about their research, Work and family life courses among Jewish and Israeli-Palestinian Women in Israel. They use newly-available linked Census and administrative data to look at who leads a more advantaged or disadvantaged work-family life. They discuss how they created the life course groups, what they found and the implications of the research.
Transcript The work and family lives of women in Israel
In the third Episode of Series 2 of our podcast looking at research emerging from the Equal Lives project, we talk to Zafer Büyükkeçeci from Humboldt University in Berlin and Professor Vered Kraus from the University of Haifa about their research, Work and family life courses among Jewish and Israeli-Palestinian Women in Israel. They use newly-available linked Census and administrative data to look at who leads a more advantaged or disadvantaged work-family life. They discuss how they created the life course groups, what they found and the implications of the research.

Welcome to DIAL, a podcast where we tune into evidence on inequality over the lifecourse. In this series we discuss emerging findings from some of the projects in our programme. Our guests today are Zafer Büyükkeçeci and Vered Kraus who as part of the Equal Lives project have been looking at the lives of Jewish and Palestinian women in Israel, to see whose life courses are characterised by advantage and disadvantage. I started by asking Vered why they decided to investigate the lives of women in Israel.

Israel is composed of a very rich ethnic society. On the one hand, it has the majority of Jews who compose 80% of the population, and the other part, the Israeli Palestinians. Israeli Palestinians are divided again into three major religion groups. The majority of them are Muslim, then we have Christian. Then we have Druids. Druids are a sect, it is a religion that was part of the Muslim religion but depart from them. The Jews also are composed of two ethnic groups, the more advanced one are the Western Jews, and the less advanced one are the Eastern Jews. Jewish woman labour force participation in Israel is one of the highest in the Western world. At the same time, their fertility is also one of the highest. There is 3.2 children per woman, 80% of any woman, participate in the labour force. The third reason is the fact that the Israeli Palestinian are the most disadvantaged and discriminated group in Israel. They have the lowest income, low education and reside in segregated areas and they have a separate educational system. The Palestinian women since are discriminated and have low education, about a third of them are participating in the labour force when their birth rate, on average, is lower than the Jewish. In general, Israel is a very traditional society, we have different sex but also it is family oriented in traditional society, and studying Muslims in Israel can serve as a benchmark for more extensive study on Muslims in neighbouring countries.

A really sort of complex political, social, economic and religious backdrop to this work so Zafer what did you want to look at more specifically? And why?
Zafer Büyükkeçeci 2:49
This is the first study that follow women from various ethnic origins and we follow them from early childhood to late 30s and examine their combined family formations such as marriage childbearing, education, especially into the labour force, and economic returns of participation in the labour force. So, so far, there were lots of studies numerous studies conducted in Israel, studying these events, separately like examine income, family formation influences, employment patterns, or how employment is related to childbearing. But these studies, they focus on single events, and it's not clear how different family and work events typically combine over the life course in which order and timing they occur. And ethnic religious groups differ in terms of the combination of these work and family events over the life course. So, our interests, must identify the typical work and family life courses in Israel and relate these profiles by ethnic religious groups. So to sum up, we examine work and family trajectories among Israeli women. As a whole, by considering single family formation and claimants educational attainment events in the context of others from early childhood to late 30s.
Vered Kraus4:44
So Vered Zafer talks there about following women over the life course. I'm interested to know where you got your information from and and why it's such a good source for looking at these particular questions around who gets to live a more advantaged or disadvantaged work and family life in the setting that we've talked about?

Israel has every 10 years, they have censuses, every 10/11 years so we have 61, 73, 83, 95 and 2008 was the last census, done by the Central Bureau of Statistics. And one day they're going to interview everybody who lives in Israel in that day, and then they take they take a sample of 20%, of the total population. And ask more detailed questions, so our data is based on that 1995 census 20% of the population for whom we then combined administrative register data from the Education Bureau, from the tax authority, from the Interior Affairs Bureau. All those information was combined to the census data, where have information for each individual who is in the census 20%. We have the total of the information of birthplace of resident, marital status, when the child was born, we have a yearly income. We have labour status, we focused on a sample of women born in 1979 and 81, and follow them until 2018 They really take a very secure approach at who can handle the data and where.

Zafer then talk us through what you did with this, this, you know, fantastic data source. And obviously working with it as Vered says in a very secure and careful way.

Zafer Büyükkeçeci 6:50

So we use this information and employee cycles and cluster analysis and these allow us to identify typical work family life courses of women in Israel. This enables us to document the timing, duration, and order of women's experiences across multiple work and family life. So we know all these states, and with these techniques we groups most similar life courses in Israel. There were five different typical working family combinations. And after identifying these five working family combinations, we estimate, sorting, to these life courses differ by ethnicity. The five work family life courses were late feminine formation, its private sector employment - these women were more likely to marry later in comparison to other women and work in private sector. The second group was family oriented with public sector employment. These women compared to the former group married earlier had more children and mostly worked in public sector. The third group was early family formation with moderate labour force attachment. These women formed family a lot more earlier in comparison to the former two groups. And the moderately involved in economic reform group were similar but they even had lower labour force attachment, they formed family, very early and were not involved, regularly in the labour force, and there was another group, characters, characterised by singlehood and they had very unstable life trajectories they went out into to the labour force, and these are the five groups that we identified in our analysis.
Zafer Büyükkeçeci 9:08
Yes, we'll talk about that, rather surprising group a little later on in the episode. So Zafer tell us now then about something about out of those groups who was living a more advantaged life and who was leading the war disadvantaged life? Were you able to pinpoint that?
Vered Kraus10:56
As we call advantage like late family formation with private sector employment group, they had the highest income and more stable employment patterns and the majority of Jewish women from all six ethnic groups are sorted into these clusters which combine later family formation which work in the paid market in the private sector. Whereas Israeli Palestinian women were very unlikely to sort into these profiles. And this exists for all Israeli Palestinians including Christian women, they all had significantly lower likelihood to sort into this advantaged group. So that was a big gap between the Israeli Palestinian and Jewish women, in sorting to the different profiles but this was among different ethnic groups so we also distinguish between the Jewish ethnic groups, but there were no systematic differences in sorting into these groups. On the other hand Muslims were over represented in the as we call disadvantaged groups, which were characterised by early family formation and moderate labour force attachment. So, sorting into moderate or lower labour force attachment groups was more likely for the Muslim groups. Whereas, it was the difference was less when we compare Christian Palestinians with the Jewish groups.

Right, and Vered you dug a bit deeper actually to see to what degree the women's family background and the, the opportunities they had where they lived could explain all of this, what did you find there?
Zafer Büyükkeçeci 12:35
We incorporated family background which mainly was wealth, education, fathers and mother, education. And we assign the socio-economic standing of place of residence of those interviewees. When we look at the group, which is early family formation and moderate labour force participation or low level participation. We found that it's composed mainly of Israeli Palestinians, but the effect of Israeli Palestinians goes down when we incorporated those background characteristics. On the other hand, we found that when we look on the advanced profile. And we saw that most of the Israeli Palestinians are hardly entering those zones, eh profiles. When we incorporated the background characteristics, we see that it was only minor reduction in the effect. Which means that the Israeli Palestinian, even when we control for background characteristics they are really excluded from those more advantaged profiles.

Right, yeah, that was quite a clear finding wasn't it and Zafer we've alluded, a little bit to this sort of surprising group that emerged from your research but I want you just to tell us a bit more about them.
Zafer Büyükkeçeci 14:31 Christine Garrington14:47
This group, as we labelled them was the single with unstable work trajectories. So they were especially noteworthy because these life courses combined singlehood with factors that often predict high work orientation, such as these individuals have higher education levels and they were expected to be enrolled in high earning jobs and get this unexpected work family life course. It would be missed in correlational analyses that focus on single outcomes such as employment, level of income, and possibly this group shows a new urban life course that is rising among younger cohorts and less common in older cohorts of Israel. So the characteristics of this group, namely singlehood detachment from the labour market. And this is similar to the emerging trends in other advanced economies,
Zafer Büyükkeçeci 14:31
So there's something there about the about the millennials isn't there I think?

When we look at the income level of this goal, we found that it's a very high income, many of them live in Tel Aviv, in Tel Aviv area, which has lots of economic opportunity, and I can speculate maybe that many of them work like in non-standard employment, so you can work in high tech, and you can well partly for years or something like that, then you are discharged or you will go to another job. So and then you go to another job. And in the meantime when you work you can earn a lot of money. So my speculations that part of this group is composed of those new millennium, or however we call it group, which we never saw that exists.

Yeah what we found was you're more likely to sort into this group if your parents had higher educational attainment and if your place of childhood had higher levels of socioeconomic characteristics.

So finally, then I want to ask really what what do we take away from this research? What do we learn that's new? And what's important? And what can be done with that sort of information?

We see that systematic differences in work and family life courses among different religious groups exist in Israel. And also, we show that a new group mainly characterised by singlehood till later is emerging in Israel. And lastly, we see that a advantageous differences in access to life courses are changed by background characteristics but this mainly exists at the bottom -such opportunities, parental background characteristics, they don't really change the religious differences in access to specific life courses at the top.

Work and family life courses among Jewish and Israeli-Palestinaian Women in Isralie is research by Zafer Büyükkeçeci, Anette Fasang, Vered Kraus, Asaf Levanon and Evgeny Saburov and is published as a DIAL working paper.You can find out more about the NORFACE funded DIAL projects at www.dynamicsofinequality.org. Thanks for listening to this episode of our podcast, which is presented and produced by me Chris Garrington and edited by Elina Kilpi-Jakonen.

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The work and family lives of women in Israel - DIAL

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In the third Episode of Series 2 of our podcast looking at research emerging from the Equal Lives project, we talk to Zafer Büyükkeçeci from Humboldt University in Berlin and Professor Vered Kraus from the University of Haifa about their research, Work and family life courses among Jewish and Israeli-Palestinian Women in Israel.

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https://www.jewishvirtuallibrary.org/report-on-the-status-of-women-in-israel-2001

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Since its establishment in 1948, the state of Israel has had the image of a country in which women enjoy full equality. This image, due to the liberal and socialist ethos of the Zionist movement, is, however, somewhat misleading. There are many areas, in which traditions, social institutions, religious rules, and even laws have kept women at a disadvantage: in the workplace, in divorce proceedings and as victims of violence. Changes in the political and economic climate, such as the Middle East conflict onflict in the Middle East and the influx of thousands of guest workers, have created new problems. The widening economic gap in Israeli society, along ethnic and geographical lines, points to the entrenchment of poverty and disadvantage in particular groups. Old women, single mothers, Arab women, immigrants from Ethiopia and the former Soviet Union and foreign workers (with or without work permits) are most vulnerable to poverty, health problems and abuse of basic rights. Women as a group are disadvantaged in the labor market, the health system, education, the courts and religious institutions and are subject to harassment and violence.

The status of women in Israel has been influenced by several social and historical factors related to the conflict between state and religion, which characterize the political scene. Though the founding fathers of the State were mostly oriented towards a secular and liberal, or socialist ideology, they assigned to the religious institutions all matters concerning personal status, i.e. marriage, conversion, divorce, burial, etc. Thus, the Orthodox stream of Judaism, acting according to - Jewish religious law - known for its patriarchalism, virtually obtained a monopoly over official Jewish religious life and personal status. Another factor influencing the status of women is the centrality of the IDF (Israel Defense Forces). Though women have always served in the IDF, the army offers a predominantly male environment

that spills over into civilian society by means of the "old boy's network". Finally, even though the Proclamation of the Establishment of the State of Israel declares equality between the sexes, so far none of the Basic Laws, which in the absence of a constitution form the country's normative rules, incorporates this principle, due mainly to the unresolved relationship between religion and the State.

Legislative Developments

Legislation: The Committee for the Advancement of Women in the , Israel's Parliament, and individual female Members of Knesset, have been active in the field of advancing women's status through legislation. Their initiatives involve a variety of issues: in particular issues of gender, equality at work, violence against women, welfare, health and fertility, and more.

The Authority for the Advancement of Women was established by law in 1998. This body is authorized to encourage, coordinate, promote and monitor the government's and the local authorities' activities regarding women's status, to promote legislation and to advise the government on the enforcement of laws promoting the status of women. It is also expected to initiate research and to enhance public awareness through the media and education.

Changes in the Political Arena

The growing awareness of the status of women has been manifested in the increasing presence of women in managerial and decision-making positions. The last few years have seen record numbers of women in these positions: the current Knesset has the largest number of women Knesset Members -16 out of 120 members; Prime Minister Ariel Sharon's government also includes a record number of women ministers - the minister of Education, the Minister of Industry and Trade and the Minister responsible for Regional Development. In addition, two women are deputy ministers: in the Ministry of National Infrastructure and in the Ministry of Defense. Since the establishment of the State, one woman ( Golda Meir) has served as Prime-Minster. In the 1998 local elections, two womenwere elected as mayors (of the cities of Netanya and Herzliya), and the number of female council members rose from 153 in 1993, to 240. Three women now serve as justices of the Supreme Court and 36 are judges of District Courts; women constitute 34% percent of the total number of judges. The State Attorney is also a woman.

Facts concerning the status of women in Israel

Women in the Labor Force: In 2000, 45.44% of the labor force were women, of whom only 15.8% worked full time, compared to 34.1% of the men. The average monthly salary for women was 60.18% of men's wages. The average wage-per-hour was 80.5% of that of men. In the Arab sector, the participation of women in the labor force is significantly lower - only 22%, and the rate of unemployment is higher than in the Jewish population -11.7%. The average salary of Arab women is only 71% of that of Jewish women.

In general, women work mostly in lower-paying jobs, in services, education, health, welfare and clerical positions, and are significantly less represented in prestigious and lucrative occupations such as hi-tech, management and engineering,

Poverty: The economic gap between rich and poor has deepened during recent years. 16% of the women in Israel today live in poverty, compared to 14% of the men. The difference may lie in the fact that most single famlies are those of single women.

Violence against women continues to be a serious problem, ranging from domestic violence, sexual violence, sexual harassment, incest, trafficking in women for prostitution and honor-killing or femicide (mostly in the Muslim sector). It is estimated that about 200,000 women are suffering from domestic violence. At present there are 13 shelters for abused women and their families which during 2000, sheltered some 715 women and 882 children. There is also one hostel for battering and violent husbands.

In recent years, minimum punishment for sex offenders and perpetrators of domestic violence was legislated. A recent bill, which makes reporting of domestic violence mandatory, is in the process of evaluation. In 1991, the Domestic Violence Prevention Law was enacted, empowering family courts to issue protective orders against violent spouses. In 1998, Israel adopted a comprehensive Sexual Harrasment Prevention Law, which defines sexual harrassment, makes it a criminal offence and also cause for a civil suit against the perpetrator and his employer.

Education: Measured by years of schooling in the Jewish population, there is no educational gap between men and women. But many more boys study in the technical tracks that prepares them for well-earning professions. Among non-Jewish groups there is a slight difference between men and women in years of schooling, which is, however, closing swiftly. In the Bedouin community, there is a high drop-out rate for girls.

While 57% of all academic degrees are earned by women, and 46% of the doctoral students are women, only 22% of senior faculty members and 7.8% of full professors are women.

Health: Israel ranks among the leading nations in term of the health of its population. However, there are significant health differences between men and women that reflect the relatively disadvantaged status of women in society. For example, the basket of services covered by the National Health Insurance (which became effective in 1995) does not include papsmears, mammography, contraceptives and bone density scans. In 1998, life expectancy at birth was 80.3 years for women and 76.1 years for Jewish men. The life expectancy of non-Jewish women was 77.7. The leading cause of death for women is heart disease, followed by cancer. Breast cancer incidence in Jewish women is among the highest in the world: one out of eight women will contract the disease in the course of her life.

Women and the Armed Forces: Although service in the IDF is compulsory for both men and women, inequality does exist. The exclusion of women from many military professions and all combat units guaranteed that the highest positions were closed to them. In 2000, Israel's Parliament adopted an amendment to the Security Service Law, opening all military professions to women. Recently, this change has met with strong objections from religious institutions and politicians.

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Report on the Status of Women in Israel (2001)

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Since its establishment in 1948, the state of Israel has had the image of a country in which women enjoy full equality. This image, due to the liberal and socialist ethos of the Zionist movement, is, however, somewhat misleading.

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https://embassies.gov.il/delhi/NewsAndEvents/Pages/Women-in-Israel-today.aspx

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https://www.glassdoor.com/Job/israel-3d-artist-jobs-SRCH_IL.0,6_IN119_KO7,16.htm

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8 jobs

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This position is for a highly motivated graphic artist, who is eager to advance and master new mediums and techniques. Very fluent English and Hebrew....

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8 jobs Graphic/Web Designers This position is for a highly motivated graphic artist, who is eager to advance and master new mediums and techniques. Very fluent English and Hebrew.... Job Title Employer Location Salary

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https://jobfindjobs.com/craft-artists-jobs-in-israel-A1Msn-2509095/

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High level of integrity, accountability, and initiative

Ability to work independently and in a team environment

Strong communication, interpersonal, and problem-solving skills

Willingness to float between properties as needed, to support multiple locations within a district

Ability to work weekends and holiday

Must have reliable transportation, a valid driver's license, and the ability to arrive on time for scheduled shifts

Must be willing to complete the Simply employment application, submit to a background check, and drug screening.

Ability to lift and/or move up to 35lbs

About Hiring Company!

World Services CO is an Equal Opportunity Employer

World Services CO is an Equal Opportunity Employer

Job Type: Full-time

Experience:

1 year (Preferred)

Education:

High school or equivalent Health Dental Paid time off

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What Does an Craft Artists Do?

Craft Artists are usually employed in companies, offices, and businesses or corporation environments to fulfill the job requirements as Craft Artists ; Their work is to benefit the hiring company as per job requirements discussed in Job letter.
Craft Artists Skills and Qualifications - Israel

Since Craft Artists are responsible for many crucial business aspects, they should be equipped with a variety of skills and qualifications including:

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Craft Artists Education and Training Requirements in Israel
A high school diploma or GED is essential in order to acquire a job as an Craft Artists . In today's job market a bachelor's degree or post-secondary education is strongly preferred if not required by some employers. Suggested areas of study include business administration and management.

Most companies provide on-the-job training to new employees.

The duration and extent of training varies between companies, as some may even require specific certifications.
Israel Craft Artists Experience Requirements

Typically Craft Artists have several years of prior experience in the field in which they're managing.

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https://israeliblogger.com/art-and-culture-of-israel/

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Israeli Blogger the blog about travelling all over Israel and daily life in Israel

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Since the starting of the 20th century, visual arts in Israel became influenced by creative artistic orientations from East and West Europe and also from local artistic movements.

Indeed, Israeli arts are a blend of different cultures, both locals and Europeans, reflecting the character of the Land of Israel and the various cities of this beautiful country. Paintings, sculptures, photography, and architecture bring with them traits of the Israeli landscape and nature, assimilating and blending elements from Europe. The stunning variety of the Israeli landscapes was and is an inspiration for many artists. Among the fantastic panoramas of Israel, there are hill terraces and ridges with unique lines and shapes such as the foothills of the Negev, the general greyish-green plants, and the bright glowing light exhibit as results peculiar colour effects; additionally, the sea and sand of Israel are incredibly unique. In general, regional landscapes, affairs, and politics prevail in Israeli art, making it absolutely amazing.

The Beginning Of Israeli Art

Coordinated art movements in Israel began in 1906 when Professor Boris Schatz arrived in Israel from Bulgaria and created the Bezalel Academy of Arts and Crafts in Jerusalem. The foundation of the Bezalel Academy was possible thanks to a plan approved at the 1905 Zionist Congress to support gifted young Jews to study art in the Land of Israel. By 1910, the school included 32 different departments, a group of 500 students, and a ready business concerning its artworks involving the entire Jewish world.

Besides painting and sculpture, the country's artistic life includes many artisans who bring art to life every day in Israel. In Israel, several talented craftspeople, such as ceramicists, silver and goldsmiths, weavers, calligraphers, glass blowers, and much more, practice art with different modern interpretations of traditional Jewish ritual objects.

Most Israelis are very enthusiastic regarding art and, the State of Israel supports artistic activities, financing exhibitions and curating all the museums. Indeed, it is a habit for Israelis to attend art exhibitions - from one-artist retrospectives to large group shows at the country's many museums and private galleries, especially visiting the artists' quarters of Safed and Yafo or the artists' village of Ein Hod, where it is also possible to purchase the artworks of local artists.

Israeli Painting

In the beginning, Bezalel's artistic orientation, which intended to create an "original Jewish art" by combining European techniques with Middle Eastern elements. The results were paintings of biblical scenes portraying romanticised attitudes of antiquity connected to romantic concepts of the future, with depicted images of the ancient Jewish Eastern communities and the local Bedouins.

The famous artists of this period were Shmuel Hirszenberg, Ephraim Lilien, and Abel Pann. The first significant art exhibition held at David's Citadel in Jerusalem's Old City was overshadowed by painters from Bezalel Academy. Shortly after that, Bezalel's anachronistic and national-oriental style was disputed both by young innovators within the Bezalel institution and by lately arrived artists, who started seeking an expression appropriate to them labelled as "Hebrew" contrary to the concept of "Jewish" art. In an attempt to define their original artistic personality and display their view of Israel as a source of national rebirth, they portrayed the daily reality of the Middle Eastern environment, emphasising the bright light and glowing colours of the landscape and highlighting exotic topics such as the daily Arab lifestyle, employing mainly an ancient technique, as observed in the artworks of painters such as Israel Paldi, Tziona Tagger, Pinhas Litvinovsky, Nahum Gutman, and Reuven Rubin. Since the mid-decade of the last century, most of the principal artists were based in the new and vibrant city of Tel Aviv, which has endured to be the centre of the artistic activities of Israel. The art of the 1930s was heavily affected by early 20th-century Western discoveries; among them, the most powerful was the expressionism arising in the ateliers of Paris. The artworks of painters such as Moshe Castel, Menachem Shemi, and Arie Aroch favoured the portrayal of an emotional world, frequently interpreted as a mystical reality using distortion. And although themes were still about regional landscapes and portraits, the narrative elements dating back years earlier disappeared with the time, and the oriental-Muslim world disappeared completely.

Elements from German expressionism were introduced with the arrival of immigrant artists escaping the horror of rising Nazism. These immigrants joined the group directed by German-born artists Anna Ticho and Leopold Krakauer, who had moved to Jerusalem about 20 years earlier. This artistic group included Hermann Struck, Mordechai Ardon, and Jakob Steinhardt, and it was devoted mainly to personal descriptions of the landscape of Jerusalem and its surrounding hills. These artists contributed significantly to the growth of Israeli art, prominently thanks to the leadership provided to the Bezalel Academy of Art by the two directors, Ardon and Steinhardt, who guided a new generation of artists. During World War II, the separation from Paris and the trauma of the Holocaust induced several artists such as Moshe Castel, Yitzhak Danziger, and Aharon Kahana to embrace the innovative 'Canaanite' ideology. This new ideology ventured to find an identity with the local inhabitants of the land of Israel, creating a group of "new Hebrew people" by restoring ancient myths and pagan motifs.

During the 1948 War of Independence, other artists such as Naftali Bezem and Avraham Ofek embraced an activist style expressing a distinct social message. The most important group created in this period was the "New Horizons" one, which aimed to detach Israeli art from its regional character, introducing it into the circle of contemporary European art.

Two significant artistic trends developed: Yosef Zaritzky, the group's principal personage, pointed towards a mysterious lyricism marked by identifiable components of the local landscape and cool colour hues. His style was adopted by Avigdor Stematsky and Yehezkel Streichman. The second trend was a stylised abstractionism varying from geometricity to symbolism. It was evident in the artworks of the Romanian artist Marcel Janco, who was one of the founders of Dadaism in Paris. The New Horizons group created abstract art in Israel and was also its dominant team until the early 1960s. Artists of the 1960s contributed to creating a link between the activities of the New Horizons group and an individual artistic trait in the next decade. Streichman and Stematsky, who were both teachers at the Avni Institute in Tel Aviv, completely inspired the second generation of artists such as Raffi Lavi, Aviva Uri, Uri Lifschitz and Lea Nikel. These artists sought personal symbolism and confronted abstractionism's elegant brushwork, including various expressive and symbolic abstract techniques.These artists formed "The Group of Ten," founded in the late 1950s, disputing against the prevailing artistic universalism. Their purpose was addressing art subjects towards the Israeli landscape and Israeli people. Unlike the elite European atmosphere encompassing the New Horizons group, the Group of Ten found its identity in the native Israeli 'Sabra' and the Palmah generation. During the 1960s, realist artists Ori Reisman and Yitzhak Mambush joined the Group of Ten. Additionally, at Bezalel Academy, Ardon's influence in motifs and techniques was evident in the artworks of Avigdor Arikha, who produced a typology of art that overflowed with deep spirituality, also adding figurative subjects reminiscent of the Holocaust and traditional Jewish topics, like in the surrealistic paintings of Yossl Bergner and Samuel Bak. Jacob Agam expressed a radically different style, and he was such a pioneer in optic and kinetic art that his work has been exhibited both in Israel and abroad. In the 1970s, in Israel, whilst minimalist art most of the time included amorphic and transparent patterns evocative of abstractionism, the exhibit of concepts dominated the aesthetics of the artworks of artists such as Larry Abramson and Moshe Gershuni.

Between the 1980s and 1990s, artists created in an ambience of personal experimentation. They wanted Israel's intrinsic spirit by combining an extensive range of materials, techniques, and images from Israeli and general elements such as the Hebrew alphabet letters and human emotions. Modern artistic inclinations, which are visible in the artworks of Pinhas Cohen-Gan, Deganit Beresht, Gabi Klezmer, Tsibi Geva, Tzvi Goldstein, and David Reeb, continue to aim to an extension of Israeli art beyond its traditional concepts and conventional materials, making it a unique expression of the indigenous culture including also progressive elements of the contemporary Western art.

Israeli Sculpture

Sculpture prospered in Israel thanks to the efforts of some sculptors such as Avraham Melnikoff, who is known for his massive stone lion at Tel Hai, and Ze'ev Ben-Zvi, who introduced cubism.

Moshe Ziffer, Aharon Priver and Batya Lishansky, who managed the department before the establishment of the State of Israel, represented the academic school of sculpture. In the last part of the 1940s, the "Canaanite" movement influenced several artists; among them, the most notable was Yitzhak Danziger, who created a figure of the pagan hero Nimrod, which was carved from red Nubian sandstone, combining elements from the Middle Eastern sculpture and the modern concepts of the human body.

In the 1950s, the statues were created using new materials on a monumental scale. Indeed, sculptures became increasingly abstract because of the modern introduction of iron and Cor-Ten steel as sculptural materials.

The purpose of producing concrete memorials for the heroes who fell in Israel's wars introduced a new impetus in the Israeli sculpture starting from the 1960s. Indeed, in those years, prominent non-figurative monuments were created in Israel. An example is the welded steel naval memorial at Achziv by Yehiel Shemi, which blends nature's harshness and human violence and destruction.

Another sculpture's masterpiece is Dani Karavan's "Monument to the Negev Brigade" outside Beer Sheva, which evokes the unique spirit of desert endurance.

The French school and expressionism in particular influenced Israeli art, which employed a variety of materials. Contemporary artists created sculptures to represent their responses to socio-political realities by using unique shapes and symbols. The artworks of provocative Israel Prize winner Yigal Tumarkin display his remonstrance against war through geometric and symbolic abstract designs. On the other side, the geometric minimalism of Menashe Kadishman continued to use sheep images, which recalls the ram in the biblical sacrifice of Isaac as a mythological symbol of a helpless victim.

Various Israeli sculptors have attained international recognition, including Tumarkin, Karavan, Kosso Elul, and Israel Hadany, whose artworks are displayed in different galleries and museums abroad.

Israeli Photography

Photography in Israel approaches personal subjects such as life, death, art and illusions, and the national-political elements. It is characterised by closeness, self-control, and amusement with the self, both a reaction to and an outgrowth of the romantic, informational style that dominated its early development stages. In the mid-19th century, Israeli photography essentially provided photographic services, focusing on holy places, such as Christian ones, to sell them as souvenirs to pilgrims and tourists.

Since 1880, photographers started to document the evolution of the Jewish community in the Land of Israel, depicting Israelis working the land and building cities through a modern and secular philosophy, which was also a requirement of clients who commissioned their pictures. Hence, many gifted photojournalists documented Israel's improvement; among them, the most notable are David Harris, Micha Bar-Am, Tim Gidal, David Rubinger, Werner Braun, Boris Carmi, and Zev Radovan.

The photography in Israel includes "photography as documentation" and "art photography", examples are Aliza Auerbach, who focuses on portraiture; Neil Folberg, Doron Horwitz and Shai Ginott, whose subject is nature; David Darom, a skilful underwater photographer; Dubi Tal and Mony Haramati, who are specialised in aerial photography. Among the several photography venues in Israel, the most renowned are the photography biennale at Mishkan Le'Omanut in Kibbutz Ein Harod and the new Museum of Photography at Tel Hai in the northern Galilee. Recently, photography became a recognised art form, and numerous imaginative photographers appeared, thanks to the support of galleries, museums, curators, and collectors in Israel and overseas.

The most famous artistic photographer is Adi Nes, born in Kiryat Gat to a family of Kurdistan and Iran families. Nes became famous in the 1990s with his artwork "Soldiers", a photographic series concerning the national identity and Israeli male identity. Another work of Adi Nes is "Bible Stories", which evocates Biblical moments with a contemporary setting.

Another notable photographer is Barry Frydlender, who combines dozens, or hundreds, of photographs into a single image with accuracy, precision, and perspective. In 2007, in Tel Aviv Museum Of Art, there was an exhibition of its "Place and time", featuring contemporary Israel pictures such as an all-male gathering in East Jerusalem, Haredi Jews on an annual pilgrimage, and the forced evacuation of Israeli settlers from the Gaza Strip. Afterwards, the exhibition moved to the Museum of Modern Art in New York, the first solo exhibition of an Israeli artist in MOMA.

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Since the starting of the 20th century, visual arts in Israel became influenced by creative artistic orientations from East and West Europe and also from local artistic movements. Indeed, Israeli arts are a blend of different cultures, both locals and Europeans, reflecting the character of the Land of Israel and the various cities of this beautiful country.

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https://www.wfct.org/grants-in-israel/

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https://hyperallergic.com/464763/israels-culture-minister-pushes-bill-to-freeze-funds-for-arts-organizations-highlighting-palestinian-narratives/

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TEL AVIV - A new bill from the office of Israel's culture minister, Miri Regev, has proposed to cut funding from culture organizations that criticize the State of Israel or highlight the Palestinian national narrative. The Loyalty in Culture Bill is the latest episode in the right-wing minister's three-year campaign to curtail artistic expressions that do not align with the " principles of the state. "

Under the terms of the new bill, funding will be withdrawn from culture organizations that "harm or dishonor" the symbols of the state (flag and anthem), "deny the existence of Israel as a Jewish and democratic state," or "observe Israel's Independence Day as a day of mourning." That last clause refers to the Palestinian Nakba Day ("Day of the Catastrophe") which commemorates the expulsion of Palestinians from their homeland with the establishment of Israel in 1948. The bill also targets organizations that "incite racism, violence, and terror," but the definition of those remains in the hands of the minister, who will be allowed to summon organizations to hearings about potentially unlawful projects.

The bill was introduced as an amendment to the current Culture and Art Law, which gives the Israeli Treasury the authority to withhold funding from subsidized culture organizations that break the law. Regev has been campaigning to transfer that responsibility to her office since 2016, but initially, she was rebuffed by other Israeli officials. The minister of finance, Moshe Kahlon, and General Attorney Yehouda Weinstein, expressed reservations about the violation of artists' right to freedom of expression. However, a new General Attorney, Avichai Mendelblit, has since overturned Weinstein's policy and allowed Regev to proceed with her proposal.

The Loyalty in Culture Bill adds to two existing laws similar in spirit and purpose: the 2015 Nakba Law, which denies funding to organizations or individuals who recognize the Palestinian Nakba or even make use of the term; and the 2011 " Boycott Bill" which penalizes any organization or individuals who publicly support the Palestinian Boycott and Divestment Movement (BDS) against Israel. But much to the dismay of Regev, the treasury has rarely enforced these laws.

In a public letter she sent to Kahlon in July, Regev wrote that 100 complaints against artists and organizations who have violated these laws have not been handled. With the smell of elections in the air, Kahlon backpedaled on his position and endorsed Regev's bill. The two eventually agreed that the treasury does not have the expertise or resources to examine the complaints and that they should be handled by the culture ministry.

"The purpose of the bill is to give the right tools to the relevant bodies to prevent harming the basic principles of the state," Regev and Kahlon said in a joint statement. "Israel has freedom of cultural expression, but there will be no freedom to harm the values and symbols of the state."

Regev went on to say, "In Israel there are artists of the first degree who bring honor to the state and pride to all of us, but there are also small, extremist groups that never miss an opportunity to incite against the State of Israel and the IDF. This is inappropriate, and it is not right that the state should support this group."

This latest development adds to an already tense relationship between Regev and the local artist community. Asaf Zmir, director of the Rabinovich Foundation for the Arts, responded to the new bill in an op-ed published on the website Saloona, where he wrote, "Regev's proposal will cause real damage. Political intervention and censorship in culture undermine its very existence."

Booker Prize winner David Grossman, an Israeli novelist and peace activist, was one of the leading voices against the Loyalty in Culture bill when Regev first introduced it in 2016. "I don't think the question of loyalty should be raised at all. It's a fascist question. It's one of the signs of the deterioration of the democracy and the democratic perception here in Israel," he said in an interview. Grossman, who lost his son in the war between Israel and Hezbollah in Lebanon in 2006, added that people with moderate opinions like his are becoming increasingly isolated in the current political climate in Israel.

The Association for Civil Rights in Israel said in a statement, "In a democracy, plays, films, and cultural events are meant to examine social and political issues rather than glorify the regime." The Israeli Actors Guild published a statement on its website saying, "We will fight for the freedom of expression and art within the law. We will not allow cynical exploitation of art, and we will not allow that withdrawal of funds [to organizations] because of the political inclinations of one minister or another."

"If it is necessary to censor, I will censor," Regev said when she started her term as minister of culture in 2015, and she proved to be true to her word. In August, the minister proposed the Film Industry Reform, which allows her office to review film scripts before they are approved for production with the state-subsidized film funds. Regev failed to pass the reform in the Knesset (Israel's unicameral parliament), but she vowed to pursue it by other means.

Earlier this year, Regev pressured the municipality of Jerusalem to evict the Barbur Gallery from a city-owned premise after it hosted a lecture by the left-wing NGO " Breaking the Silence." In 2015, the ministry of culture froze the funds of Al-Midan Theater in Haifa for putting on the play "A Parallel Time," which was based on the diaries of a Palestinian prisoner in an Israeli jail. Shortly before that, the ministry withdrew its sponsorship from choreographer Arkadi Zaides's performance " Archive" for using footage shot in the West Bank by Palestinian volunteers at the Israeli human rights NGO B'Tselem.

The Loyalty in Culture Bill will be brought to the Knesset for confirmation when the legislature returns to a new session later this month. Israel's Prime Minister Benjamin Netanyahu, who frequently boasts of Israel as being the only " genuine democracy in the Middle East," has consistently supported Regev's moves.

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Israel's Culture Minister Pushes Bill to Freeze Funds for Arts Organizations Highlighting Palestinian Narratives

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TEL AVIV - A new bill from the office of Israel's culture minister, Miri Regev, has proposed to cut funding from culture organizations that criticize the State of Israel or highlight the Palestinian national narrative. The Loyalty in Culture Bill is the latest episode in the right-wing minister's three-year campaign to curtail artistic expressions that do not align with the " principles of the state.

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https://www.jpost.com/Opinion/Think-About-It-Government-financing-for-the-arts-407419

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https://forward.com/news/breaking-news/334201/israel-imposes-loyalty-test-for-arts-funding/

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Israel's Justice Ministry approved legislation that would make government cultural funding contingent on the recipient's "loyalty" to the Jewish state.

The ministry, headed by Jewish Home party member Ayelet Shaked, green-lighted the legislation, which has not yet been brought to the Knesset for a vote, on Wednesday, the Times of Israel reported. The "loyalty in culture" bill, proposed by Culture Minister Miri Regev, would empower the culture ministry to deny state grants to groups that mark Israel's Independence Day as a day of mourning, a practice common among Arab citizens of Israel, or deny Israel's right to exist, among other things.

"A cultural institution that undermines the country will no longer benefit from its support," Regev said, after the bill's approval, according to Army Radio. "The freedom to be funded plus the freedom of expression are the DNA of Israeli society, and every other democratic society," she said.

Though Regev has described the proposed legislation as an effort to "redefine and update the priorities of the cultural world in Israel," critics have claimed it amounts to censorship and threatens Israel's democracy.

According to the Times of Israel, Adalah, an Arab-Israeli rights group, condemned the legislation Wednesday, calling it "an effort to harm Israeli-Arab artists whose political opinions differ from that of the government's."

Numerous artists, writers and political leaders, including Attorney General Yehuda Weinstein, have come out against the bill.

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Israel Imposes 'Loyalty' Test for Arts Funding

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Israel's Justice Ministry approved legislation that would make government cultural funding contingent on the recipient's "loyalty" to the Jewish state. The ministry, headed by Jewish Home party member Ayelet Shaked, green-lighted the legislation, which has not yet been brought to the Knesset for a vote, on Wednesday, the Times of Israel reported.

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https://www.israelprograms.com.au/uncategorized/israel-dance-journey/

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Kibbutz Contemporary Dance Company (KCDC), widely recognised as one of the world's leading dance companies and led by acclaimed Artistic Director, Rami Be'er, hosts a unique 5-month international and pre-professional dance program known as the Dance Journey program. Open to dancers aged 18 years and up from around the globe, the Israel Dance Journey program offers an incredible experience for professional development. Located at the International Dance Village in Kibbutz Ga'aton, The Israel Dance Journey program is recognized as an apprentice program by most major academic institutions.

The program begins each February and September and offers dance students from across the globe an unparalleled opportunity to engage in some of the best professional and academic dance training while living among and studying with some of Israel's top choreographers and dance teachers.

For more information, email yoni@kcdc.co.il

The dance village is located in Kibbutz Ga'aton in the picturesque region of the Galilee, overlooking the Mediterranean Sea.

You will also have the opportunity to tour Israel, learn Hebrew, and much more!

Normally as a professional dancer, studio hours are from 9:00 am-5:00 pm, similar to the working hours in other professions. On the International Dance Journey program there was 8-9 hours of dance each day which "left no separation between dance life and personal life," Emma reflected. This was partly because she lived on the same Kibbutz as the dance studio making her commute to the studio only a short walk.

"I became mentally and physically fit during this time," Emma remarked, "Physically, we had to take advantage of the evenings to practice the personal dance pieces that we were working on. Mentally, there was a lot of choreography to learn and remember." In addition to learning the dance repertoire, Emma participated in other strength and conditioning classes such as reformer pilates and body mechanics classes.

When not dancing, Emma enjoyed grabbing a coffee or a beer at the gorgeous cafe and bar on the Kibbutz. As part of the Masa program, there were monthly trips to the different regions of Israel and Emma especially connected with the south of the country. "The south of Israel is beautiful," Emma exclaimed, "the desert walks that we did were magical."

Emma also had a chance to perform twice during the program at the theatre on the Kibbutz. While there was an audition to be accepted into the program, Emma would recommend the program to anyone who is interested and qualified to participate. "There were 13 Australians in the program out of 38 participants," Emma observed, "Which provided a nice balance of spending time with other Australians and meeting people from around the world."

After discovering her Jewish background, Tori was then able to apply for a Masa scholarship. This allowed her to extend her stay in Israel on the Dance Journey program for an extra semester to continue her personal and professional journey there.

Different to many other Masa programs, only about 20% of the students on this program are Jewish. This leads to an incredibly diverse group with a meaningful opportunity to teach the cohort about life, culture and history in Israel.

Living on Kibbutz Ga'aton in the North West of Israel, participants endured rigorous dance practice from 9:00 am to 5:00 pm each day. In addition to the dance, there were opportunities to delve into Israeli life and culture through two Ulpan (Hebrew) lessons as well as a weekly trip or educational activity.

Of the trips she took around the country, Tori's favourite was Jerusalem because of the rich history and the sense that the learning about the city was never-ending.

Tori's mum came to visit her during her program; visiting Israel for the first time as well. Spending time in Israel with her mum was one of the most meaningful moments of her Israel experience. "We shared a special moment when my mum acknowledged that I could teach her about her heritage that she never learned from her father."

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Kibbutz Contemporary Dance Company (KCDC), widely recognised as one of the world's leading dance companies and led by acclaimed Artistic Director, Rami Be'er, hosts a unique 5-month international and pre-professional dance program known as the Dance Journey program. Open to dancers aged 18 years and up from around the globe, the Israel Dance Journey program offers an incredible experience for professional development.

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https://israel.grantwatch.com/cat/2/arts-and-culture-grants.html

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Art Grants, Culture Grants in Israel - GrantWatch

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Search for art and culture grants on GrantWatch.com including grants for artists, performing arts, music, dance, visual, local arts, events and more in Israel

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https://www.artists4israel.org/international

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Artists 4 Israel brings the world's greatest artists to Israel and around the world to begin healing communities and people affected by conflict through the transformative power of art. Working with avant-garde artists in underrepresented art forms like graffiti, street art, tattooing, street wear and toy design, we provide unique, humanitarian assistance.

Our world famous artists share the beauties and virtues they discover in Israel and return home as advocates, ready to use their specific talents to champion the country and prevent the spread of BDS into their art forms.

GRAFFITI & STREET ART

Artists 4 Israel's team of international artists (over 8,000 representing 32 different countries) have painted over 800 murals across the world on everything from bomb shelters and orphanages to the middle of the most populous cities. These murals transform the grim reminders of war and terrorism into outdoor art galleries, beautify areas in need of renewal, add color to communities darkened by poverty and show that people in need are supported by pro-Israel artists.

HEALING INK

Artists 4 Israel brings the world's most talented tattoo artists to Israel and around the world to cover the scars of those affected by terror attacks or war. By so doing, we help these survivors and heroes reclaim their bodies and begin healing both physically and emotionally.

GLOBAL PROJECTS

From Africa, Asia, Europe and South America, we've been there. Inspired by our work in Israel and Israel's example of providing humanitarian aid around the world, our international team of artists have begun bringing our arts based humanitarian aid projects back to their home country. Our team unites with local artists around the world to provide culture based social service programs in the neediest communities near them.

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Artists 4 Israel brings the world's greatest artists to Israel and around the world to begin healing communities and people affected by conflict through the transformative power of art. Working with avant-garde artists in underrepresented art forms like graffiti, street art, tattooing, street wear and toy design, we provide unique, humanitarian assistance.

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https://shalomisraeltours.com/israels-top-art-museums/

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Artists and art fans alike will delight in visiting some of the 40-plus museums in Israel that are devoted to visual arts and design. While Jerusalem's state-managed Israel Museum and the Tel Aviv Museum of Art draw the largest international audiences and exhibitions, many prefer the lesser-known but no less significant art museums in Ashdod, Herzliya and Petach Tikva.

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https://www.widewalls.ch/magazine/contemporary-israeli-artists

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The inception of Israeli visual art can be traced back to the Bezalel School founded in 1906, which trained Israeli artists and craftsmen. When the 1950s came, two major groups were formed in the art scene of Israel, the New Horizons, who moved towards abstract art, and the social realist artists, who depicted demonstrations, workers, and industrial developments. With big names that we know today, such as Joseph Zaritsky, the leader of the New Horizons group, Reuven Rubin, and Yohanan Simon, it is difficult to pick only ten important Israeli artists, but, as we are focusing on contemporary art, we have comprised this list for all the lovely people who want to know more about the country of Israel and the creative Israeli people who are operating today. So, sit back, relax, and let us suggest ten names you should jot down in your to-know list.

Ilit Azoulay - Beauty Among The Ruins

Ilit Azoulay is an Israeli artist working in the medium of photography. She is most famous for her panoramic photo montages which portray various objects she has collected from the ruins of destroyed buildings in Tel Aviv. As she had explored these buildings prior to their demolition, she returned to the rubble sites and searched through the remains, collecting the pieces she was drawn to. Then she categorized all these items in her studio and photographed them in order to use them in her collages. The Tel Aviv-based artist had her works exhibited internationally, with the most recent one being at MAXXI Museum in Rome, in February 2016, as well as the exhibition at The Museum of Modern Art in New York that ran from November 2015 to March 2016.

Ori Gersht - Life and Death and Spoils of War

is a fine art photographer born in Tel Aviv. He explores the themes of life, death, beauty, and violence. He often depicts sites of modern day historical significance such as Judean Desert, Auschwitz, Sarajevo, and the Galicia region in Ukraine, among others. These places become remnants of emotional and physical trauma caused by wars, and he manages to translate the feeling of their refugees' grief and melancholy caused by the lost home. In his still life series, the artist explores the relationships between photography and technology, as well as the one with optical perception. He often alludes to the violent historical events, such as the French Revolution, the bombing of Hiroshima, the Spanish Civil War and the suicide bombers that he feared during his childhood in Israel. Ori Gersht will be featured in an upcoming exhibition at Ben Brown Gallery in London in May, 2016.

Adi Nes - The Homoerotic Last Supper

Adi Nes is an Israeli photographer who makes very detailed images that are simultaneously autobiographical and witnesses of a life in a conflict-stricken country. His works remind of Renaissance or Baroque paintings, often depicting sexual tension and homoeroticism. His most famous image is the version of the famous Leonardo da Vinci's The Last Supper, in which he replaced the biblical figures with Israeli soldiers. This photo was on the front page of the New York Times in 2008, and it launched Nes in the super-stardom of Israeli contemporary photography. His photographs are over-sized and often depict famous historical events and scenes from art history, which he masterfully combines with personal experiences as a young gay man in a small town in Israel.

Larry Abramson - The Realist and the Critic

Larry Abramson is a South-African born Israeli artist who emigrated to Jerusalem in 1961. The internationally exhibited artist has dealt with iconic symbols of modernist European art, especially Kazimir Malevich's Black Square which he used to create his own blends of abstraction and figurative art. He is famous for his tsooba series of thirty-eight landscape oils on canvas, thirty-eight impressions on newspaper, and a collection of still life paintings. The tsooba series refers to the ruins near Kibbutz Tzova that Joseph Zaritsky painted ten years prior. Abramson has, unlike Zaritsky, painted the site realistically in order to criticize the Israeli agenda to erase the Palestinian identity from this controversial territory. He published an article titled We Are All Felix Nussbaum in which he tackled the tumultuous relationship of history and art in the era after the Holocaust.

Sigalit Landau - Dead Sea, DeadSee

Landau is an Israeli sculptor, installation and video artist born in Jerusalem. The artist has exhibited her works internationally and is considered one of the foremost Israeli artist today. She is a creative spirit whose iconic 11-minute video DeadSee is displayed at the Israel Museum. The video shows the artist peacefully floating in a spiral of watermelons on the surface of the lowest point in the world, the Dead Sea. The artist received her education at Bezalel, and has since used biblical references in her works. She is the recipient of numerous awards, including, but not limited to, the Jewish National Fund Sculpture Award, The Israeli Art Prize, and The Dan Sandel and the Sandel Family Foundation Sculpture Award.

Tal Rosner - BAFTA and Skins

When writing about Israeli artists, one cannot exclude the filmmakers and video artists. One of them is London-based, Jerusalem-born Tal Rosner. The Israeli filmmaker won a BAFTA award for Best Title Sequence in 2008 for the drama Skins, famous for its portrayal of troubled British youth. He is known for his collaborations with a variety of musicians such as New World Symphony Orchestra and Michael Tilson Thomas, Jennifer Koh, and Katia and Marielle Labeque, to name a few. Without you, his 2008 experimental film had had Rosner screenings at film festivals worldwide, such as the Tribeca Film Festival in New York, and a screening in Tate Modern in London. The film explores the industrial suburbs of London and focuses on the color-coded imaginary circle outlined at a 10-mile radius from Charing Cross.

Joshua Neustein - Ash Cities

Joshua Neustein is one of the most prominent Israeli artists. He is a contemporary visual artist living and working in New Yok, and known predominantly for his environment installations, Ash Cities, and post minimalist paper works. In the 1990s, the artist turned his focus to large-scale installation, and created his famous series Five Ash Cities that tackled the notions of environmental art. The Ash Cities were maps of places built out of ashes on the floor of the exhibition space, with the large crystal chandeliers hanging low, just above the floor covered in ash. Joshua Neustein received numerous prizes during his long-lasting career, including the Jerusalem Prize, and the Venice Biennale prize at Israel Pavilion in 1995.

Keren Cytter - The Multimedia Artist

Keren Cytter is a visual artist and writer, who is not afraid to venture into the multimedia, with her involvement in the art of drawing, photography, performance, film, video installations, as well as writing novels, poetry, and theater plays. However, she is best known for her video art. She manages to personify the post-modern idea of self-awareness of the characters of her films in the narrative. Her unique style has placed her on the map of the most acclaimed artists of the generation. Her film The Victim (2006) is a frantic loop of a dinner party that converts into a mass suicide and then regresses back into a dinner party, creating a perpetual cycle of the adventures of the five characters included.

Yaacov Agam - Kinetic Art

Yaacov Agam is one of the most renowned Israeli artists. He is a sculptor and an experimental artist, famous for his kinetic and optical art. Agam manages to integrate formalist art with the art of Kabbalah into his distinctive style, and he produced astounding works with which the viewer can communicate by transmogrifying the artwork manually or by simply walking by it, and viewing the image from another angle. The artist has shown his works internationally and had the pleasure of enjoying major museum exhibitions. He is the recipient of a number of awards, such as the Prize for Artistic Research, Medal of the Council of Europe, and the Jan Amos Comenius Medal awarded by UNESCO. In 1999 Agam produced the winner's trophy for the Eurovision Song Contest held in Jerusalem.

Nahum Tevet - The Breaker of Post-Minimalist Rules

Nahum Tevet is a sculptor and a conceptual artist. He often uses the minimalist approach in the process of creating his architectural and sculptural installations focused on the geometric shapes. Tevet is an artist whose understanding of creativity lies in the process of abstaining and diminishing. One of his most famous works is Corner (1974), an installation of three chairs covered with two pieces of plywood to create a blockade that prevents anyone from entering the corner these chairs make. What separates this work from the typical Post-Minimalist era is the coat of white paint that covers the plywood, breaking off from the conventional post-minimalist and minimalist rule of staying true to the materials.

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Contemporary Israeli Artists You Need to Know About | Widewalls

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The inception of Israeli visual art can be traced back to the Bezalel School founded in 1906, which trained Israeli artists and craftsmen. When the 1950s came, two major groups were formed in the art scene of Israel, the New Horizons, who moved towards abstract art, and the social realist artists, who depicted demonstrations, workers, and industrial developments.

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https://www.etsy.com/au/market/israeli_artist_art

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Check out our israeli artist art selection for the very best in unique or custom, handmade pieces from our shops.

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https://culturalatlas.sbs.com.au/israeli-culture/israeli-culture-israelis-in-australia

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People from the region of present-day Israel have been settling in Australia since the 19th century. Australia first recorded immigrants from Israel in the 1954 census. However, Israeli migration patterns in subsequent decades are often hard to trace due to the complex movement of families over multiple generations. For example, many first moved from post-war Europe to Australia, then to Israel, and in some cases back to Australia. The flow of Israel-born people to Australia has been steadier in the last two decades, with a few hundred people estimated to be arriving each year. According to the 2016 census, there are approximately 9,817 Israel-born people living in Australia. However, some members of the Israeli community believe this figure is much higher.

The vast majority of Israelis live in Victoria (44.3%) and New South Wales (36.6%). This is also reflected in the settlement patterns of Australia's Jewish population, who mostly reside in either Victoria (46.4%) or New South Wales (40.5%). Numerous organisations in these states and their respective capital cities of Sydney and Melbourne support and enrich Australia's Israeli population. Many of these organisations tend to be Jewish, due to the longstanding connection between Australia's Jewish communities and Israel (see below).

Australia's Israeli population is quite diverse. For instance, Hebrew is spoken at home by half the Israel-born population in Australia (53.5%) while 29.8% speak English, 7.7% speak Arabic, 2.9% speak Russian and 5.6% speak other languages. Additionally, 62.0% identify as Jewish, while just under a fifth (17.3%) identify with no religion. Of the remaining population, 5.4% identify as Catholic, 2.9% identify as Eastern Orthodox, 1.4% identify as Oriental Orthodox, and 4.7% identify with some other religion. The Israel-born population in Australia is also highly educated, with 69.4% of those over the age of 15 having completed some form of higher non-school qualification. Moreover, approximately 40% have completed a bachelor's degree or higher. Over half of the population (65.1%) are employed in a skilled managerial, professional or trade occupation.
Australia's Jewish Communities and Israel
Jewish communities around the world often hold emotional attachment and respect for the State of Israel. Australia is home to a number of Jewish communities, with approximately 91,000 people identifying as religiously Jewish in the 2016 census (0.4% of the total population). However, this figure may be an underestimation of the total Jewish population due to ambiguities around 'Jewish' as a religious or ethnic identity marker (see Ethnicity and Ancestry in Core Concepts), as well as fears of recording their identity. Approximately 12% of Australia's Jewish population were born in Israel. ¹

Some members of Australia's Jewish communities feel a sense of ambivalence or hostility towards Israel for various reasons. However, the majority express a deep attachment to the country. ² Australian Jews commonly maintain a connection to Israel by visiting the country to see family or undertaking a religious pilgrimage. Indeed, many Jewish families in Australia have extended family members living in Israel due to the long-lasting effects of WWII and the Holocaust. Australia's Jewish community may also maintain links to Israel through moral or material support. For example, Jewish communities often participate in a variety of social, political and fundraising functions and activities.

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People from the region of present-day Israel have been settling in Australia since the 19th century. Australia first recorded immigrants from Israel in the 1954 census. However, Israeli migration patterns in subsequent decades are often hard to trace due to the complex movement of families over multiple generations.

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https://www.israel21c.org/10-talented-israeli-artists-making-their-mark-on-the-worlds-canvas/

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Think of the icons of modern Israeli art, and maybe Menashe Kadishman's simple sheep paintings or Yaacov Agam's colorful kinetic sculptures will come to mind.

But there are many other contemporary visual artists from Israel making their mark internationally. Here are just a few, new and veteran, to watch on the world canvas.

Born in Casablanca in 1958, Jojo became a farmer in Israel while pursuing art as a hobby. Eventually he began incorporating farming equipment and techniques into his artwork, leading to unusual artistic methods including water pressure to manipulate metal into artwork and furniture.

In his paintings, Jojo uses bottles with a tiny hole cut from the end to distribute the colors in uniform patterns across large canvases, creating signature pieces that portray women, flowers and other forms of nature.

Jojo's oeuvre includes murals, abstract paintings, metal chairs and wall sculptures, vases and mosaic sculptures. His pieces are exhibited in galleries and owned by buyers in Israel, the United States, Europe, Australia and China.

Jojo opened his first gallery 10 years ago in Tel Aviv, followed by a New York City gallery and a website that sells his works with free worldwide shipping. He also has a studio and showroom at the Dead Sea.

In September 2006, kibbutz-based conceptual artist-sculptor Ken Goldman's soft, colorful Kabbala dolls were an instant hit at the annual toy audition at FAO Schwarz in New York City. Since then, Goldman's clever, provocative and eclectic works of Judaica have been exhibited, installed and sold widely.

"Goldman's work is an exuberant, idiosyncratic celebration of Jewish practice," wrote Ben Schachter in his 2017 book, Image, Action, and Idea in Contemporary Jewish Art, which devotes a chapter to Goldman and features "With Without" on its cover, an image of Goldman himself "wearing" a kippah of his own hair.

A graduate of New York's Pratt Institute, Goldman works in multiple media including performance art. His creations have been exhibited at museums such as the Israel Museum, Museum of Islamic Art, Ein Harod Museum, Philadelphia Museum of Jewish Art and the Vienna Jewish Museum.

In the fall of 2018, Goldman was one of five international artists - the others were Andi Arnovitz (see below), Lynne Avadenka, Meydad Eliyahu and Leora Wise - chosen for a three-week Venice art residency on climate change through a Jewish lens. Goldman now is finishing a three-stage sculpture installation in an old Jewish cemetery in Kaluszyn, Poland.

This kibbutz-raised visual artist with a degree from Bezalel Academy of Art and Design in Jerusalem uses video, sculpture and other media to depict the female form as a medium to explore identity, sexuality, and the relationship between men and women.

Ben Ari's work has been displayed in Barcelona, Beijing, Berlin, Bonn, Brussels, Bucharest, Bulgaria, Los Angeles, Milan, New York, Paris, Rome, Tokyo, Vancouver and other global cities and at many Israeli museums and galleries. She has received awards at arts festivals in Madrid and Tokyo.

Through the Visiting Israeli Artists Program, Ben Ari is teaching at the University of Florida Gainesville during the 2019 spring semester. A special exhibition of her work debuted at the university's Gary R. Libby Gallery in the Fine Arts on March 25.

Israel's most successful street-art crew - four men who don't reveal their real names - got started in Haifa and branched out across the globe with commissions ranging from pop-art murals to 3D installations to album covers and U2 music videos.

Paris, London, Bratislava, Las Vegas, Bremen, Chengdu, Los Angeles, Milan, Berlin, Krakow, Rio de Janeiro, Seattle, Portland, Dusseldorf, San Francisco, Amsterdam, Mexico City... there's hardly a major city (and some remote ones, like Phu Quoc Island in Vietnam) these four guys haven't livened up with their splashy graphics.

Jerusalem-based conceptual artist Andi Arnovitz uses installations, prints, artist books and sculpture to explore issues of infertility, divorce, domestic violence, gender, politics and religion, and the Israeli-Palestinian conflict.

Her work has been exhibited across the world (including France, Spain, England, Poland, Canada, China, Finland, Germany, Lithuania and the United States) and is in public and private collections including the US Library of Congress, The Smithsonian, the Magnes Collection of Jewish Art and Life in California, and Yale University in Connecticut.

"My goal is to seduce the viewer visually, to lure them into a closer examination of the work and then to confront them with a problem or issue, and cause them to re-examine their views, engage with a specific subject and increase their awareness of a problem," Arnovitz tells ISRAEL21c.

This spring, her works are showing in the Sichuan Museum of Fine Art in China, the Jewish Museum of Berlin, Susquehanna Art Museum in Pennsylvania, and Yale. In the summer and fall of 2019, Arnovitz will exhibit at the HUC Museum in Manhattan and Stadhaus Museum in Germany as well as Israeli locations.

Tel Aviv-based Fatma Shanan Dery's large-scale oil paintings suggest fluid definitions of gender, national and ethnic identities through scenes of people (including herself) from circles of her life - especially from Julis, the Israeli Druze village where she was born and raised. Traditional Druze rugs placed in unexpected locations figure prominently in her work.

Winner of a 2016 prize for figurative-realist art given by the Tel Aviv Museum, Shanan Dery has done artist residencies in New York, California and at the Artport program in Tel Aviv. Her works are included in the collections of the Israel Museum and Ilana Goor Museum in Israel and in private collections in Israel and abroad.

Shanan Dery's 2019 calendar includes a solo exhibition in Berlin, and group exhibitions in New York, Cyprus, Jerusalem and Tel Aviv.

Ariela Wertheimer, an Israeli philanthropist listed in Forbes' 2018 "The World's Richest People," has been painting professionally since 1997.

In 2017 and 2018, Wertheimer displayed at the annual Art Biennale in Venice with Tel Aviv's Farkash Gallery, and in November 2018 opened her own studio in Jaffa.

Wertheimer made her US debut in 2018 at Scope Miami Beach and her Asian debut at Singapore Art Week in January 2019. She will be featured at the 2019 Artexpo in New York City, April 4-7, and then Art Biennale in Venice this May.

At Scope, she exhibited the Jaffa Port-inspired " Ropes and Ties: The Freedom to Let Go," which symbolizes the physical and conscious/emotional ropes that are intertwined in the world.

"The strings made from plant fibers which have created a twine into a rope ... have accompanied humankind from the beginning. The ropes allow, the ropes restrict, the ropes connect with other ropes and a continuity is created," she explains.

Award-winning illustrator and designer Pierre Kleinhouse has a Tel Aviv studio, where he does artworks for exhibitions and commercial clients. He also gives talks and illustration workshops around the world.

The Bezalel Academy of Art and Design graduate has built up an impressive clientele including Stella Artois, UPS, BBC Focus, HarperCollins, Rolling Stone magazine, Harvard Business Review, Museum of Communism in Czech Republic, Moog Audio, Virgin Mobile, Krispy Kreme and Oxford University Press.

His posters and tees are sold online.

Gerstein's pop-art paintings and sculptures speak in a universal language of playfulness, humor and optimism. True to his "art for everyone" motto, his works range in price from $100 to $1.5 million, and are sold in his Tel Aviv gallery, in design shops and online.

Gerstein's cows and flowers, butterflies and birds, cyclists and fish, pedestrians and dancers are installed in permanent and temporary spaces and sold through dealers in Australia, Austria, Belgium, Canada, China, Denmark, France, Germany, Greece, Israel, Japan, Korea, Russian Federation, Singapore, South Africa, Spain, Sweden, England and the United States.

In January 2016, Gerstein presented Pope Francis with a wall sculpture depicting in bright colors the phrase from Psalms, "The Lord is my shepherd, I shall not want," in Hebrew and Spanish.

This year, Gerstein did a special exhibition in Sydney, Australia for the benefit of Make A Wish Israel, and inaugurated a new sculpture at the entrance of a new museum of contemporary art in Taiwan. In April he'll have a solo show in Vienna.

Buenos Aires native Sylvia Feinstein makes tapestries at her gallery in Modi'in based on biblical themes, using an ancient technique to convey the drama of the scene and its characters in a contemporary abstract artwork.

Her series of tapestries on Leviticus, on doves and on women in the Bible, among others, have been displayed in private and public spaces worldwide including Montevideo, Buenos Aires, Houston, Toronto and Antwerp; and many places in Jerusalem including the Bible Lands Museum, Yad Vashem and the Jerusalem International Convention Center.

Feinstein is part of the "Save the Reef" international fiber art project that will tour internationally for five years starting in September 2019 to raise global awareness of dangers facing coral-reef ecosystems.

The works she is creating for this project will hang at the Center for the Arts in Jackson Hole, Wyoming, the gateway to the Grand Teton National Park, and at the Jackson Lake Lodge at the entrance to Yellowstone National Park, for a month leading up to the Jackson Hole WILD Film Festival and Conservation Summit in September.

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10 talented Israeli artists making their mark on the world's canvas

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Think of the icons of modern Israeli art, and maybe Menashe Kadishman's simple sheep paintings or Yaacov Agam's colorful kinetic sculptures will come to mind. But there are many other contemporary visual artists from Israel making their mark internationally. Here are just a few, new and veteran, to watch on the world canvas.

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https://theculturetrip.com/middle-east/israel/articles/the-7-most-influential-israeli-artists-of-all-time/

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Israel and Palestine's most famous artists confront questions of identity and national culture through painting, sculpture, music and performance art. At the heart of it all stands the city of Jerusalem, which, thanks to its abundance of holy sites and its prestigious art academy, has transformed itself into a launch pad for many creatives.

Situated at a crossroads between Europe, Asia and Africa, Jerusalem has inspired modern and contemporary artists to develop their styles and techniques. Artists in the region are uniquely positioned to draw from a number of cultural and religious influences; some of the most prominent Israeli artists come from immigrant families who arrived in the Holy Land as refugees in the 20th century. They rely on a rich legacy of Jewish folklore and history in their work.

Conversely, on the Palestinian side of the city, artists must often confront a difficult political reality and explore their longing for lands or homes that were lost with the establishment of the state of Israel. These are the seven most influential Israeli and Palestinian artists in whose creative development Jerusalem has played a key role, and who have left an indelible mark on the art world.

Anna Ticho (1894-1980) was a Jewish artist who gained international recognition for her landscape drawings of Jerusalem and the Judean Hills. Born in Brno, then part of the Austro-Hungarian Empire but today located in the Czech Republic, Ticho studied at an art school in Vienna. In 1912, she immigrated with her mother and fiancé to Jerusalem, which was then under Ottoman rule. With stony mountains, olive trees and local figures from a bygone era, Ticho's detailed watercolours depict the life and landscape of the Holy City in the early 20th century.

Her style evolved over the decades, from intricate graphite works like Olive Tree (1935) into abstract, almost surrealistic renditions of the Levantine landscape, such as Evening Landscape (1975). This pioneering Jerusalem artist also helped found the Bezalel Academy of Arts and Design, which would come to be a cornerstone for fine-arts studies and art production in Israel. Over the years, Ticho's works have been exhibited in Vienna, New York and Paris. They are now on permanent display at the Ticho House on HaRav Agan in Jerusalem.

A pioneer in art and in Israeli society, Palestinian-Israeli artist Walid Abu Shakra (1946-2019) was born in the northern Arab-Israeli city of Umm al-Fahm and comes from one of Israel's foremost families of artists. His brother Said founded Umm al-Fahm Art Gallery, one of the only galleries dedicated to showcasing contemporary Palestinian art in the country, while another brother, Farid Abu Shakra, found success as a painter.

In 1967, Walid Abu Shakra was one of a handful of Palestinians to study at an Israeli art school when he attended the Avni Institute in Tel Aviv. Though he would spend much of his life in London after immigrating there in 1972, Abu Shakra returned to Israel regularly to study the landscapes and the people. Many of his works are based on the landscapes of his childhood. Some of his best-known artworks are a series of prints titled Mintarat Al-Batten, after a prominent hill in the area around Umm al-Fahm. In 2008, Abu Shakra exhibited the series at a breakthrough show in Jerusalem's Museum for Islamic Art, the first exhibition hosted at an Israeli museum to focus on contemporary Arab fine art. Today, Abu Shakra's works are on public display at institutions around the world, including the Israel Museum in Jerusalem, the Tel Aviv Museum of Art, the Guildford House in England and many others.

Jerusalem-born Sigalit Landau, born in 1969, is a world-famous sculptor, video and installation artist. Through powerful theatrical installations using everyday materials and objects such as furniture, musical instruments, clothing and sugar, she has also become known for documenting her complex creative process in photographs. The themes of these works vary from social and ecological issues to questions of homelessness and the human body.

Among Landau's most recognised works is a series of salt sculptures, videos and photographs connected to the Dead Sea. For this highly acclaimed series, over a period of 15 years, Landau submerged several objects - such as a ballerina's tutu, a violin or shoes - into the Dead Sea, where they accumulated layers and layers of salt to create mind-bending, surreal sculptures. But it was really her experience of living in Jerusalem that helped launch her career, first via studies at the Bezalel Academy of Art and Design and later when Landau held her first major exhibition at the prestigious Israel Museum in 1995, creating an installation titled Temple Mount, inspired by the highly contested religious site. After this successful show, Landau would go on to exhibit regularly at major institutions across the globe. Her works are currently on display at the Israel Museum in Jerusalem, the Centre Pompidou in Paris, the Jewish Museum and the Museum of Modern Art in New York City, among other places.

Coming from a famous Jerusalem family of musicians and artists, Jerusalem-born musician Ehud Banai, born in 1953, has been active since the 1980s. He combines elements of classic and alternative rock with various Jewish and Middle Eastern traditions. Many of Banai's best-known songs are about Jerusalem, such as 'Haknafeh Hametukah' and 'Rehov Haagas Ehad', which are inspired by his childhood memories of wandering through the Machane Yehuda Market. Other songs explore Jewish and biblical themes. One album, titled Under the Jasmine Tree, focusses on Persian folk tales told by his father. In his youth, Banai travelled the world and performed at many venues before he became famous, including a six-month stint busking in London. He regularly holds concerts across Israel. With hundreds of performances and 10 albums under his belt, eight of which have gone platinum and two gold, Banai is one of the most influential musicians in Israel.

The Machane Yehuda Market in Jerusalem is at the heart of the city's thriving foodie scene but has also recently transformed into a vibrant art gallery thanks to young British street artist Solomon Souza, born in 1993. Souza is famed for his colourful spray-painted depictions of well-known contemporary and historical Jewish and Israeli figures, visible on market shops' metal shutters. Aside from honing his artistic skills at his London high school, Souza is self-taught and has dabbled in graffiti since he was a teenager. He was first commissioned by his friend Berel Hahn to paint the market's stalls as a way of enlivening the area at night, when shops may be closed but bars and cafés open their doors. Former Israeli prime minister Golda Meir, infamous spy Jonathan Pollard and British philanthropist and Jerusalem-devotee Sir Moses Montefiore - Souza has so far completed more than 100 vivid portraits, turning a Jerusalem landmark visited by thousands daily into a living art gallery and a popular attraction for both locals and tourists.

An award-winning actor, filmmaker and artist, Palestinian-Israeli Raida Adon refuses to be easily categorised. Born to a Muslim mother and a Jewish father in the northern Israeli seaside city of Acre, Adon studied art at the Bezalel Academy in Jerusalem and has had an enormous impact on Israeli-Arab culture. She has starred in several shorts, as well as the hit TV series Fauda (available on Netflix).

When she is not busy acting, Adon creates provocative video art, such as Woman Without a Home (2013), a work exploring her search for identity in relation to her Jewish-Muslim upbringing. This pivotal piece was shown at the Tel Aviv Museum of Art in Adon's first-ever solo exhibition. Another video, Fasatine (2001), looks at the artist's deep connection to the ghost village of Lifta. Located on the outskirts of Jerusalem, Lifta was once inhabited by Arab Palestinians until the 1947-48 Civil War in Mandatory Palestine, when many were forced to flee their homes. In the video, empty black dresses hang in the wind or float in dark pools of water, an eerie reflection of a place without inhabitants. Adon has held exhibitions around the world, including in Germany, Japan, the United States and France. Her videos are available to view on her website.

Known as 'the painter of Jerusalem', Moravian-born Israeli artist Ludwig Blum (1891-1975) emigrated to Mandatory Palestine in 1923 after having received a fine arts degree in Vienna and Prague. Blum became enamoured with the landscapes of Jerusalem and the desert, painting the Judean Mountains, the Western Wall and the Mount of Olives, among many other sites. His European-style renditions gained him international recognition thanks to his ability to capture Jerusalem's distinct light at sunset and his detailed panoramas of the Holy City. In 1933, Blum's painting Jerusalem received special mention from the Royal Academy in London. Today, his artwork is on view at several museums, including the Jewish Museum in Prague, the Israel Museum in Jerusalem and the Negev Museum of Art in Beersheba.
This article is an updated version of a story created by Naomi Lubash.

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The Most Influential Israeli and Palestinian Artists in Jerusalem

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Israel and Palestine's most famous artists confront questions of identity and national culture through painting, sculpture, music and performance art. At the heart of it all stands the city of Jerusalem, which, thanks to its abundance of holy sites and its prestigious art academy, has transformed itself into a launch pad for many creatives.

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https://school.iasa.org.il/about-iasa/

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IASA - The Israel Arts and Science Academy - יאסא התיכון הישראלי למדעים ולאמנויות

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The Israel Arts and Science Academy (IASA) The Israel Arts and Sciences Academy (IASA) is Israel's first and only residential high school designed specifically for excellent students of extraordinary potential. Established on the three pillars of excellence, leadership, and community service, IASA offers demanding academic studies, a rich and supportive community life, and holistic character [...]

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https://www.bezalel.ac.il/en

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Bezalel Academy of Arts and Design, Jerusalem

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Bezalel Academy of Arts and Design, Jerusalem

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© 2021 Bezalel Academy of Art and Design Jerusalem

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https://www.street-festival.co.il/english

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For the past decade, "The International Street Art Festival" has grown into one of Israel's most interesting and unique youth festivals.

It has become a focal point for attracting a youthful and dynamic crowd of children and youth between the ages of 12 - 25, with many of their parents attending as well.

Some 20,000 attend the festival annually, the vast majority children and youth.

3 days of unique shows, competitions and workshops.

"Battle Of The Year" (BOTY) - Israel national breakdance championship.

"Hip hop starz" - Israel national hip hop dancing championship in karmiel festival.

Theatre shows" - an evening of live performances of dancing street culture.

"Youth Workshops" - international artists holding workshops for the Israeli public and youth.

"Dancing in the streets" - Exposure and preliminary events throughout Israel's cities.

The festival's unique character lies in its convening in a single location the entire range of the most popular contemporary street art which make up today's most popular youth culture in both Israel and around the world.

This is a lively urban festival that attracts a wide variety of modern street artists performing in every artistic sphere: song, dance, drawing, sports and acrobatics.

The festival runs 2-3 days of national competitions, street art compounds, stage performances and artists' workshops.

The Israel breakdance championship for individuals and teams ("The Battle of the Year") is the keynote event of this special festival. This contest is the preliminary to the international breakdance championship, which has been taking place for 22 years now in Germany. The winners of this contest will be flown to Germany to represent Israel in that competition.

Street art compounds in the festival:

Breakdance, Parkour, Graffiti, Rap, DJs, beatbox, Roller Blades, Skateboards, Street/stunt bikes, Hip-Hop dances, Capoeira and a huge compound for "street dance" that brings together the entire range of this genre.

Every year various street artists and international judges arrive to judge the Israel breakdance championship.

to festival and its activities: Our policy is to allow free access for everyone to all festival activities, thereby attracting a very large audience.

The street culture festival grew out of the hip-hop culture, with an emphasis on the elements of breakdance, DJs and graffiti artists, though all other spheres of hip-hop are also included in the program. Additional urban and extreme elements are also featured, like skateboards/roller blades, parkour and wonder-jumper springs.

The street culture festival is a new initiative for integrating the world-famous

"Battle of the Year", which is the international breakdance championship, and which has been running for nine consecutive years as a preliminary competition in Israel.

This competition, which one might call the "Eurovision of breakdance", brings together representatives and contestants from all over the world, from Europe and Asia to the U.S. and Australia, and challenges them to "battle" for the title of the world's greatest performer in the field.

Thousands of Israeli youth are involved in these activities on a daily basis, and the anticipated attendance at the combined street championship (the street culture festival) will be over 12,500, as it was last year.

The competition takes responsibility for a young generation of artists and inculcates the original idea of the hip-hop culture, while offering a social venue that encourages participation in such activities.
It is easy to see the dedication of purpose and total devotion to art of all participants, as they push themselves ever forward in order to attain the coveted victory.
The target audience are young people between the ages of 12- 25.

Theme 1 - Opportunities for the Younger Generation

1. An opportunity to provide a voice and constructive activities for Israel's younger generation.

2. An opportunity to experience various spheres of art and gain popularity/acceptance in the public eye.

Theme 2 - Cultural Language

1. Bringing the code of youth culture - "hip-hop"- into the event.

2. Communicating the spirit of the voices and ambitions of the younger generation.

Theme 3 - Renown and Reputation

1. International title provides the group and individual a true sense of acceptance and admiration in Israel.

2. Prestigious honor and recognition by street culture communities around the world.

3. Representing the State of Israel through participation in world championships.

"Street Art Production" (S-A-P) & The "Israeli Breakdance Organization" (IBO)

S-A-P & the IBO were founded in 2001, dedicated to the promotion of street art and breakdance in Israel.

The organization has over 20,000 followers to date and continuously strives to raise awareness for Breakdance in Israel, with considerable success.

Over the last 10 years the S-A-P & IBO have produced been countless breakdance events and activities, as well as incorporate breakdance as a performing art into many major events.

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פסטיבל אמנות תרבות רחוב

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For the past decade, "The International Street Art Festival" has grown into one of Israel's most interesting and unique youth festivals. It has become a focal point for attracting a youthful and dynamic crowd of children and youth between the ages of 12 - 25, with many of their parents attending as well.

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https://www.timeout.com/israel/blog/the-top-festivals-in-israel-101016

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Israel hosts a range of festivals year-round, from north to south. Spend a weekend listening to local and international jazz talents on the Red Sea, discovering emerging Israeli artists at Fresh Paint, or staying up all night during Tel Aviv's 24-hour mix of culture and craziness on White Night. The fun opportunities are endless. You can even join the Israeli version of Burning Man. Dive into the top ten annual Israel festivals below:

Fresh Paint Contemporary Art Fair - April

The Fresh Paint Contemporary Art Fair has become a mainstay in Tel Aviv and all of Israel's calendar of events, not only attracting locals, but also internationally-esteemed artists and curators looking to see what's ahead for Israel's art scene. The fair is constantly changing and adding new elements to its annual offering, keeping participants and visitors on their toes. Emerging artists selected by a panel of international curators, gallery owners, art critics and collectors, are given the opportunity to display and sell their work.

DocAviv International Documentary Film Festival - Spring (usually May)

Tel Aviv's largest film festival screens over 100 new documentary films from Israel and all over the world in this ten-day extravaganza. Screenings take place at the Tel Aviv Cinematheque, but some are shown for free in a range of funky venues all over the city. The festival also includes four competitions with awards ceremonies, as well as workshops and meetings with some of the biggest names in the world of documentary filmmaking. In recent years, the festival has opened regional branches including DocAviv Galilee and DocAviv Negev.

Musrara Mix Festival - Spring (usually May)

Combine 40+ foreign and local artists with students of the Naggar School of Art in Jerusalem's Musrara neighborhood and what do you get? Every year, the ever-changing theme of the Musrara Mix Festival is even wackier than its previous. The multidisciplinary art embodies the cultural and political reality of Israel at large, and Jerusalem in particular.

Open House - Spring (usually May)

Fancy learning about the various interpretations of Florentine's famous graffiti? Wondering what happens to Tel Avivian trash? Open House invites you to explore the city in a series of unconventional tours, including showings of stand-out apartments, skyscrapers and studios. For just one weekend annually, Open House is the event responsible for opening up Tel Aviv's private spaces for the public to view, discover and debate: distinctive synagogues, gardens and even construction sites are included. What makes the event such a success is the variety of contributors, including architects, developers and property owners. These are the people who are so passionate about the White City, donating their time to its construction.

The Israel Festival - Spring (usually May)

Founded in 1961, this multidisciplinary festival continues its international tradition with a cornucopia of stage art, theatre performances, contemporary dance and classical music. For several weeks each year, the city of Jerusalem morphs into a magnet for lovers of culture, featuring foremost international and Israeli artists.

Address: Different locations in Jerusalem

Price: Performance prices range from NIS 20-150

Midburn - Spring (over the festival of Shavuot, usually in May)

This is Israel's answer to the cult favorite Burning Man festival in Nevada's desert. For five days, Israelis and visitors alike pack up and head out to Israel's Negev desert where thousands of people take part in a survivalist-themed week of communal creativity, art and radical self-expression. Expect out-of-this-world installations, festival goers in crazy costumes and mindsets, plus a window into a world of no holds barred free-thinking and artistic displays.

Tel Aviv Pride Week - Summer (June)

Fly your rainbow flag and don your craziest outfit - or just those teensy shorts you bought specially for this wild occasion. Tel Aviv's much-anticipated annual Pride Week celebrates the many colors and cultures of Tel Aviv's vibrant LGBTQ community. A week of fun events and parties culminate in a show-stopping pride parade attended by 180,000 people eager to celebrate love, diversity and freedom.

Tel Aviv White Night (Laila Lavan) - Summer (June or July)

Laila Lavan ('White Night' in Hebrew), is a one-of-a-kind event in Israel's culture capital. Tel Aviv's cultural establishments stay open all night and other activities and attractions take place until the wee hours. White Night promises to be a night you'll never forget - or, depending on how you spend it, one you'll never remember. The city's iconic museums, including the Tel Aviv Museum of Art, are open and free to the public all night long and bars and restaurants stay open late and offer special menus. The streets are packed with revelers and traffic is at a standstill, so strap on those sneakers and get ready to do plenty of walking.

Hutzot HaYotzer (The International Arts and Crafts Festival) - August

For two weeks every August, the city's artists' colony takes over three outdoor locations for an immersive festival that features painters, sculptors and designers from around the world. Hutzot HaYotzer, which translates to 'The Creator Steps Out', has become a highlight on the capital's calendar. Starry Jerusalem nights can be spent strolling past artists' booths, watching artists at work or listening to live musical performances. Visitors can also pick up original and reasonably-priced art or make their own in one of the hands-on workshops.

Contact: https://artfair.jerusalem.muni.il/
Address: Hutzot Hayotzer Artists' Colony, Mitchell Gardens, and Merrill Hassenfeld Amphitheater
Opening times: Every evening except Fridays for two weeks in August usually from 18:00-23:00; Daytime events Sun-Thu 10:00-17:00, Fri 10:00-14:00
Price: NIS 35-60

Red Sea Jazz Festival - Summer (End of August) and Winter (February)

What can be better than listening to the hottest, most authentic jazz music under the desert's starry sky? Well, listening to it live for starters. The Red Sea Jazz Festival, hosting the best talent in Israeli and international jazz music, proves that jazz is very much still alive and kicking. The bi-annual, decades-old festival takes place in a range of open-air arenas in the southern city of Eilat.

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Israel hosts a range of festivals year-round, from north to south. Spend a weekend listening to local and international jazz talents on the Red Sea, discovering emerging Israeli artists at Fresh Paint, or staying up all night during Tel Aviv's 24-hour mix of culture and craziness on White Night.

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https://www.imj.org.il/en/wings/arts/israeli-art

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The Israel Museum, with its massive collections of archaeology, Jewish ritual objects, fine arts, and contemporary works, was listed as the world's 17th largest museum.

The list, compiled by Newsweek and published Friday, placed the Jerusalem institute ahead of the Minneapolis Institute of Art, and said it was just slightly smaller than the Massachusetts Museum of Contemporary Art.

Founded in 1965, The Israel Museum has a gallery area of 199,000 square feet (18,500 square meters), according to the list.

It contains some 500,000 pieces of art, ranging from prehistoric to contemporary art, as well as extensive Biblical and Holy Land archaeology.

And even amid the many coronavirus lockdowns, The Israel Museum was still purchasing new works, mostly for its contemporary art collection.

Coming in first place was the Louvre Museum in Pairs, coving an enormous area of 782,910 square feet (72,735 square meters).

But the famous institute was only reported to have some 38,000 art pieces in comparison, dating from prehistory to the 21st century.
Jessica Steinberg contributed to this report.

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Israel Museum listed as world's 17th largest art institution

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The Israel Museum, with its massive collections of archaeology, Jewish ritual objects, fine arts, and contemporary works, was listed as the world's 17th largest museum. The list, compiled by Newsweek and published Friday, placed the Jerusalem institute ahead of the Minneapolis Institute of Art, and said it was just slightly smaller than the Massachusetts Museum of Contemporary Art.

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History of Israel The early history of Israel is taken from the Bible, with the beginning of the nation's history starting with the Biblical Abraham of Ur, Mesopotamia, who lived in the region around 1900BC. Abraham had 8 sons named Isaac, Ishmael, Midian, Jokshan, Zimran, Ishbak, Shuah and Medan. Isaac had a son named Jacob, who had 12 sons, which is said to have governed the 12 tribes of Israel.

The 1st Kingdom of Israel is said to have been established in 11th century BC. During this age, from 1200 to 1000 BC, a population identified themselves as "Israelites," whose ancestors may have been Semites native to Canaan. Subsequent kingdoms ruled the land in the following 400 years.

In 586 BC, King Nebuchadnezzar II of Babylon conquered Israel, followed by Cyrus the Great of Persia in 583 BC, who conquered the Babylonian Kingdom, which included the region of Israel.

The Roman Empire arrived and invaded Israel in 63 BC, forcing the Jews to leave the region between 132 to 135 AD, when it was named as Palestine.

The Arabs came in 635 AD, conquering and ruling Israel for over a thousand years.

In 1516, the Ottoman Empire conquered the region and remained as rulers until the First World War, when the British took over. The 1900's began the intense conflicts between the Arabs and the Jews, which led to the United Nations' 1947division of the region into the Arab and the Jewish state.

On May 14, 1948, the "State of Israel" was founded. The next decades after Israel's independence has been filled with conflict between them and Palestine, as well as their Arab neighbors. Conflict over ownership of the land considered holy by the Jews, Christians, and Muslims, have resulted to ongoing regional wars in the region.

Geography
Israel is located in Western Asia, south-east of the Mediterranean Sea. Its borders are Lebanon to the north, Jordan to the east, Syria to the northeast, the Palestine territories of Gaza Strip and West Bank to the southwest and east, and Egypt and the Aqaba Gulf to the south.

The Israeli Coastal Plain, which is found on the shores of the Mediterranean Sea, is home to 57% of the population. The entire region is characterized by a variety of geographical features. Fertile land is found in the Jezreel Valley, while mountain ranges are found in Galilee, and the south covered in desert, where the Negev desert is found.

Politics
The State of Israel is a representative democratic country. It has a parliament system, with the Prime Minister as Head of Government and Head of Cabinet. A 120-member parliament called Knesset is the country's legislative body.

The President of Israel acts as Head of State but duties are very limited and largely ceremonial.

Travel
Tourism is 1 of Israel's major sources of national income. Over 3.5 million people from all across the world visited Israel in 2013.

The country is popular for its historic and religious sites first and foremost, with beach resorts and archaeological sites coming in 2nd.

Among the most visited sites in Israel is Jerusalem's Western Wall or Wailing Wall. Located in the Jerusalem Old City area, at the foot of the western part of the Temple Mount, the wall is a famous site of pilgrimage and prayer for the Jews. Considered sacred and holy, it is common practice for people to place prayer notes in between the cracks of the wall.

The Masada is a UNESCO World Heritage Site and the 2nd most visited site in Israel next to Jerusalem. It used to be a fortress and a palace, which was built by Herod the Great. Perched on top of an isolated rock plateau on the Judaean Desert, the ruins are a popular attraction for many foreign tourists.

Tel Aviv is the country's 2nd largest city, with its collection of Bauhaus architecture protected by the UNESCO. It has a thriving nightlife scene, and is a cosmopolitan, cultural, and financial global city.

Jerusalem is the most visited city in the country. It is one of the oldest cities in the world, and is known for its historical, archaeological, and religious sites.

Education
Israel's literacy rate is at 97.1% of the population. Israel ranks as number 3 in the globe in terms of the number of university degrees per capita - which is 20% of the population.

Israel's State Education Law was established in 1953, establishing 5 types of schools: state religious, state secular, ultra orthodox, Arab schools, and communal settlement schools. The largest group is the state secular, attended by majority of Israel's student population.

The top institutions in the country are Tel Aviv University &The Hebrew University of Jerusalem.

Trivia

They have the highest standard of living in the Middle East.

They have the highest life expectancy in the world - which is 82 years old.

Israel banknotes have braille markings so the blind can identify the bills.

The cellphone was developed in Motorola's largest location, which was in Israel.

Source Code: IW20141107
Last Updated on: February 22, 2020

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History of Israel The early history of Israel is taken from the Bible, with the beginning of the nation's history starting with the Biblical Abraham of Ur, Mesopotamia, who lived in the region around 1900BC. Abraham had 8 sons named Isaac, Ishmael, Midian, Jokshan, Zimran, Ishbak, Shuah and Medan.

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Turkey or Türkiye, officially the Republic of Türkiye, is a transcontinental country located mainly on the Anatolian Peninsula in Western Asia, with a small portion on the Balkan Peninsula in Southeast Europe. Wikipedia

Capital: Ankara

Currency: Turkish lira

Population: 84.34 million (2020) World Bank

President: Recep Tayyip Erdoğan

Official language: Turkish

Museum/Art Gallery

Arter - Istanbul

Subtitled simply "Space for Art", Just a few exhibitions old, and housed in a tastefully restored mansion on the city's busiest shopping street, Istiklal Caddesi, it is quickly gaining a reputation as an intelligent platform for Turkish art. Though large, bright and well-lit, Arter is set out more like a studio than a museum, and it encourages the production of site-specific exhibitions and performances such as Deniz Gül'sinstallation of coffins and

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Home and studio of painter Zhang Enli

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Ann Craven's studio where she makes her plein air moon paintings

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Where Miho Dohi lives and makes her work.

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Studio of Yayoi Kusama

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Hometown of Jirõ Yoshihara and the Gutai movement.

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Spanish conquistador Francisco Pizarro captures Inca Emperor Atahualpa after a surprise ambush at Cajamarca in the Peruvian Andes

Peruvian ambassador Ricardo Rivera-Schreiber warns American Ambassador of Japanese assault on Pearl Harbor

Lawine battlers destroy Haaraz, Peru; about 3,000 die

Peru and Ecuador sign Protocol of Rio (boundary determination)

Peru, Paraguay, Chile & Ecuador joins UN

Australian Championships Men's Tennis: American based Peruvian Alex Olmedo wins his first Grand Slam event; beats Neale Fraser of Australia 6-1, 6-2, 3-6, 6-3

Terror group "The Illuminated Path" frees 260 prisoners in Peru

Alan Garcia wins elections in Peru

Alan Garcia sworn in as President of Peru

Peruvian Navy Fokker F27-400M chartered by Alianza Lima FC crashes into Pacific Ocean 7 miles from Jorge Chávez International Airport near Callao; 43 killed, only pilot survives

Peru becomes a member of the Berne Convention copyright treaty

An earthquake hits Peru, killing over 200

Over 10,000 illegal Peruvian gold miners clash with police to gain control of Puerto Maldonado

9 people die after a plane crashes after being ensnared in power lines in Peru

33 people are killed after a bus tumbled off a cliff in Trujillo, Peru

50 people are killed after a truck veers of a cliff in La Convencion Province, Peru

UN climate change talks in Peru continue past scheduled time as negotiations continue to stall

Famous Birthdays

1523-11-11 Joachim Hopperus, Frisian lawyer and politician, born in Sneek, Friesland (d. 1576)

1579-12-09 Martinus de Porres, Peruvian saint (patron of social justice), born in Lima, Viceroyalty of Peru (d. 1639)

1586-04-20 Saint Rose of Lima [Isabel Flores de Olivia], Peruvian saint, a member of the Third Order of Saint Dominic, born in Lima, Peru (d. 1617)

1663-11-26 Pedro de Peralta y Barnuevo, Peruvian poet (Obras Dramaticas), born in Lima, Peru (d. 1743)

1938-10-03 Pedro Pablo Kuczynski, Peruvian economist and 66th President of Peru (2016-present), born in Lima, Peru

1938-11-13 Julio Canani, Peruvian thoroughbred horse racing trainer (Breeders' Cup Mile 1999, 2001; Juvenile Fillies 2004), born in Oxampampa, Peru (d. 2021)

1941-01-08 Boris Vallejo, Peruvian illustrator, born in Lima, Peru

Spanish conquistador Francisco Pizarro captures Inca Emperor Atahualpa after a surprise ambush at Cajamarca in the Peruvian Andes

Peruvian ambassador Ricardo Rivera-Schreiber warns American Ambassador of Japanese assault on Pearl Harbor

Lawine battlers destroy Haaraz, Peru; about 3,000 die

Peru and Ecuador sign Protocol of Rio (boundary determination)

Peru, Paraguay, Chile & Ecuador joins UN

Australian Championships Men's Tennis: American based Peruvian Alex Olmedo wins his first Grand Slam event; beats Neale Fraser of Australia 6-1, 6-2, 3-6, 6-3

Terror group "The Illuminated Path" frees 260 prisoners in Peru

Alan Garcia wins elections in Peru

Alan Garcia sworn in as President of Peru

Peruvian Navy Fokker F27-400M chartered by Alianza Lima FC crashes into Pacific Ocean 7 miles from Jorge Chávez International Airport near Callao; 43 killed, only pilot survives

Peru becomes a member of the Berne Convention copyright treaty

An earthquake hits Peru, killing over 200

Over 10,000 illegal Peruvian gold miners clash with police to gain control of Puerto Maldonado

9 people die after a plane crashes after being ensnared in power lines in Peru

33 people are killed after a bus tumbled off a cliff in Trujillo, Peru

50 people are killed after a truck veers of a cliff in La Convencion Province, Peru

UN climate change talks in Peru continue past scheduled time as negotiations continue to stall

Famous Birthdays

1523-11-11 Joachim Hopperus, Frisian lawyer and politician, born in Sneek, Friesland (d. 1576)

1579-12-09 Martinus de Porres, Peruvian saint (patron of social justice), born in Lima, Viceroyalty of Peru (d. 1639)

1586-04-20 Saint Rose of Lima [Isabel Flores de Olivia], Peruvian saint, a member of the Third Order of Saint Dominic, born in Lima, Peru (d. 1617)

1663-11-26 Pedro de Peralta y Barnuevo, Peruvian poet (Obras Dramaticas), born in Lima, Peru (d. 1743)

1938-10-03 Pedro Pablo Kuczynski, Peruvian economist and 66th President of Peru (2016-present), born in Lima, Peru

1938-11-13 Julio Canani, Peruvian thoroughbred horse racing trainer (Breeders' Cup Mile 1999, 2001; Juvenile Fillies 2004), born in Oxampampa, Peru (d. 2021)

1941-01-08 Boris Vallejo, Peruvian illustrator, born in Lima, Peru

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Spanish conquistador Francisco Pizarro captures Inca Emperor Atahualpa after a surprise ambush at Cajamarca in the Peruvian Andes Peruvian ambassador Ricardo Rivera-Schreiber warns American Ambassador of Japanese assault on Pearl Harbor Lawine battlers destroy Haaraz, Peru; about 3,000 die Peru and Ecuador sign Protocol of Rio (boundary determination) Peru, Paraguay,

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On October 20, 1687, an 8.7 magnitude earthquake hit Lima, Ica, and Calla. About 5,000 people died. Most people died from the Tsunamis, and only about one thousand died from the actual earthquake. The earthquake occurred along the boundary between the Nazca Plate and the South American Plate. The port of Pisco was completely destroyed by the tsunami, with at least three ships being swept over the remains of the town. This earthquake also sent over small tsunamis to Japan. In the 16th and 17th century the principal wine growing area of the Americas was in the central and southern coast of Peru. In Peru the largest wine-making center was in the area of Ica and Pisco. The earthquake destroyed wine cellars and mud containers used for wine storage. This event marked the end of the Peruvian wine-boom.

Jose de San Martin created the Army of the Andes and crossed the Andes in 21 days, after fighting for the independence of the Viceroyalty of Rio de la Plata. Once in Chile, he joined forces with Chilean army and liberated the country in the battles of Chacabuco and Maipu in 1818. On September 7th 1820, a fleet of eight warships landed in the port of Paracas under the command of general Jose de San Martin and Thomas Cochrane of the Chilean Navy. Immediately on October 26, they took control of the town of Pisco. San Martin settled in Huacho on November 12, where he established his headquarters while Cochrane sailed north blockading the port of Callao in Lima. At the same time in the north, Guayaquil was occupied by rebel forces under the command of Gregorio Escobedo. Argentinian General, San Martin, sent representatives to Lima urging Viceroy Pazuela that Peru be granted independence, however all negotiations proved unsuccessful. The Viceroy of Peru, Joaquin de la Pazuela named Jose de la Serna commander-in-chief of the loyalist army to protect Lima from the threatened invasion of San Martin. De la Serna abandoned the city, and on July 12th 1821 San Martin occupied Lima and declared Peruvian independence on July 28th 1821. De la Serna was later named Viceroy of Peru. In order to avoid a military confrontation, San Martin met the newly appointed viceroy, Jose de la Serna, and proposed to create a constitutional monarchy; the proposal was turned down.

The 1868 Arica earthquake struck on August 13, 1868, near Arica, a region of Peru and Chile. It was an estimated magnitude between of 9.0. There was a total of 300 million dollars in damage. It killed as many as many as 70,000 people along the South American coast. The earthquake started between the Nazca Plate and the South American Plate. Tsunamis in the Pacific Ocean were produced by the earthquake, which was recorded in Hawaii, Japan and New Zealand. About 400 aftershocks were recorded. The combined effect of the earthquake and tsunami had a dramatic impact, killing many people. Also, repairs were costly, wasting both time and money.

Once Peru gained its independence, Ecuador lost many rivers, including the Amazon and the Rio Maranon. As a result of this, Ecuador lost access to the Pacific Ocean. The war started on July 1941 with Ecuador's forces with 1,800 soldiers and Peru's with 13,000. In an effort to assert its territorial claims in a region near the Rio Maranon in the Amazon Basin, Ecuador occupied militarily the town of Zarumilla along its southwestern border with Peru. However, the Peruvian Army responded with a swift victory against the Ecuadorian Army. The Peruvian army used tanks, artillery, military parachutes, air support, and other weapons for the war. Their paratroop unit was used to seize the Ecuadorian port city of Puerto Bolivar on July 27, 1941. Ecuador requested a cease fire which went into action on July, 31 1941.

Major events happening in other countries also had a major impact on Peru's economy and politics. For example, World War I, World War II, and the Great Depression all had Major effects on Peruvian history. During World War I, export markets were temporarily cut off, inciting recession. Inflation raised the cost of living by nearly double between 1913 and 1919. The growth and concentration of workers made a push for a labor movement. Consequently, violent strikes erupted on sugar plantations, beginning in 1910. Cotton and metal exports helped strengthen the economy during the Depression. Peru returned to the gold standard during this time. In 1931, Peru was barred from the United States capital market. The Allied victory in World War II reinforced the relative democratic affinity in Peru. The military overthrew the government and installed General Manuel A. Odria, hero of the 1941 war with Ecuador, as president. These events shaped the history and economy of Peru.

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On October 20, 1687, an 8.7 magnitude earthquake hit Lima, Ica, and Calla. About 5,000 people died. Most people died from the Tsunamis, and only about one thousand died from the actual earthquake. The earthquake occurred along the boundary between the Nazca Plate and the South American Plate.

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President Garcia appoints a new prime minister, Javier Velasquez Quesquen, and replaces seven other ministers in a cabinet reshuffle aimed at restoring confidence in the government.

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President Garcia appoints a new prime minister, Javier Velasquez Quesquen, and replaces seven other ministers in a cabinet reshuffle aimed at restoring confidence in the government.

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Understanding Rural Women in Peru

By reviewing the gender roles, domestic violence, education, poverty, and ethnic roles found in Peru, we can better understand the circumstances of rural Peruvian women, like those found in Pinagua.

They are family-oriented women, who work hard to provide care to their children and home. Unfortunately, they are at a higher risk of being abused by their husbands.  Additionally, despite their own desires and efforts, they probably have not completed as much education as they would have liked or needed. They also they have a higher probability of living in poverty. Furthermore, they're most likely indigenous and at the bottom of the perceived societal hierarchy. Luckily, none of this means that they do not have a chance to break these constraints!

Our Response to Help Empower Women in Pinagua

Our Women’s Empowerment project is not going to magically solve all the obstacles that rural Peruvian women face. However, it can begin to support these women in combating their difficult circumstances in a sustainable and manageable way.

For instance, the cuy houses are built on a family’s land; meaning a rural woman can still fulfill her domestic duties within the home while also working to earn her own income. In gaining an income, she can develop a greater sense of autonomy and socioeconomic well-being; two variables that the GRADE study identifies as impacting a woman’s likilihood of experience violence from a partner. If she’s in a violent relationship, she may find the courage to report the abuse against her; she could show her children that violence against women should not be tolerated.

Maybe, she’ll use her new income to invest in her children’s education. Or possibly even her own, or she could put more food on the table, if it's needed. She could help beat the negative statistics that are typical to her rural community. Even though traditional beliefs on ethnicity and gender makes her situation difficult, she now may realise her rights. Thus, by starting her own cuy business, these woman can claim their power and freedom.

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Empowering women in Peru to gain control over their lives and personal situations by helping them start their own buisness to gain finacial independence.

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For many women in Peru, violence is a part of life. Daily harassment on the streets, sexual abuse of minors, trafficking of women and girls, and the sexual, physical, emotional, and economic abuse of women in their own homes are all prevalent, but have been largely ignored by authorities and society alike. Now, in the wake of two high profile cases in July 2016 when men who attacked women received light sentences, civil society is rising up against the violence that permeates women’s lives. On August 13, a demonstration is scheduled in downtown Lima to oppose violence against women.

The Peruvian mobilisation is the latest chapter of a movement that has spread across Central and South America. It was sparked by the murder of Mexican poet and activist Susana Chávez Castillo in 2011. Castillo had coined the phrase Ni una mujer menos, ni una muerte más (“not another death, not a woman less”) in the 1990s in protest to a unprecedented spate of unsolved murders of women in Juarez, Mexico.

Four years after Castillo was tortured and killed in the same city, activists in Uruguay, Mexico, Chile and Argentina began organising campaigns and demonstrations to protest against femicide and violence against women more generally, using her slogan Ni una menos. In May 2016, after the shocking gang rape of a girl in Rio de Janeiro was filmed and posted on the internet, Brazilian activists organised demonstrations in a similar fashion. Now it is Peru’s turn.

Two cases spark protest

In both of the cases that have sparked the Peruvian movement, the attacks were horrific, but the courts decided to give the men suspended sentences because the forensic evidence suggested the harm done was “minor”.

In the first case, in the highland city of Ayacucho, a woman called Cindy Contreras was assaulted by her boyfriend, who beat her up when she tried to flee the hotel where he had taken her. Harrowing footage from security cameras shows Adriano Pozo, naked, dragging her by her hair through the reception area in a video that was circulated widely on the internet. Contreras reported the assault and the man was captured and tried. But, in July 2016 a judge gave Pozo a suspended sentence, arguing that the nature of Contreras’s wounds suggested that he had not intended to rape or kill her.

The second case was that of Lady Guillen, who endured assaults by her boyfriend for a year before reporting the violence when she felt her life was in danger. Pictures of her disfigured face, with stitches around her eyes, were published in the newspapers and circulated widely in Peru. Again, the judge considered Guillen’s wounds minor, and decided, also in July this year, that her life was not in danger. The aggressor, Ronny García, was released after four years in pre-trial imprisonment.

Both carry their physical and psychological wounds on their bodies and now live under the constant threat of retaliation from these men. The national mobilisation around their cases protects them somewhat, as now, for once, the perpetrators are in the spotlight. But they are not the only ones. According to national surveys, almost 40% of Peruvian women experience physical and sexual violence in their lives. If psychological and verbal abuse is included, the number increases to 70% in both rural and urban areas, and in all social strata. If we count all the “common” daily aggressions such as sexist jokes in the media and in politics, catcalling or harassment in public transport, then all Peruvian women experience such violence.

Peru has had enough

On a Sunday morning in July 2016, Jimena Ledgard, Elizabeth Vallejos and Natalia Iguiñiz set up a Facebook page with the aim to organise a national demonstration similar to those that had been held elsewhere in Latin America, emblematically called Ni una menos. The site gained more than 45,000 members in five days, and by now almost 60,000. The page quickly evolved from an organisational platform into a place where women could share experiences. New testimonies about the most intimate experiences of violence and historic child abuse are added every other minute. It is a shocking read.

Femicide occurs throughout Central and South America. In Guatemala, estimates suggest that 700 women are killed each year, out of a population of 15.5m. Honduras and El Salvador have similarly high levels of femicide. In Peru, estimates range from 100 to 150 women killed every year.

As elsewhere in Latin America, Peruvians are starting to say no to one of the most persistent and devastating forms of violence and inequality in the world. The mobilisation has important parts of the media and private sector on its side, adding pressure on the state and society alike. It is already working: the judiciary has promised a special prosecutor for cases of femicide and is investigating the sentences in the Contreras and Guillen cases. In the end, a general shift in public opinion and societal norms around the legitimacy of all forms of violence against women and girls needs to take place for policies and programmes to be effective. These mass mobilisations are an important step in that ongoing process.

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Anger at violence against women in Peru spills over into protest

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Peru is the latest country in Latin America where women are mobilising against violence.

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Love the idea of creating a podcast to support women of shared culture wherever they happen to be in the world!

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Every country has their own migration waves, and according to some reports Peru has already experienced five waves. Migration from South America is also a gendered phenomenon: over 50% of migrants from Argentina, Bolivia, Brazil, Chile, Colombia, Ecuador, Peru, Paraguay, Uruguay and Venezuela up to 2019, were women. This piece explores the experiences of female migrants from Peru's sixth wave of migration.

When I moved to Israel to pursue my MA in 2017 for economic purposes, I did not understand what being a migrant meant. I always saw migrants as people who had to move locations, as in they were forced to do it. Migrants for me were also people who planned to move for years, and finally made it. I always saw myself as just a traveller, passing by. Three years later, I moved back to Israel for family reunification, and I started my migrant journey. During the struggle to settle down in my new country, my husband gave me the idea to reach out to other Latinas that have migrated before and ask for advice. I decided to narrow the search to Peruvian women abroad, hoping that they would share with me, and by default, with anyone who would listen to the podcast, the key to surviving outside of Peru. I held many informal conversations with Peruvian women over WhatsApp and Zoom; every discussion would end up with us agreeing that we were knocking down stereotypes, prejudgments, cultural differences and more, but we also agreed that it was not an easy task and we wished for someone to have helped us.

In the process of understanding my migrant process and theirs, I created Granadilla Podcast: Peruvian women thriving around the world. The Granadilla part is easy to explain: it is my favourite Peruvian fruit, and is very hard to find abroad. The podcast's slogan "peruanas rompiéndola en el extranjero" translated into English would be "Peruvians thriving around the world". "Rompiéndola" has a double meaning in Spanish. First, it is a very Peruvian expression which means to do amazingly or succeed in whatever you are working on. Second, it means to break or tear down the obstacles, barriers and more that we as Peruvian women face outside our country.

Throughout the first year of the podcast, I have had the privilege of meeting amazing Peruvian women that are working to bring transformative change within their own communities and beyond. In Europe, we have Diana Morales, who created and directs the Pierre Janet Institute in Italy - a mental health centre offering specialised psychotherapy, wellness programmes and distance-learning courses. If we go to North America, we have Yane Valdez, in Canada, who is devoted to breaking down barriers that prevent women from succeeding in STEM fields, as well as creating awareness about Covid and immunology through her Twitter account ImmunoLatinXs. In South America, more specifically in Brazil, we have Rocio Espinoza, who through her Instagram account Piridina.pe, shares important information about drug discoveries and her PhD journey as a female scientist. These are just a few examples of what Peruvian women are doing abroad, and you can learn more about them by visiting our social media or listening to their stories through the podcast.

It is no secret that being a migrant is a challenge. If you add to this that you are Latina and a woman, things become even more complex. Racism is one of the biggest struggles of Peruvian migrants, who face prejudice based on both their skin colour and nationality. This fact has only been an extra motivation for these Peruvian women to achieve higher milestones. They are climbing up the ladder in their different fields, and they are showing the world what it means to have a Peruvian in their team.

Aware that language represents another obstacle when migrating, we therefore took it upon ourselves to learn the language of our new country. Based on the interviews conducted for the podcast, 3% of interviewees speak at least 4 languages including Spanish, 43% learned 2 more languages besides our native language, and 49% chose a second language after Spanish.

Another big challenge is the cultural differences. The Peruvian women featured on the podcast had to put themselves out there and learn about new cultures and new ways of doing things, from understanding how bureaucracy works in each country, to learning dress codes for different occasions. As the saying goes: "When in Rome, do as the Romans do": they adapted themselves, and became one with their new nation, without leaving their Peruvian roots behind.

The future of Peruvian migration needs a feminist approach. For example, there is no research on how maternity is experienced when abroad and away from family. As Latinas, we are used to having all of our family involved in the process, but how does this work when away from home? On the other hand, security and safety are key considerations when a Peruvian woman decides to migrate. How do their lives improve when they are less worried about being assaulted returning home late at night? Throughout Granadilla Podcast's episodes we are trying to understand what the female Peruvian migrant looks like. We know for a fact that Peruvian migrant women are shaping the future of Peru from abroad and it is time to give them the recognition and support they deserve.

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Peruvian women thriving around the world

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Peruvian women have been migrating for years, but it is only now that we are starting to notice how they are impacting the world. Granadilla Podcast is a new but powerful space that looks to gather Peruvian women around the world to tell their stories and inspire more Latinas to thrive.

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Spotlight on Peru: Women, Work, and Economic Growth

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In the 1990s, Peru reformed its customary laws that limited women’s right to work, access banking and financial services, and own and inherit assets, contributing to a 15 percent increase in women’s formal labor force participation within a decade. Nevertheless, economic and cultural constraints continue to limit women’s employment opportunities.

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Over 50% of migrants from Argentina, Bolivia, Brazil, Chile, Colombia, Ecuador, Peru, Paraguay, Uruguay and Venezuela in 2019, were women. According to the First World Survey for the Peruvian Community Abroad in 2020, around 3.5 million Peruvians were living abroad, more than 10% of the Peruvian population. Of these, 9% are professional migrants - white-collar workers, scientists and researchers, for example. They form part of what I consider to be Peru's sixth wave of migration.

The first wave of Peruvian migration took place between 1920 and 1950, with Peruvian oligarchs migrating mainly to Spain, England and the United States and blue collars heading mostly to the United States. Fast forward to the 1990s, and a fifth wave is estimated to have started in 1992 when the communist Shining Path party was in power.

The first time I migrated was in 2017. I went to Israel to study a master's degree as a temporary migrant that moved for economic and academic reasons. Little did I know that before the end of the programme, I would meet my husband, an Israeli who inspired the podcast I now run. After I graduated, in 2018, I moved back to Peru, and in 2020, we decided to get married and settle down in Jerusalem.

Migrating is never easy: there is paperwork, cultural and language barriers, and much more to deal with. By April 2021, I acquired my first working visa in Israel, and the journey to find a job began. If you have ever moved to a new country where you have looked for work the following sentences will probably sound all too familiar: "you do not know the local market", "you don't know the local language", "you need more experience".

I was ready to go back to Peru. I had a steady job waiting for me - something that is not so common for migrants - I knew the work culture and I knew my way around. That is when my husband told me to get in touch with other migrant Latinas. I decided to narrow it down to Peruvian women and that is how Granadilla Podcast - peruanas rompiéndola en el extranjero was born.

Granadilla is a Peruvian fruit that is very hard and expensive to buy abroad. It is also my favourite fruit. "Rompiéndola" means "breaking it down", or in this case dismantling stereotypes, barriers and challenges that female Peruvians face when they move abroad. Among the many goals of this podcast, one is to shine a light on Peruvian women and their achievements around the world, and, in so doing, to be a source of information and inspiration to Peruvian women considering temporary or permanent migration.

In 2021, the Granadilla Podcast hosted 50 Peruvian women living in South America, North America, Europe, Asia and Oceania. Some of these women migrated first for studies, later deciding to emigrate permanently to continue their studies, start a family and/or to work. Although some expressed a desire to return to Peru, they felt that Peru could not offer them the same stability and opportunities that their host country could.

A 2017 study for instance showed that investment in research and development in Peru is very low, therefore narrowing the chances of someone with a PhD or postdoc from getting funding or finding a decently paid job in the Peruvian market. Beyond academia, young women are among those facing the most barriers when looking a job in Peru, according to the OECD. Even though this study was conducted in 2014, the situation has not changed much. And that is something to think about. How can we close the gender gap so these successful women might consider returning home? Can Peru invest more in research and development?

To name a few of our guests, we have hosted Diana Morales in Italy who created and directs the Pierre Janet Institute - a mental health centre offering specialised psychotherapy, wellness programmes and distance-learning courses. Yane Valdez, in Canada, is devoted to fighting the barriers that prevent women from succeeding in STEM fields. Katherine Tinoco, in England, runs a Peruvian dance company - ArtPerUK - to preserve Peruvian culture and dance. Yanymee Guillen, in South Korea, founded SAPPIENS, a platform for Peruvian researchers in STEM fields in Asia and Oceania.

A common challenge that many of the women shared experiences of was racism. Whether in England or in the United States, the Peruvian women I hosted had experienced some level of racism. However, instead of letting that stop them from moving forward in their lives, they took it as an opportunity to grow.

Another lesson from these 50 interviews is the importance of a second language. As migrants, even if you move to a country where your native language is the main language, speaking a different one will open new doors in terms of job opportunities. And of course, learning the local language and culture is a must. Latinos have a very strong culture, but when in Rome do as Romans do, which does not mean that we stop being Peruvians. We just do our best to combine our customs with local ones.

Finally, one of the main lessons that the 50 first Granadilla podcast interviews will leave you with is that women can achieve anything. They can start from scratch in a new country, they can reinvent their careers and find a new path, they can combine their culture with their partners' and they can leave a strong Peruvian footprint wherever they go.

One of the main goals of Granadilla podcast for 2022 is to keep sharing the stories of Peruvian women around the world. We want it to be a space to discuss Peruvian migration from a gender perspective, addressing important issues for women like safety for instance; Lima, where most Peruvian women migrants come from, is one of the most dangerous cities in the world for women. And although it does not apply to all women, another important issue affecting Peruvian women's migration is maternity. It takes a village to raise a kid, but how do you do it if your village is far away from you? We need to understand the gender-specific impacts of migration. And who is better placed to tell us than women migrants themselves?

[1] You can follow this initiative on Instagram, Spotify, Anchor and Apple Podcast. You can also reach out to me at hola@randomana.com. As a young project, we want to build bridges and collaborate with similar spaces.

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The Peruvian women thriving around the world - Development Matters

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A common challenge that many of the Peruvian women shared experiences of was racism. Whether in England or in the United States, the women I hosted had experienced some level of racism. However, instead of letting that stop them from moving forward in their lives, they took it as an opportunity to grow.

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I am writing this as things have never looked better for me financially, as an artist. I have had a few huge sales and wildly successful shows over the years, but I feel as if I have tapped into a new realm of possibilities in recent months. And this in a time of financial hardship for many across the globe. I want to pass on a few things I have learned about art and business in my almost thirty years of experience. And, yes, it starts with admitting that the old adage is true–you must love the art more than food. I remember many years of my family eating little other than beans and rice while I tried to get my art business going!

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Portrait painting of a saxophone player by Shen, titled Blue Bird. | |

1. Relationship. Get yourself out there. You must get out of the studio and meet people for them to ever come to know and appreciate your work. Your art is a reflection of who you are. So, if they meet you, and actually like you, they want to have a piece of you, and for us that means a token of who we are–our art. Think of it another way–when you visit a wonderful city like San Francisco, you buy a little snow globe with the Golden Gate Bridge in it to commemorate your visit…even though it doesn't snow in San Francisco, but that's another issue!

The people you meet are the most important "press releases" you can ever have published. They love a piece of work and tell their friends, and so on and so on. But remember, the deeper and more positive experience they have with you, the more interested they will be about sharing your story with others. So this comes back to being our best selves. I, for one, believe that the days of the "obscure, flippant, know-it-all" artist are long gone.

2. Go where the money is. A stranger I met at an airport last year who quickly became a dear friend gave me some very wise words of wisdom. He told me, "It is just as easy to make friends with rich people as it is to make friends with poor people." This statement stopped me in my tracks. I started evaluating where and whom I hung out with in a casual atmosphere. My real friends will never change and I couldn't care less how much money they have because they are as close to me as my own heart. But I am speaking of placing myself in environments where I might make new friends. So I started venturing out to areas where the rich and famous hang out. Guess what? My friend was right! Just as easy! And I came to realize that for years and years I had been intimidated by the wealthy. Not a good thing for an artist wishing to sell work. It took a bit of time, but I started to feel as comfortable mingling with my new friends just as I did with my friends from the other side of the tracks.

3. Shameless self-promotion. Did I mention how crucial it is to get yourself out there? And…for me…this also means dancing! This past weekend I showed my work at a music festival, and while many of the attendees were sitting in their chairs (Okay, all of the attendees!), I was at my eye-catching booth displaying my art, doing a painting demo and, yes, dancing! Now, if this is not who you are, please spare us all the discomfort of watching you not be able to find the beat. But for me, dancing is my thaaaaaaang, especially to live music! Many onlookers came up later and told me how much they enjoyed my show, and some even bought art! Do your thaaaaang, and you'd be surprised at how easy it is to draw people to you.

4. And don't ever hesitate to strike while the iron is hot. I have been featured in the local newspaper in my town, which is a pretty affluent one, almost a dozen times since moving here about a year ago. Every time something exciting happens, I call the arts editor because I've made a point of having a relationship with them. In one particular situation, I used a high-profile model that many of the people in the area know for a painting demonstration. Immediately there is a connection point when I meet new faces: "Oh, that's her, I love her!!! How do you know her?" Any seed of commonality can get a conversation started. It is up to us to ride it out into an actual relationship. Being shy is cute for kids, but detrimental to the livelihood of an artist.

Last year, while speaking with two very influential art reps in a Chelsea, NY gallery, a man who looked like a reggae musician walked up us. I told him that I would love to paint him (he had a great look). After he walked away, one of the reps told a story of how a relatively unknown artist walked up to Wall Street executives on their lunch hour and suggested portrait painting their loved ones just as the man had just come up to us. The artist did very well for himself after this point because he had the gumption to put himself out there. He may have had to eat soup while doing these commissions, but that is part of the process. I know I've been there!

I hope these tips help you to fully become the artist you were meant to be, in each and every way! Cheers to you and me for hanging in there on this long and windy road!

–Shen

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My Secrets to Financial Success as an Artist

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I am writing this as things have never looked better for me financially, as an artist. I have had a few huge sales and wildly successful shows over the years, but I feel as if

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Founded in 2009, Arquetopia Foundation is an internationally established, award-winning non-profit arts and cultural foundation based in Mexico, Peru and Italy, with a social scope that emphasizes critical thinking through artistic practices. Our comprehensive, customized International Artist-in-Residence Programs are the largest and most reputable in Latin America, with an array of contents anchored in a solid structure of collaborations with prominent cultural institutions, renowned experts, and notable artists. We are invested in approaching art and art history with a critical perspective by understanding Mexico and Peru’s complexity in context and incorporating nuances in narratives and interpretation especially of the 3,000-year heritage of visual culture of these two countries. Our residency programs offer competitive professional opportunities for emerging and mid-career, national and international artists, designers, curators, art historians, art educators, writers, journalists, and cultural researchers age 20 and over.

TESTIMONIALS FROM OUR PAST RESIDENT ARTISTS

For profiles, feedback and testimonials from many of our outstanding past resident artists, art historians, and writers, don’t miss this page on our website: Arquetopia Foundation: Our Resident Artists

OUR ARTIST-IN-RESIDENCE PROGRAMS

Our customized International Artist-in-Residence Programs offer competitive professional opportunities for emerging and mid-career, national and international artists, designers, curators, art historians, art educators, journalists, writers, and cultural researchers age 20 and over. Our programs are based on a non-exploitative model promoting social consciousness. Resident artists and writers are strongly encouraged to explore various ways of cultural exchange as part of their artistic and/or research goals and to actively engage in critical discussions as part of their residency experience. Understanding Mexico or Peru’s context and cultural complexity is key for a successful cultural exchange. We welcome applicants from diverse backgrounds and disciplines who are interested in creating work or inspired by art, elements, techniques or processes specific to Mexico or Peru.

Arquetopia is distinguished worldwide for its array of unique, customized residency programs with academic content. Our residency spaces function exclusively for productive art professionals, writers, and researchers and include informative programs; a network of collaborative workspaces, institutions, and studios; and individualized project support.

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WE ARE ARTISTS FOR UKRAINE stands in solidarity with the artists, artist-run spaces, and all the people of Ukraine who are bravely resisting an immoral and illegal Russian invasion, those who have lost loved ones, or have been forced to flee their homes and country. Living in a country where we have a right to choose our leaders, and where we enjoy freedom of expression without fear, we also applaud those Russians who are speaking out and demonstrating against their government. WE ARE ARTISTS FOR UKRAINE is an initiative of: Pallas Projects/Studios (Dublin), Ormston House (Limerick), Askeaton Contemporary Arts (Limerick), 126 (Galway), Sample-Studios (Cork), Catalyst Arts (Belfast) International supporters: HDLU (Zagreb), EKKM (Tallinn), Solas Nua (Washington DC), SUPERMARKET – Stockholm Independent Art Fair, Artist-Run Network Europe (ARNE), Artists’ Initiatives’ Meetings (AIM Network) ~ Charity partner: ARTISTS at RISK Printing partner: @hensteethstudio Design partner: Other Office Artist’s website: Paul Hallahan

MATCA artspace is an artist-run space managed by three local artists (Alexandru Muraru, Matei Toșa and Alexandra Mocan) that emerged in Cluj-Napoca at the beginning of 2017. Since then it has been following a mindset of shaping its know-how along with its collaborations, most of them being presented in the form of group shows. Underlying the necessity of being in touch with the conscious form of artistic practice and research, the space is coagulating its purposes by drawing a thin border between aesthetics and content, usually choosing to bring out raw forms of expression. The space is  meant as a tool for research into local (or nearby) contemporary art, in order to establish connections with minds that have something relevant to say about the world. Wishing to step more off the walls, MATCA prioritizes alternative forms of expression which mix mediums outside the canvas/frame, not as a form of denying traditional practices, but as a form of getting out of the comfort zone and being open to experimentation and various ways of shaping meaning. Set up to be a welcoming environment, MATCA`s aim is to fuse what could be meant under the terms of emergent and established into parallel, non-hierarchical […]

SPACE is a multi-disciplinary art center that promotes the arts and humanities through advocacy, programming, commissioning, statewide grantmaking, resource-sharing, and community collaboration. We work inside our home at 534-538 Congress Street, outside with public art and programming initiatives, statewide with our grant programs, and (inter)nationally within our professional and artistic networks. Founded in 2002, SPACE is a multi-disciplinary launchpad for ideas, an ever-evolving creative resource, and a coalition of values-based artists building a safe(r) space, performing arts venue, gallery, and maker hub in southern Maine. We envision our organization as a bridge: between artist-led and curatorial presentation practices, connecting disparate geographies and audiences, and as a pathway to new conversations. SPACE’s mission is to supports contemporary arts projects, champions artists, and encourages an open exchange of ideas.

VT Artsalon was found by a team of curators and artists, including Jui-Chong Yao, Wen-Chi Chen, Wei-Cheng Tu, Chun-Hao Chen, Sean C. S. Hu, Dar-Kuen Wu, Hui-Yu Su, and Isa Ho. They orientate VT towards transdisciplinary performance, exhibition and exchange, and devote their energies to promoting arts outside the mainstream. With the spirit of local touch and innovation, VT has made several adjustments to its space in the following years. It made a new start after moving to its new home on Xin-Sheng North Road in 2012. Since then, it has re-orientated itself towards holding professional exhibitions and developing various interlinking art projects.

ARTIST FOUND COMPANY Founded by artist Soon(aka Niña), our puzzles have a focus on original art by the artists of today. As an independent artist, Soon has been struggling to find a way to keep creating full-time, as there were barriers like money, exposure, and finding the right community for support. In her journey of searching ways to keep create, SOONNESS was born. Throughout the first year of the business in 2021, Soon created 6 artworks that would be made into puzzles and learned about manufacturing, marketing, and all things business. With lots of love from the puzzle community, we are able to collaborate with artists starting 2022 and build premium quality puzzles. We have one goal: Let the artists create, and make the world a colorful one. As Soon knows how important it is for talented artists to be exposed, she wanted to create a platform to introduce artists through an affordable art. Puzzles not only give us time to play & destress, but also a great medium for everyone to enjoy art by up & coming artists of this time. Artists get a cut of every sale, so we can support artists while you enjoy your peaceful time. Our puzzles […]

PROSPECT ART is a forward-thinking, Los Angeles-based artist-run not-for-profit 501c3 organization that fosters artists’ careers by providing exposure through open dialogues, critical writing, project grants, and exhibitions. The organization was conceived during the 2020 pandemic. Prospect Art is looking towards a world of representation and equality by creating new opportunities for local, national, and international artists. The organization is structured as an agile, responsive entity to serve artists, the local Los Angeles community, and beyond, by supporting existing and new works to be presented to the public. We’re interested in breaking down silos and sharing information and knowledge to further the careers of artists and forge new alliances with the community.

Pigeons exist all over the world yet they are often overlooked. Like artists and writers, they are beautiful, iridescent, quirky, and resourceful. Some birds find more fame than others, but we see the pigeons in all their glory. ​Of course, pigeons might not be as majestic or smart as their feathered friends, and they fly headfirst into a window. But how else can we find the barriers in our own world except by running into them headfirst, over and over again, waiting for them to break? Pigeon Review was started by an artist and a writer looking to make a home for artists and their art. From a cluttered room or a cup of coffee to an inquisitive face, we like art that tells a story.

Viafarini is a creative incubator and a hub for visual arts located at Fabbrica del Vapore, collaborating with other renowned organizations in Milan, in Italy and abroad. Viafarini has been founded in 1991 as a non-profit organization for contemporary art, when this concept was new to Italy. Nowadays Viafarini is renovating its mission: starting from the idea of a creative incubator aiming at the professional training of emerging artists within the art system, it is shifting toward the idea of an agency for the creation of networks of collaboration between artistic research, private commission, entrepreneurship and the social environment. Viafarini’s know-how about documentation, art consultancy, production, residency, education, communication and exhibition services are put at disposal for interdisciplinary collaboration projects. The benefits guaranteed by this innovative approach reverberates not only on the single artist’s career, but on the society itself. Thanks to this hybrid, participative and multidisciplinary approach Viafarini innovates its cultural offer in order to understand the implications of the great change under way: from an artistic as well as social, political and anthropological point of view.

The Wandering Room is an artist-run initiative. Since 2007 the members of The Wandering Room have collaborated as artists and curated exhibitions in temporary spaces. They are currently situated on the corner of Victoria and Elizabeth St, Brunswick, Melbourne. The Wandering Room have also exhibited at Testing Grounds, Melbourne, 2018; KickArts Contemporary Arts, Cairns, 2016; The Laundry, Brisbane, 2016; Sydney Contemporary Art Fair, 2013; Griffith University Art Gallery, 2013 and Brisbane Festival, 2012. They have undertaken residencies at Development AIR, New Zealand, 2013; Fish Lane Studios, 2013 and Grey Street, South Bank, Brisbane, 2012. They have twice been recipients of grants from Arts Queensland. ​ Current Directors: David Creed, Joseph Breikers, Angela Rossitto, Amanda Wolf ​ ​ The Wandering Room acknowledges the traditional custodians of the land on which we are situated.

PROGRAMMING ATHICA: Athens Institute for Contemporary Art is an independent, non-profit gallery promoting and supporting innovative contemporary art and artists through exhibitions, education, and events. ATHICA is committed to the local art community and to bringing in national and international contemporary artists of all media. The programming features rotating exhibitions of various themes and affiliated events (such as performances, music, panel discussions, screenings, lectures, workshops, children’s events, tours, and more). Over the past decade, ATHICA has presented over 1200 regional, national, and international artists in over 60 exhibitions and hundreds of affiliated events. ATHICA features up to seven formal exhibitions yearly, including an annual juried exhibition which has featured jurors such as Michael Rooks of Atlanta’s High Musuem, Harry DeLorme of Savannah’s Telfair Museum, and Teresa Reeves of the Zuckerman Museum. Specific programs include: Exhibitions Performances/Events Artists-in-ATHICA Residency Internship Education – Adult   Education – Youth Membership Community Access Volunteer   100% VOLUNTEER / ARTIST-LED ATHICA is an all-volunteer organization, with a working board of directors that contributes a minimum of 10 hours a month, interns that contribute a minimum of 70 hours a semester, artists, curators, docents, event staff, preparators, installers, graphic designers, programmers, carpenters, cooks, educators and faculty, […]

127 garage is a space for cultural initiatives from artists and for artists.   We, the artist Anton Tkachenko and the curator Nastia Khlestova, opened a space for exhibitions, lectures, shows, meetings, discussions, and, most importantly, experiments in our garage. Our main goal and mission are to create a space comfortable for work and interaction, supporting young artists. We want to make art accessible and popular, therefore, locating in a residential complex, we are open to communication and work with the local community. 127 garage’s work is centered on different formats of knowledge exchange and developing new tools for understanding the condition today for a queerer tomorrow. 127 garage opens up new discursive lines, by involving different actors into challenging spatial narratives. 127 garage strives for a world of horizontal hegemonies, borderlessness, and borderlands, guided by our curiosity and urgency.

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Arquetopia Foundation & International Artist Residency - Artist-Run Alliance

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Founded in 2009, Arquetopia Foundation is an internationally established, award-winning non-profit arts and cultural foundation based in Mexico, Peru and Italy, with a social scope that emphasizes critical thinking through artistic practices. Our comprehensive, customized International Artist-in-Res…

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1. Introduction

In 2016, Peruvian curator Gustavo Buntinx mapped an alternate history of Peruvian contemporary art via artist and curator projects that presented alternative modes of display and transgressive musealities in his exhibition, Museum Void: Half a Century of Peruvian Museotopies. The exhibition, which dealt with the institutional void for the display and cultivation of Peruvian contemporary art in Lima, was presented in the Contemporary Art Museum of Lima (MAC) that recently opened in 2013. Prior to the MAC, few institutions in Peru, national or private, consistently devoted its mission to the collection, study, and display of contemporary art with the exception of the aforementioned MAC, the MALI (Lima Art Museum), and the MASM (San Marcos Art Museum). These organizations, as well as paradigmatic events such as the international art fairs “Art Lima” and “Peru Arte Contemporaneo” (PARC), which are all located in the capital city of Lima, have shaped the dominant conception of contemporary art in Peru in the twenty-first century within Western paradigms that are rooted in the colonial histories of the country. However, indigenous and vernacular artists are attending to these conditions and subverting them in unique and dynamic ways that are based on their lived experiences and cultural contexts. In doing so, these artists are shifting the established art system in Peru by producing their own modern and contemporary forms of art and negotiating their participation in Peruvian cultural institutions as in other fields of contemporary life. Furthermore, curators such as Buntinx are building new institutional frameworks through the production of alternative musealities within the voids left by the material lack of a Western-museum model that effectively attends to contemporary art within Peru. This void is due, in part, to the fundamental incompatibility of a monolithic Eurocentric paradigm of aesthetic values with Peruvian alternative modernities and contemporaneities.

Since the nineteenth century, the categories of art in Peru have followed the paradigms of Eurocentric modernity that were disseminated through art institutions shaped by colonialism, museums, schools of fine arts, the art market, and have established Western aesthetic hierarchies of what is and what is not art, what should be included and what should be ignored. Artists formally trained and based in urban environments were, and are, privileged in these contexts. However, there are parallel modes of artistic production by rural and vernacular artists that are distinct and vital and have not been, until recently, considered by the Peruvian system of modern and contemporary art. As a result, contemporary indigenous and vernacular Peruvian art is sited outside of this construct resulting in multiple contemporaneities within Peruvian, and specifically Limeño visual culture.

These contemporaneities emerged through the scrambling of rural and urban binaries, especially in the second half of the twentieth century, when the configuration of Peruvian society changed dramatically. Since the beginning of the twentieth century, modernization projects lead by the urban elites, under the modernity’s narrative of economic growth and progress, changed rural societies and in many situations, rural inhabitants themselves, convinced that modernization was a way to solve their problems, demanded projects of modernization for their communities (Contreras and Cueto 2013, p. 279). Since the 1960s, significant groups of rural inhabitants were forced to move to the large cities in Peru, especially to the capital city of Lima, initially due to the economic crisis and later because of the violence unleashed by the internal armed conflict.1 These dynamics activated complex processes that resulted in renewed forms of modernity.2 Given the inability of the State to generate development programs tailored to these new needs, migrants organized themselves to meet the urgencies of survival and social recognition, creating parallel structures in areas such as the economy, politics, education, and religion, based on the cultural models of their places of origin.3 In this way, a series of cultural, social and economic organizational patterns established by the State and the ruling elites since the nineteenth century, the ones that were considered modern, were contested and radically transformed. These processes can be framed by what postcolonial and decolonial studies have referred to as “alternative modernities”. Rather than conceiving a single modernity based on a model imposed by the West and merely consumed by other parts of the world when it arrives, “alternative modernities”, which does not discount Western discourses on modernity since Western expansion is a fact, takes into account how people in each place are creators of their own modernity, and how, at each site, the elements proposed by modernity are put together in a unique way in response to local culture and politics.4 Scholar Dilip Parameshwar Gaonkar names this phenomenon as site-specific “creative adaptations” to articulate that “It does not mean that one can freely choose whatever one likes from the offerings of modernity (…); rather, it points to the manifold ways in which people question the present. It is the site where people “make” themselves modern, as opposed to being “made” modern by alien and impersonal forces, and where they give themselves an identity and a destiny” (Gaonkar 1999, p. 16).

These dynamics manifested in visual culture as well and new artistic creations emerged in line with the identities of migrant groups: There are vernacular artists who continue producing objects, although new, transformed versions of old ones, for their communities or the rural, regional markets, visual culture that is produced in the cities for the consumption of migrants, objects produced for the tourist market, objects produced for the urban public, among many other variants. Through multiple contemporaneities, new forms of visual expression were generated, which responded to the intense, persistent, and dynamic dialogue between regional practices and aesthetics, and manifestations of Western cosmopolitan culture. While the contemporary art system needs to address these different, parallel modernities in contemporary art production in Peru to avoid maintaining colonial patterns for determining aesthetic values where inclusion is not determined by Eurocentric paradigms, it is not a one-way dynamic. There is a complex negotiation by indigenous artists of the cultural categories applied to their work and a more generalized demand, by curatorial agents, for their participation in Peruvian cultural institutionality.

In this context, alternative musealities are critical to amplifying the negotiations by indigenous and vernacular artists in producing “sideways” and forward movements, as Gaonkar asserts, in visual art and culture. The term museality has developed within international museum studies discourses. It is nested within the larger concept of the museal alongside the terminology of musealia and musealization. Largely, the museal and museality comprise a theoretical field that refers to “the characteristic of something that in one reality documents another reality” (Latham 2017, p. 226). This theoretical framework invites a transdisciplinary interrogation of museum and curatorial practices as a form of knowledge production that, in many cases, powerfully reproduces colonial logic. In the case of Peru, indigenous and vernacular artists and their distinct forms of knowledge have been eased, overwritten, and excluded from categories of the contemporary. Here, we propose that there are multiple musealities, such as there are multiple modernities and contemporaneities, that are in fact “creative adaptations” driven by indigenous and vernacular artists and independent curators. These “creative adaptations” produce multiple musealities by reconfiguring the documentation of specific cultural realities that make indigenous communities and their forms of cultural knowledge legible within institutional contexts. This, in turn, creates new categories of the contemporary through artistic and curatorial production whereby artists and curators, in Gaonkar’s terms, give “themselves an identity and a destiny”.

In this article, we will begin by addressing the collecting and curatorial practices of the MAC, MALI, and MASM and the ways in which they have, until recently, enacted colonial hierarchies in the field of Peruvian contemporary art. We will assess how these hierarchies are legitimized in the global art system, specifically through the category of contemporary Latin American art and its use in the United States. We will also analyze the role played by the Peruvian state, which consolidates the hierarchies established by the art system, and has deployed vernacular and indigenous arts as referents of a national identity that are concurrently associated with categories of tourist and popular art. Next, we will articulate how indigenous and vernacular artists, immersed in multiple and different contemporaneities, are continually disrupting and negotiating the categories established by the art system and the Peruvian state while proposing their own artistic modernities. Ultimately, we will assert that critical producers of indigenous and vernacular art in Peru, both artists, and curators, have served as agents of decolonization by shifting the curatorial practices of Peruvian museums towards a presentation of art that recognizes and internalizes the complex identities and contours of Peruvian cultural production, specifically articulating histories of alternative modernities and amplifying multiple contemporaneities unique to Peru that run counter to narratives of monolithic Western modernism and Eurocentric frameworks for global contemporary art. As such, artists and curators have crafted alternative musealities that articulate and witness the specificities of Peruvian reality by introducing new epistemologies rooted in indigeneity that reconfigures colonial logics in productive ways.

2. The Contemporary Art System and the Museums in Lima: MALI, MAC, MASM

In Peru, the interrelationship of collecting and curatorial practices of the MAC, MALI, and MASM and the international art fairs such as “Art Lima” and PARC, have cultivated a class of transnational Peruvian collectors, curators, and artists that are practicing within a global framework of contemporary art. As such, this network of market and museum institutions has inscribed contemporary art in Peru within Western paradigms. For instance, the MALI, a private museum founded in 1961, had focused on historical Peruvian art for most of its history. In the late 1990s, the museum deliberately reoriented itself towards contemporary art under new leadership and a younger, more engaged board of directors. The museum achieved this pivot by launching a series of initiatives that included the creation, in 2007, of the position of Curator of Contemporary Art and the establishment of the Acquisition Committee for Contemporary Art (CAAC).5 The CAAC was modeled on the Tate Modern’s system in London, and functions, according to Peruvian anthropologist Giuliana Borea, as a learning apparatus for developing transnationally-oriented Peruvian collectors schooled within the context of internationally-positioned Western museums. The MALI’s initiatives have resulted in Lima’s strategic placement as a critical urban node in the global contemporary art arena as well as a city that promotes the transnational category of Latin American art within international contemporary art and museum networks (Borea 2016, pp. 318–19).

In contrast, the MASM (San Marcos Art Museum) is a state institution attached to the National University of San Marcos. The museum, located on the university’s former site, was established in 1970 with the mission to preserve, study, and exhibit the artistic heritage of the university. Its collections have been organized into four main categories: Portraiture, Popular Art, Contemporary Art, and the Archive of Peasant Painting. The collection of Contemporary Art is rooted in the six versions of the Salones Nacionales de Artes Plásticas that the university organized in the 1950s and 1960s, and from which much of the museum’s contemporary collection was gleaned. Since 2010, the MASM organized a campaign to cultivate acquisitions for the contemporary collection growing it in size and profile. The museum’s strategy focused on encouraging contemporary Peruvian artists to donate their works. Since prioritizing the contemporary collection, the museum has organized two large-scale exhibitions that showcased these acquisitions.6 Like the MALI, the MASM’s collecting practices of contemporary art and the categories in which the art is sorted are structured through Western stylistic and cultural concerns. For instance, indigenous and vernacular art is not included in the Contemporary collection but are instead classified as Popular art.7 This distinction uses museological codes and organizational hierarchies to isolate indigenous and vernacular art inscribing it as “not contemporary”. Additionally, the pool of Peruvian contemporary artists that the MASM utilizes to grow its collection is operating within the contemporary art market and production systems.

The MAC (Museum of Contemporary Art) is the newest museum in Lima and was created with the mission to cultivate and present contemporary art. Although the MAC opened in 2013, the origins of the museum reach back to the mid-twentieth century and the IAC (the Institute of Contemporary Art). The IAC, which had multiple, temporary homes, was initially formed around a collection of modern Latin American art, most of which is now split between the collections of the MALI and the MAC. In the 1970s the IAC entered a dormant period, and reinitiated its activities in the 1980s with the decision to build a permanent museum. After a long and fraught process, the museum was finally constructed and opened to the public as the MAC thirty years later.8 Significantly, within three months of opening its doors, the MAC hosted the inaugural PArC, one of two significant Limeño art fairs, the other being Art Lima. This was an obvious and strategic attempt by the MAC to develop its collection of contemporary art and raise its profile both regionally and internationally.

The MAC, PARC, and Art Lima emerged during a period after the ten-year rule of authoritarian President Alberto Fujimori (1990–2000) during which there was a focus on the cultural renewal of Lima as, to use Borea’s term, “a creative city.” In the early twenty-first century, these institutions and events, along with a network of art museums and galleries, worked to articulate Lima’s locality as a producer of contemporary art that was also recognized as a significant node within the global art world. To some degree, this has been attained, especially when compared to the equally dynamic, but smaller and more isolated Lima art market of the 1970s, ‘80s, and ‘90s (Borea 2016, p. 317).

3. Legitimizing the Difference: The Category of Latin American Art in the United States

As a result of these efforts, Peruvian contemporary art has emerged as a visible and active agent in the global art world, and Lima continues shaping itself into a “creative city”. This development is generated through neo-liberalization, which is a market-based Western technology of governing that enacts coloniality of power thus reinforcing Western epistemes and Western cultural values. Since the early 2000s, the Museum of Modern Art in New York, the Tate Modern, and the Solomon R. Guggenheim Museum have actively cultivated Latin American contemporary art legitimating it as a category and inserting it into the global/western contemporary art museum system. However, these curatorial and collection-based endeavors attend to Latin American art in so much as it fits and/or follows Western art historical paradigms, which generally excludes indigenous art produced within Latin America. This systemic neglect renders indigenous art invisible to categories of contemporary art.

For instance, the expansive 2014 exhibition Grandes Maestros: Great Masters of Iberoamerican Folk Art curated by Cándida Fernández de Calderón highlighted 800 works of contemporary art from indigenous artists in 22 Latin American countries. The exhibition, which was otherwise a survey of contemporary art, was not shown in a space dedicated to the visual arts, but at the Natural History Museum of Los Angeles County in the United States as well as internationally, thus inscribing its content through an ethnographic lens (Gelt 2014). Parallels can be drawn with the treatment of North American indigenous art in the U.S., which is mainly collected and curated within designated folk art institutional and discursive frameworks such as the International Folk Art Festival in Sante Fe, New Mexico and in discipline-specific museums that attend to natural history and folk art.

By excluding Latin American contemporary indigenous art from art historical discourse, curators and museums legitimize this difference. While progressive curatorial efforts have been made to recover Latin American art histories within art museums in the U.S., indigenous art is left out of the dialogue to an almost absurd degree. The 2018 exhibition Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art curated by Marcela Guerrero for the Whitney Museum of American Art explored indigenous notions of architectural and temporal space. The show was Whitney’s first deliberately branded Latinx project that boasted inaugural bilingual exhibition texts. Even the exhibition title was rendered in Quechua, the most prevalent indigenous language of the Americas. However, no indigenous artists were included in the exhibition. Instead, it featured a number of Latinx artists working within an indigenismo context or the centuries-old project of indigenous cultural and aesthetic appropriation (Ramos 2019, pp. 122–24). There have been powerful decolonial curatorial efforts within the U.S. such as the 2017 exhibition Radical Women: Latin American Art, 1960–1985 curated by Cecilia Fajardo-Hill and Andrea Giunta and organized by the University of California Los Angeles’s Hammer Museum, which presented a hemispheric approach to Latina and Chicana artists who were operating within colonial and patriarchal systems. The exhibition articulated the broader significance of these activist female artists within art historical contexts, but despite its intentions, it still did not include indigenous art.

In her assessment and contextualization of Radical Women, Peruvian curator Florencia Portocarrero argues for the significance of the curators’ articulation of an “alternative genealogy [of Latin American Art] which is more coherent with feminist ideals” while acknowledging the problematics of excluding indigenous art production within this new canon (Portocarrero 2019). Peruvian curator Miguel A. López highlighted this contradiction during the symposium associated with the exhibition, asserting that the museal field at large should acknowledge that “curatorial decisions can interrupt or perpetuate the logics of exclusion” and questioning what it would mean for “our curatorial methodologies to include the voices and experiences of Latin American women distinct from the predominantly mestizo and middle-class feminist movement” (Portocarrero 2019). Portocarrero continues López’s inquiry by arguing for a self-reflexivity in decolonial practice that involves acknowledging the persistence of coloniality and raciality in shaping the canon of contemporary art even as the processes of “subalternization’ of Western aesthetic values develop (Portocarrero 2019).

In contrast, two subaltern curatorial interventions that were solely devoted to indigenous contemporary art practice were recently debuted in the U.S. The exhibitions Resistance and Change: Tablas of Sarhua, Contemporary Paintings from the Peruvian Andes (2019) and Everything That Sounds in the Forest: Contemporary Art of the Peruvian Amazon (2018), exhibited at the University of West Florida’s Pensacola Museum of Art, featured the work of indigenous contemporary artists from the Andean and Amazonian regions of Peru. Tablas, curated by Gabriela Germana, featured Andean paintings by Primitivo Evanán Poma and the Asociación de Artistas Populares de Sarhua-ADAPS, as well as works produced by a new generation of Sarhuino painters. The exhibition explored the ways in which Sarhuino artists “reconstructed and reshaped their art and identity by constantly negotiating and reworking their Andean origins and their status as contemporary subjects in a globalized world” (Germana 2019). Everything That Sounds in the Forest, co-curated by Christian Bendayán and Germana, highlighted the diverse production of Amazonian artists and served to open up the otherwise homogeneous perceptions of Amazonian art by displacing it from the discourse of rural, isolated folk art. The resulting exhibition explored themes relating to rural/urban dynamics, local customs and knowledge, and gender and social issues.

4. The Peruvian State: Between Nationalist Concerns and the Tourist Market

The MAC, MALI, and MASM have pursued contemporary art in varied ways, but have ignored the vibrancy of contemporary Peruvian vernacular art and its by-products. As such, the curatorial practices of these institutions, in tandem with the art fairs, have generally negated Peruvian vernacular and indigenous art from the dominant conceptions of contemporary art. In contrast, indigenous and vernacular art has been deployed by Peruvian national cultural institutions throughout the twentieth century in the construction of national identities and have been increasingly associated with tourism and popular art.

Peru, similar to other Latin American countries in the early twentieth century, was enmeshed in the projects of modernization and arguments concerning the definition of the national. The ruling elites of the period, while supporting narratives of economic ‘modernization’ and ‘development,’ also promoted narratives of nationhood by deploying archeological objects associated with the pre-Hispanic period and visual art produced by contemporary native people.9 These objects resided in state museums and were curated within narrative structures and categorized collections that sought to naturalize the concept of the Peruvian nation as a bound territory that had existed since the beginning of time. These institutions included the National Museum of History (1906), the National Museum of Archaeology (1924), and the National Museum of the Peruvian Culture (1946), which was explicitly dedicated to the vernacular and indigenous arts.

Pre-colonial archaeological objects and contemporary indigenous art were situated, through constructed curatorial narratives, as the past and present material manifestations of the Peruvian nation. As such, indigenous communities were considered the direct descendants of the Inca and other glorious ancient Andean cultures. Indigenismo became a successful ideological and artistic movement that reassessed the identities of the indigenous population within the paradigm of the nation. During the first half of the twentieth century, artists and intellectuals routinely appropriated indigenous artistic production as a means to visualize the abstract concept of Nation. The appropriation of specifically Andean vernacular art by this movement of Indigenist artists trained within the academy and the European system of art grafted a paternalistic vision of the nation to the signifiers of traditional Peruvian art. While the Indigenist artists with a capital “I” played a significant role in visiting and researching native rural artists, acquiring their works, and promoting them in Lima ultimately leading to the establishment of the National Museum of the Peruvian Culture, they also enacted a high-low cultural dichotomy. The Indigenist Movement artists relocated the visual language of native and community artists into the academy, and as a result, the production of community makers became increasingly defined as popular or vernacular art.10 These tensions situated traditional artists in a liminal space whereby their work was never fully considered a category of fine art. Instead, it was incorporated into the craft market, and for promotional purposes, a festive and idyllic image of the indigenous was constructed. Marisol de la Cadena asserts, in her study of traditional dances, that this image attracted foreign visitors during a time when tourism was increasing in the country (De la Cadena 2000, pp. 294–301). The celebration of traditional art as a form of “Peruvianness” made this kind of production an attractive commodity for the newly emerging tourist market.

The new focus of traditional art as craft and tourist objects was promoted by the Peruvian government throughout the second half of the twentieth century. This included the establishment of Artesanías del Perú (Handicrafts of Peru) in the 1960s and in 1972 the Empresa Peruana de Promoción Artesanal (Peruvian Company for the Promotion of the Crafts). The intention was to promote Peruvian crafts and their trade at local and international markets. Attached to this was cultural fundamentalism that linked indigenous people with primitive forms of living, rooted in an ancient Andean culture (most of it an imaginary past), and incapable of dealing with modernity. This image reinforced the use of popular art production as the image of the Nation for intellectual and political discourses and commercial purposes.

The central mission of Peruvian state museums has been to construct and maintain the idea of the nation. Both the Ministry of Commerce and Tourism and the Ministry of Culture’s Division of Intangible Heritage continue to promote local and indigenous art. The Director of Intangible Heritage works together with the Museum of National Culture in developing research and exhibition projects on traditional indigenous art from an ethnographic perspective as many of the Peruvian state museums are archaeological, anthropological, or historical museums. None of these institutions attend to the visual arts.

Contemporary indigenous and vernacular art’s position within the Peruvian culture-scape is continually framed and reframed by the State and by the collecting and curatorial practices of Limeño cultural institutions. In many ways, the institutional divisions of government agencies and curatorial practices of museums inculcate modernist aesthetic hierarchies and pressure postmodern pluralities that ultimately engage in what Tony Bennett characterizes as a gendered, racialized and classed cultural logic rooted in post-colonial tensions (Bennett 2006, p. 51). However, the museal landscape of Lima is one in which multiple, complex, and contested musealities and conceptions of the contemporary co-exist.

5. The Agency of Indigenous Artists

Indigenous contemporary artists’ position within Peruvian visual culture is liminal and un-fixed due to the competing, contradictory, and, at times, neglectful curatorial frames of the cultural institutions that present their work in Peru. However, indigenous artists are active agents within these networks. Through complex performativities and appropriations born out of dealing with the forces of tourism and migrations to Lima, indigenous artists negotiate various identities and concepts of contemporary art.

For instance, Andean artists of the Sarhua community traditionally painted symbolic motifs over false beams located on the interior ceilings of traditional dwelling structures. The motifs referred to long-standing Andean religious beliefs and communal structural systems of reciprocity and social cohesion. However, with migration to Lima during the twentieth century, the aesthetic production of the Sarhuino changed. In 1974, two Sarhuino migrant artists, Primitivo Evanán and Víctor Yucra, created a painted beam, which was the first example of this artistic practice being produced outside of Sarhua. They presented the beam in the feast that Sarhuino migrants organized for the anniversary of Sarhua. The feast was attended by the anthropologists Salvador Palomino Flores and Víctor Cárdenas Navarro, who encouraged Evanán and Yucra to continue painting and connected them to Raúl Apesteguía, a collector of folk art and owner of the Huamanqaqa gallery. On 6 August 1975, the first exhibition of Tablas of Sarhua was opened in Apesteguía’s space. In addition to two traditional painted beams, the exhibition also included nine paintings produced with synthetic paint instead of the organic pigments typically used and adapted a discrete westernized horizontal panel as a painting support and method of display while depicting idyllic scenes of life in rural Sarhua (Figure 1).

The intention by the artists for these new paintings was to produce decorative objects for sale to an urban public. However, they also functioned as an important cultural expression to make known the history, knowledge, and way of life of their community, as well as to protest the constant injustices suffered. As such, the new Tablas of Sarhua created in Lima had a series of characteristics that made them strategically consumable to viewers allowing them to be easily decoded by the urban public. The innovations made by Evanán and Yucra influenced many Sarhuino painters who reconfigured the visual characteristics and texts of their traditional painted beams and adapted them to Western stylistic conventions, a product of the system in which there were now inserted. This created a new Limeño-Sarhuino style whereby painters began to work in a rectangular format that featured narrative scenes, elaborated backgrounds, and interpretive texts. By doing so, the artists appropriated the visual conventions of this system and reworked them according to their own interests (Germana 2015, pp. 253–55). Since the exhibition in Huamanqaqa, traditional and hybridized Tablas of Sarhua were classified as folk and tourist art objects and, until the 2000s, both styles circulated primarily through those two systems.

In the 1990s Sarhuino artists also engaged in social critiques and produced two painting series: Piraq causa (Who is to blame? 1990–1992) that narrates the events that took place in the community of Sarhua during the Peruvian internal war, and Éxodo (Exodus, 1994–1995) that narrates the traumatic experiences of the Sarhuino migration to Lima throughout the twentieth century. Significantly, the series garnered the attention of the Limeño art system. In 2010, art historian, critic, and curator Buntinx bought Éxodo for his Micromuseo collection after which art historian and curator Germaná commissioned the painters to create a new series about migration (Katkakatay/Trembling) for the show Lima04 at the MAC (2013), and finally, the Croatian curatorial collective What, How and for Whom/WHW commissioned the artists to produce a new series titled Discriminación (Discrimination) for the exhibition Very Useful Knowledge at the Museum Reina Sofia in Madrid (2014). Moreover, in 2017, the series Piraq Causa, which had been acquired for the collection of Con/Vida—Popular Arts of the Americas (Detroit, Michigan), was donated by that institution to the MALI, and after being evaluated by the CAAC (Contemporary Art Acquisition Committee), the works were accessioned into the MALI contemporary art collection in 2018. It was the first time a work previously categorized as folk art was acquired for a collection of contemporary art in Peru, but only after it circulated through institutional ownership in the U.S. In 2019, the contemporary art gallery Ginsberg decided to represent Primitivo Evanán and his daughter Valeriana (as the Evanán Workshop), and Venuca Evanán exhibiting their works in the international contemporary art fairs Arco Madrid and Art Lima (Figure 2).

The painters of Sarhua, however, continue to conceptualize the Tablas as part of a larger cultural tradition and, in the 2010s, they requested the Ministry of Culture’s Division of Intangible Heritage to recognize the Tablas as cultural heritage of the nation. In 2018, this official recognition was granted. Additionally, the artists requested the UNESCO office in Lima to support a series of projects, which led to the implementation of the “Sarhua Initiative” that promoted the cultural expressions of the community. Likewise, the Ministry of Tourism continues to support Sarhuino painters in making their work more saleable on the tourist market. As such, the painters of Sarhua are active cultural agents, who are constantly negotiating different regimes of value11 by reworking their Andean origins and their most recent history as contemporary subjects in a globalized world.

Similar negotiations of indigenous and western aesthetic styles occur with Amazonian artists. The Bora and Huitoto ethnic groups, which traditionally produced wearable art and body art based in geometric symbolic motifs, began producing figurative scenes over a westernized two-dimensional painting support. Peruvian art historian María Eugenia Yllia (2009) argues that the establishment of Western-oriented schools in the area in the 1930s taught hegemonic discourses, patterns, and codes of Western culture that cultivated generations of native artists painting in a Western-style and format. Tourism was another critical agent of change that peaked in the 1970s. At that time, the Peruvian government helped the Bora and Huitoto organize folkloric groups to present their dances for tourist consumption while Bora and Huitoto visual artists produced paintings depicting their rituals and everyday scenes, as well as the elements of the natural environment for the tourist market.

During the late twentieth century, three Bora and Huitoto painters, Víctor Churay, Rember Yahuarcani, and Brus Rubio migrated to Lima. The artists developed specific hybridized styles that allowed them to succeed in Lima’s contemporary art system while still referring to their native culture. Churay, the first to arrive in Lima, produced a work on the Bora worldview based on hallucinogenic visions using acrylic paint, which allowed him to enrich his palette and experiment with contrast and brilliant colors (Yllia 2017, p. 389). Yahuarcani’s work relies on Huitoto mythology, but his materials and stylistic choices became hybridized according to Borea (2010). After painting with natural pigments on llanchama, Yahuarcani experimented with acrylic paints “while choosing to focus on one or two mythological characters rather than depicting the myth” (Borea 2010, p. 75). He began painting on canvas, allowing him to work in bigger formats and used neutral backgrounds for his mythological characters (Figure 3). Rubio’s work attends to Huitoto customs and worldview, to which he has added social, historical, and political issues that have affected his community, as well as his own experiences in the contemporary art system and different cities around the world. Currently, Yahuarcani and Rubio show their works at influential art galleries in Lima, and in art institutions around the world.

Artists from other Amazonian ethnic groups have also successfully navigated the Limeño contemporary art system in recent years. Among them, the Shipibo-Konibo painters Elena Valera and Roldán Pinedo. During the 1980s, many Shipibo-Konibo migrated to Lima due to the impacts of the Peruvian internal armed conflict. Similar to the Bora and Huitoto, the Shipibo-Konibo traditionally produced utilitarian art decorated with geometric symbolic motifs. Due to requests by multiple scholars, Valera began depicting the myths and customs of her community in a realistic figurative style garnering visibility in the Lima art system. Critically, Valera produced a series of paintings in which she depicted the process of migration of the Shipibo-Konibo and contrasted their traditional way of living with their new life in the city (Germana 2013, pp. 42–44) (Figure 4). Among the Shipibo-Konibo, painting is customarily a female practice. In Lima, however, as gender roles shifted, some male members of the community began to paint in the new figurative style. Pinedo is one such male artist who is recognized for his paintings of the animals that populate the Amazon rainforest. Valera and Pinedo have also exhibited their paintings in important Limeño art institutions.

6. Alternative Curatorial Practices and Musealities

Driven by the “creative adaptations” of contemporary indigenous artists, independent curators in Lima have organized important exhibitions in the twenty-first century that contest the hierarchical divisions which have systematically negated Peruvian vernacular and indigenous art from dominant conceptions of the contemporary. Curators Gredna Landolt and Christian Bendayán have created openings for Amazonian artists to enter into contemporary art discourses. In the early 2000s, Landolt curated two large exhibitions that brought decisive visibility to Amazonian art production in the Limeño art system: El Ojo Verde. Cosmovisiones Amazónicas (2000–2001), and Serpiente de Agua. La Vida Indígena en la Amazonía (2003) (Borea 2010, pp. 70–71). Both exhibitions presented large groups of paintings developed by different Amazonian indigenous artists that depicted the myths and worldviews of their communities exhibited alongside besides more traditional objects.

Bendayán, an artist born in Iquitos, a key city in the Peruvian Amazon, migrated to Lima, where he now resides. His curatorial practice in the city actively highlights the diversity of contemporary artists, including native, urban, and even non-Peruvian artists, all of whom engage with the diverse aspects of the Peruvian Amazon. Through exhibitions such as La Soga de los Muertos (2005), La Piel de un Río: La Amazonía en el Arte Contemporáneo (2008), Poder Verde. El desborde Amazónico (2009) (Figure 5), or Las semillas de los dioses. Arte enteogénico en la Amazonía peruana (Rusia, 2018) Bendayán has provided a decolonial perspective of the Peruvian Amazon by breaking the stereotyped vision that presents the Amazon as an idyllic natural place without considering the complexities of a space where nature, ancient indigenous practices, and modernity coexist. Between 2015 and 2018, Bendayán founded and directed the project “Bufeo/amazonía + arte” that was devoted to the research, promotion, and management of Amazonian art. During these years, Bendayán developed the category of “Amazonistas” to refer to and value the Amazon region “como un espacio para investigar y pensar al país en su conjunto. No corresponde a una categoría cerrada y homogénea, sino más bien a un nuevo y múltiple espacio de exploración para artistas cautivados por las visiones, la cosmovisión, la historia y las narrativas alternas, la selva urbana y su promiscua modernidad, el misticismo y la conservación de este territorio pródigo” (Bendayán 2017, pp. 12–13).12

Besides group shows, solo exhibitions by Amazonian artists in art museums and galleries have consolidated their presence in the Limeño contemporary art system. Although painters continue referring to their worldview and sometimes to their traditional ways of living, the focus of these exhibitions has been on the aesthetic characteristics of the works and the particular stylistic qualities of each artist. In 2005, Landolt curated the exhibition Esta es Nuestra Costumbre of Shipibo artists Valera and Pinedo in the Art Museum of San Marcos.In 2008, artist and curator Armando Williams presented the exhibition of Huitoto painter Yahuarcani Llanchama: Sólo pieles in the contemporary art gallery 80 m². In 2009, Borea and curator David Flores Hora organized the exhibition Once Lunas by Huitoto artists Santiago y Rember Yahuarcani in the art gallery Pancho Fierro of the Municipality of Lima. In 2009, Bendayán curated La selva invisible by Huitoto artist Rubio in the Visual Arts Gallery of the University Ricardo Palma. In 2014, art historian María Eugenia Yllia curated the exhibition Presente of Shipibo artist Pinedo in the art gallery of Fundación Euroidiomas, and in 2017 the exhibition BIN+E RE+K+/Tizón de este mundo. El tabaco del abuelo tigre by Rubio.

Other independent curators have tried to contest the hierarchical divisions established by the system of Peruvian contemporary art by working on Andean indigenous art. In 2006, anthropologist César Ramos curated Manos Artesanas: 20 miradas para un nuevo imaginario ciudadano in the San Marcos Art Museum. The exhibition showcased a group of works that Ramos commissioned pairing 20 urban artists with 20 rural artists or “artist artisans” as he referred to them. In 2008, art historian Germana and anthropologist Borea curated Grandes maestros del arte peruano: Mérida, Rojas, Urbano, Sánchez. The curators highlighted four Andean artists who were categorized as folk artists, and through that label, were viewed as embodiments of ancient and static Andean traditions. However, the exhibition, which traveled to art galleries and art museums in the cities of Cusco, Ayacucho, and Lima, presented the multivalency of the artists as producers of contemporary culture rooted in Andean aesthetic traditions. In 2011, Germana and Buntinx curated an exhibition on the history of the Tablas of Sarhua titled Éxodo/Llaqta Puchukay. Historias de migración y violencia en las pinturas de Sarhua in the art gallery Pancho Fierro of the Municipality of Lima, and the exhibition Tabla Apaykuy. Herencia cultural andina y ciudadanía en las pinturas de Sarhua curated by art historian Issela Ccoyllo for the art gallery Euroidiomas that highlighted the individual work of Primitivo Evanán and his daughter Venuca Evanán. In 2013, Germana curated Entornos reconfigurados, a section within the larger Lima04 exhibition organized by the MAC. Entornos reconfigurados took as its premise the large migrations from the rural areas of Peru to the capital city that occurred during the second half of the twentieth century. Germana selected four artists, two first-generation migrants and two second-generation migrants of which the latter pair trained at the National School of Fine Arts. The artists produced works that offered different perspectives on migration rooted in their own lived experiences. Significantly, Entornos reconfigurados was the first time the MAC had shown works of indigenous artists.

The critic and curator Buntinx is an especially important figure in Peru. His record of curatorial projects has commonly addressed the complex negotiation of museological practice within the context of political and social unsteadiness by enacting a decolonial approach to framing Peruvian contemporary art. For example, Buntinx’s ‘Micromuseo’, an alternative museotopic project, is a mobile museum inspired by the ‘micro’, a form of popular public transportation characteristic of Lima that is representative of the popular urban culture and functions as a sign of alternative modernities. Most significantly, he curated the exhibition Museum Void: Half a Century of Peruvian Museotopies (1966–2016) at the MAC mentioned at the beginning of this article. With the exhibition, Buntinx contested Western museal paradigms by interrogating the absence of a museum for contemporary art in Lima as a form of presence that has prompted Peruvian, and specifically Limeño, artists to articulate negotiations of their national, global, and decolonial identities through the museal frame (Bowman-McElhone and Germana 2016, pp. 411–20). Included in the exhibition was Fernando Bryce’s Museo Hawai, which combines wildly divergent contemporary Peruvian objects and printed images in order to subvert the exoticized and othered manner in which Peruvian culture is represented in museums, and Giuseppe Campusano’s Museo Travesti del Perú, which proposes a new reading of Peruvian history rooted in traditions of drag and masquerade through a timeline ranging from the pre-Hispanic past through the present that concludes with Campusano himself, thus contesting the canon used by museums to construct history and memory (Figure 6).13

With the exhibition, Buntinx is at once questioning the MAC’s ability to fill the museum vacancy by implicating it as a paradigmatic Western institution while also bolstering the institutional legitimacy of the new museum within the city by simultaneously housing, equating, and co-opting the agency of these alternative, decolonial, museotopic works. Ultimately, the collection of museotopias and the narrative of their histories presented in ‘Vacio Museal’ attempts to fill a museum emptiness, but, as a collection, they also suggest something more interesting. By reaching to negate a void in Peruvian culture, these works present other avenues to negotiate the global contemporary artistic system by providing compelling alternatives, framed through museum practice, to understanding contemporary art and the different contemporaneities in Peruvian culture (Bowman-McElhone and Germana 2016, pp. 411–20).

7. Conclusions

As of 2019, the MALI, MASM, and the MAC are among the primary museums of contemporary art in Peru. Although their collections of contemporary art and curatorial aims are still rooted in the global Euro-American framework of contemporary art, there has been marked progress. For instance, the MASM has stated its intention to curate a single exhibition that combines and features its collections of contemporary and popular art14, and the MAC has hosted exhibitions such as Lima04 and Museum Void. More interestingly, however, is the new perspective that the MALI has adopted since 2018. While in 2014, the museum did acquire a group of paintings by Huitoto artist Rember Yahuarcani for its collection of contemporary art, it was not until 2018, with its acquisition of the series of Sarhuino paintings Piraq Causa, that the MALI began to critically reconsider its perspective on contemporary art. As a consequence, in 2019, the museum opened the temporary exhibition Otras historias posibles: Repensando las colecciones del MALI (Other possible stories: Rethinking MALI collections), which intended to explore “algunos de los ejes claves de la cultura visual desde las colecciones del museo: Diseño gráfico, retrato fotográfico y las llamadas ‘artes populares’. De esta forma, se busca repensar los límites y categorías que tradicionalmente han guiado la discusión sobre lo que constituye el arte peruano” (MALI 2019).15

Through new curatorial strategies and discourses in Lima as enacted by indigenous and vernacular artists and by independent curatorial agents as “creative adaptations” and new musealities, the Peruvian art scene has opened to broader ideas of difference. The MALI, MASM, and MAC, along with other institutions, are incorporating and internalizing these decolonial perspectives by acknowledging the complex configuration of Peruvian society and its different and alternative modernities. In so doing, Peruvian contemporary art institutions are leaving the narrative of monolithic Western modernism behind and are articulating alternative musealities that witness the specificities of Peruvian contemporary art production in dialogue with indigenous and vernacular artists and their conceptions of the contemporary.

Author Contributions

All authors contributed equally to this manuscript. All authors have read and agreed to the published version of the manuscript.

Funding

This research received no external funding.

Conflicts of Interest

The authors declare no conflict of interest.

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1

The Peruvian Internal Armed Conflict began with the self-declared armed struggle of the Shining Path against the government. The response of the government to the subversive groups also reached extreme violence. According to the Comisión de la Verdad y la Reconciliación (CVR), the conflict took an estimated of 69,230 lives, victims of the crossfire between the subversive terrorist groups and the Peruvian Armed Forces. The most affected areas were the rural and poorest communities located in the central-southern region of Peru.

2

Peruvian sociologist Sinesio López refers to this phenomena in terms in citizenship formation: “No existe una historia única de la ciudadanía en el mundo moderno. Su emergencia y desarrollo no siguen un único patrón ni asumen la misma forma. Ni el punto de partida, ni el proceso, ni los resultados son idénticos. Los estudios actuales de la ciudadanía han llegado a la conclusión de que existen varios patrones de formación ciudadana (…) que (…) presentan, a su vez, diversas variantes provenientes de las peculiaridades de cada país” [There is no single history of citizenship in the modern world. Its emergence and development do not follow a single pattern or assume the same form. Neither the starting point, nor the process, nor the results are identical. Current studies of citizenship have concluded that there are several patterns of citizen formation (...) that (...) present, in turn, various variants from the peculiarities of each country] (López 1997, p. 81, our translation).

3

In a pioneer study about internal migration in Peru, sociologist Aníbal Quijano points out the emergence of a new socio-cultural group “cholo” as a result of the impact of modernization on the traditional rural segments of Peruvian society. However, Quijano states, under the conditions of capitalist development, this group does not fully integrate into the “modernized” or “urban” sector of society, constituting, rather, a “transitional culture” that integrates elements of ancient Andean roots -discipline, solidarity, community sense- with those of capitalist societies, the market and urban growth (Quijano 1980). In another fundamental text, anthropologist José Matos Mar addresses the existence of two Peru, one formal—characterized by the presence of the State—and an informal one that represents the marginalized country. This conformation, inherited from the colonial times, begins to show the first symptoms of problems at the end of the 19th century. The deepest transformations, however, occur in the second half of the twentieth century with the accelerated development of communications, changes in the economy, agrarian reform, the expansion of the internal market and the migratory explosion from the countryside to the city. The Andean culture, marginalized until that moment, carried out powerful invasions, not only literally of the urban estates, but in the various instances of the official culture, imposing their new styles (Matos Mar 1984).

4

While postcolonial and decolonial studies both seek to contest the colonial world order and the epistemological dominance established by European empires, they originated from a different set of theoretical frames and from different geographical regions. Postcolonial theories emerged from the experience of British colonization in Middle Eastern and South Asian regions. Its purpose “is more about re-inscribing ‘other’ cultural traditions into narratives of modernity and thus transforming those narratives—both in historical terms and theoretical ones—rather than simply renaming or re-evaluating the content of these other ‘inheritances’” (Bhambra 2014, p. 116). It is in this context that the notion of “alternative modernities” was developed. Decoloniality, on the other hand, emerged from the colonial experience in South America, and its aim is to confront and delink from coloniality and its rhetoric of modernity. Although from the perspective of decolonial theories, the concept of “alternative modernities” can be disputed, because it still has Western modernity as a point of reference (Mignolo 2011b, pp. XXVIII–XXIX), decoloniality deals with the way colonized people have appropriated the colonial impositions to reflect their unique perspectives, thus pursuing their own modernity (Mignolo 2011a, p. 134). On alternative, different modernities, see (Chatarjee 1997; Gaonkar 1999; Mignolo 2011a).

5

On MALI’s collection of contemporary art, see (Lerner 2013).

6

On MASM’s collection of contemporary art, see (Peralta Berríos 2010; Román 2014).

7

On MASM’s collection of popular art, see (Germana and Yllia 2008).

8

On the processes and debates surrounding the construction of the MAC, see (Borea 2006, pp. 144–53).

9

On the embrace of the pre-Columbian past by Latin American elites in the construction of national identities, see (Earle 2007; Yllia 2011). On the use of contemporary indigenousness in the construction of national identities, see (López 2010; Villegas 2006).

10

For discussions of the complex relationship between Indigenist artists and indigenous artistic production, see (Majluf 1994; Villegas 2006; Yllia 2006).

11

Term used by Arjun Appadurai to analyze the way objects are given certain values within a specific cultural context (Appadurai 1986).

12

“As a space to investigate and think of the country as a whole. It does not correspond to a closed and homogeneous category, but rather, to a new and multiple space of exploration for artists captivated by the visions, the worldview, history and alternate narratives, the urban jungle and its promiscuous modernity, mysticism and the conservation of this prodigal territory” (Bendayán 2017, pp. 12–13, our translation).

13

For a review of the exhibition, see (Bowman-McElhone and Germana 2016).

14

Germán Carnero Roqué, director of the MASM between 2006 and 2016, stated that along with the permanent exhibitions of the collection of portraits, and of contemporary art, the museum was going to show permanently the collection of Popular Art, “sin que dejemos de considerar la posibilidad de fusionar en un futuro, en una sola muestra de ‘arte contemporáneo’, los trabajos de los artistas del llamado ´arte popular’ con la plástica de los creadores del llamado ‘arte moderno o contemporáneo’.” (Without ceasing to consider the possibility of merging in a future, in a single exhibition of ‘contemporary art’, the works of the artists of the so-called ‘popular art’ with the plastic of the creators of the so-called ‘modern or contemporary art’) (Carnero Roqué 2016, p. 13). In 2016, the philosopher and art critique Augusto del Valle was appointed as new director of the MASM, however, he has not made any statement about the museum collections.

15

“Some of the key axes of visual culture from the museum’s collections: graphic design, photographic portrait and the so-called “popular arts”. In this way, it seeks to rethink the limits and categories that have traditionally guided the discussion about what constitutes Peruvian art” (MALI 2019, our translation).

Figure 1. Primitivo Evanán and ADAPS, Convido del Vayayoqs, the 1990s, synthetic paints on board, 40 cm × 60 cm. Collection ADAPS. Photo credit: Gabriela Germana.

Figure 1. Primitivo Evanán and ADAPS, Convido del Vayayoqs, the 1990s, synthetic paints on board, 40 cm × 60 cm. Collection ADAPS. Photo credit: Gabriela Germana.

Figure 2. Venuca Evanán, Autoretrato-Art Lima, 2019, natural pigments on board, 20 cm × 36 cm. Collection of the artist. Photo credit: Gabriela Germana.

Figure 2. Venuca Evanán, Autoretrato-Art Lima, 2019, natural pigments on board, 20 cm × 36 cm. Collection of the artist. Photo credit: Gabriela Germana.

Figure 3. Rember Yahuarcani, Los primeros humanos conquistan a la mujer Arco Iris, la acomodan para que el cielo no caiga a la tierra, 2017, acrylic on canvas, 170 cm × 170 cm. Collection Museo Central—Banco Central de Reserva del Perú. Photo: Courtesy of Museo Central—Banco Central de Reserva del Perú.

Figure 3. Rember Yahuarcani, Los primeros humanos conquistan a la mujer Arco Iris, la acomodan para que el cielo no caiga a la tierra, 2017, acrylic on canvas, 170 cm × 170 cm. Collection Museo Central—Banco Central de Reserva del Perú. Photo: Courtesy of Museo Central—Banco Central de Reserva del Perú.

Figure 4. Elena Valera, La comunidad Shipibo-Conibo de Cantagallo (Lima), 2012, acrylic paint on cloth, 118 cm × 110 cm. Photo credit: Juan Pablo Murrugarra. Courtesy of MAC Lima.

Figure 4. Elena Valera, La comunidad Shipibo-Conibo de Cantagallo (Lima), 2012, acrylic paint on cloth, 118 cm × 110 cm. Photo credit: Juan Pablo Murrugarra. Courtesy of MAC Lima.

Figure 5. Poder Verde: El desborde amazónico installation view. Photo: Christian Bendayán. Courtesy: Christian Bendayán.

Figure 5. Poder Verde: El desborde amazónico installation view. Photo: Christian Bendayán. Courtesy: Christian Bendayán.

Figure 6. Giuseppe Campusano, Museo Travesti del Perú (2003). Museum Void: Half a Century of Peruvian Museotopies (1966–2016) installation view. Photo: Juan Pablo Murrugarra. Courtesy of MAC Lima.

Figure 6. Giuseppe Campusano, Museo Travesti del Perú (2003). Museum Void: Half a Century of Peruvian Museotopies (1966–2016) installation view. Photo: Juan Pablo Murrugarra. Courtesy of MAC Lima.

© 2020 by the authors. Licensee MDPI, Basel, Switzerland. This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license (http://creativecommons.org/licenses/by/4.0/).

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Asserting the Vernacular: Contested Musealities and Contemporary Art in Lima, Peru

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This essay examines three museums of contemporary art in Lima, Peru: MAC (Museum of Contemporary Art), MALI (Lima Art Museum), and MASM (San Marcos Art Museum). As framed through curatorial studies and cultural politics, we argue that the curatorial practices of these institutions are embedded with…

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Created in 2021, the Metis Fund supports local artists getting involved in development projects in countries where AFD operates. From countries as diverse as Peru, Haiti, and Burkina Faso, local artistic initiatives are emerging. In Haiti, an actress and her team worked with schoolchildren to put on a play that tackles questions of violence, performed in Port-au-Prince in June 2022. On the eve of this year's European Development Days on 21 and 22 June, we look back at an innovative program.

This year, AFD designed and put into action the Metis Fund. The aim of this unprecedented financial mechanism is to add a new dimension to AFD projects all over the world, by supplementing and enlivening them with artistic productions that can reach out to local people.

Metis-funded art is wide-ranging and includes painting, comics, photography, music, and dance—all ways for participating artists to express, describe and portray the diverse realities of the world around them – and the one to which they aspire. Their art rounds out the development projects, “creating moments of life and emotion to reinforce our technical actions,” according to Tiphaine de Mombynes, head of the Metis Fund for AFD. In this way, art and development are combined, in a process that Metis seeks to encourage. It is after all, a source of inspiration and connections.

Theater and Violence

New development stakeholders thanks to art

The cultural projects funded by Metis can supplement any kind of development action, with grants ranging from €10,000 to €15,000 per project. Its funding can reach artists via art foundations (as is currently the case in India); via NGOs dedicated to topics in art (in Nigeria); or it can go directly to artists (in Haiti, Mexico, and Morocco). “The forms of partnership vary, but what they all have in common is that, in the end, the funds target local artists,” says Tiphaine de Mombynes.

By calling for sponsorship of the artists, Metis is also bringing a new family of stakeholders on board to work with AFD and its current partners. “Who better than sponsors in the countries where we work can support both us and the local artists, to help stimulate Metis as a lever of action?” Tiphaine de Mombynes asks rhetorically.

Metis is an ad hoc structure, whose agility and flexibility help it adapt to the world of culture and to gain in efficiency. It has already funded artists of “the first graduating class”, who have carried out 10 pilot projects in 10 places around the globe where AFD operates. “Metis” is the ancient Greek goddess of wisdom, prudence, and deep thought. Just as she gives Zeus his matchless power, these “Metis artists” seek to bring a life force to often difficult situations on the ground.

Culture serving people

In Haiti, a country plagued by insecurity and violence, Metis is behind the creation of a theatrical piece and its performance by an actress accompanied by middle school students aged 12 to 15. It’s a way for those young people to express themselves faced with the social and political crisis of the country. “Words can bring relief. Art can try to transcend the violence that young people experience daily, and turn it into a tool of resistance,” says Gaëlle Letilly, director of the AFD office in Haiti.

In Burkina Faso, it’s through street performances and dance training that social link is created. Choreographer, dancer, and founder of the “Le Grin des Arts Vivants” dance school Irène Tassembédo produces for the general public, but particularly for women and vulnerable urban people, with their social inclusion in mind. The dancers in the project belong to several ethnic groups and perform before audiences who are also of different ethnic groups. As Irène Tassembédo sees it, “We can change a lot of things through art. It’s our weapon of mass construction.” Gilles Chausse, director of AFD’s Burkina Faso office, adds that the project “is a moment of peace and love in a country increasingly marked by violence.”

Discover the Metis platform

The projects supported by Metis can transcend ethnic, cultural and social backgrounds, creating moments of sharing and discovery. In Peru, French and Peruvian artists honor the forest and the culture of the Huitoto indigenous people, with protection and conservation in mind. This project is designed to fit in with the culture of the country and gives a voice to its challenges. “By organizing a cross-residency between Peruvian and French artists, we promote artists from Amazonia and Brocéliande. We encourage them to exchange,” says Laurent Pacoud, Director of AFD’s Peru office. “And because myth precedes thought, forest art intrinsically advocates a form of ecology. These are the paths being cleared by Metis, for AFD to continue to do its work, and that work can in turn spread to the arts.”

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The Metis Fund: Allying Art and Development

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Created in 2021, the Metis Fund supports local artists getting involved in development projects in countries where AFD operates. From countries as diverse as Peru, Haiti, and Burkina Faso, local artistic initiatives are emerging. In Haiti, an actress and her team worked with schoolchildren to put on…

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Barranco, a 19th-century summer resort in Lima overlooking the Pacific, has a growing cluster of artists' studios and galleries. In a white, early 20th-century villa, work in the Livia Benavides Gallery includes an exquisite semi-abstract painting of tiny rubber tyres on a gold background by William Córdova, who grew up in Peru and Miami, and Chinese-ink drawings by Fernando Bryce, a Limenean who spent 25 years in Berlin. Contemporary art now has vital support from local collectors, according to gallerist Livia Benavides, and Bryce's work will be shown by Galerie Barbara Thumm at Art Basel Miami Beach.

"Peru's link with the past is strong," says the critic and curator Fietta Jarque, citing Inca mythology in the abstract paintings of Fernando de Szyszlo, who died last year. Victor Delfin's monumental sculpture "The Kiss", in Love Park in neighbouring Miraflores, recalls erotic sculptures in the city's Larco Museum, a private collection of pre-Columbian art in an 18th-century villa, which opened in 1926. Barriers between "high" and popular arts have meanwhile been breached. Now, Jarque says, "you have indigenous artists and video installations in the same space."

Peru's ancient past invites comparison with Mexico. Yet, "Mexico had a revolution - a democratic nationalist one. We did not," Bryce tells me in his studio in a high-rise in San Isidro district. State support came late to Peruvian art and the Museum of Art of Lima (MALI) only opened in 1961. Its excellent survey ranges from contemporary work to abstract Inca art, with colonial painting after the 1532 conquest. Anonymous indigenous artists, taught to imitate Italianate and Flemish oil painting, inserted local flora, fauna and symbolism into Catholic scenes - hence angels with multicoloured Amazonian wings, or guinea-pigs (an Andean delicacy) served at the Last Supper.

Bryce's ink-and-brush drawings on paper probe Peruvian history with a conceptual twist. "Atlas Perú" (2005), a book of 495 drawings, is his compendious review of "how the representation of the country changed. In the 1990s Peru's cultural identity disappeared: we were consumers not citizens." Advertising, official documents and tourist images are all reproduced to ironic effect.

Peru was a "Latin American Albania", he says of the 1980s and 1990s, decades of isolation when Maoist guerrillas of the Sendero Luminoso (Shining Path) terrorised civilians. Political violence - three-quarters of whose 69,280 victims were rural Quechua-speakers - spawned a wave of memory-themed art. Yet 15 years after the 2003 Truth and Reconciliation Commission (CVR), such art is still heavily contested.

"People couldn't believe this happened in Peru," says Edilberto Jiménez, 57, who depicts atrocities he witnessed, or heard of, in 1980-92 in his home province of Ayacucho, centre of the genocide. Along with drawings, 26 retablos (boxed tableaux of wooden figures usually associated with religious themes) were on show earlier this year at the Place of Memory, Tolerance and Social Inclusion, a museum of the conflict that opened on the Miraflores cliffs in 2015, and where I meet Jiménez. Made over the past 28 years, his retablos include "Asesinato de niños en Huertahuaycco" (2007) portraying a massacre of children by the Shining Path and graphic scenes of rape and torture by the military and Sinchis (counter-insurgency police).

From a renowned family of retablistas ("From age eight, I helped my father," Jiménez says), he broke with tradition to "show what was happening in daily life". As a Quechua-speaker who had studied anthropology, he later collected evidence for the CVR on Chungui, a devastated community. "I couldn't take photos - people were crying - so I started to draw. I lived violence and needed to express it, and my artistic language was the retablo, " he says. "Now I understand its value as memory."

This year for the first time his retablos were exhibited in public. Others were destroyed by the army or police before the Institute of Peruvian Studies stepped in to protect them. "So many are lost," he says. "I'm still making work from memory; it's important everybody knows what happened."

"Traditional artists were the first chroniclers of the war," says Karen Bernedo, a curator who works on memory. Some had to destroy their work; others sent it abroad. "Piraq Causa?" ("Who is to Blame?") is a series of 24 Tablas de Sarhua - painted boards customarily given as housewarming gifts in Sarhua, but depicting local atrocities. Made by a collective in the 1990s, they were preserved in the US and gifted to MALI. On their return to Peru last year they were seized by customs under laws forbidding anyone to "exalt, justify, or glorify terrorism". "Piraq Causa?" is now part of an exhibition, Memories of Anger, at the Carrillo Gil Museum of Art in Mexico City. But a showing at MALI will follow, and last month the culture ministry recognised painted tablas as cultural patrimony.

Peruvian artist Ishmael Randall Weeks tackles memory in sculptures such as a found styrofoam cup cast in copper to resemble the vessels found in Inca tombs. "Families go for picnics to the pyramids on Sundays and dump trash," he tells me in his Barranco studio. "I metallise the things left behind. This is a country layered by culture; and my work is part of a dialogue about ethics: do you throw garbage in your own patrimony? And how do you recover things from the past and bring them into the future?"

Born in Cusco to US parents, Randall Weeks grew up among Quechua-speakers - "an Andean white man with hippy parents" - and now moves between Brooklyn and Lima. Recalling the curfew in the 1980s, he says, "Cusco was a government-protected tourist zone. Ayacucho, no one cared, so the military attacked. Lima was oblivious till there were bombs in their nightclubs."

In Arequipa, Peru's second city, whose white stone cathedral is spectacularly backed by Andean volcanoes, the artist Jesus "Choqollo" Álvarez, 34, adopted a disparaging term for homosexuals as a pseudonym. He spoke last month at Hay Arequipa, an offshoot of the British literary festival. Because of the colonial past, he tells me, "trans people don't have history. My work tries to gather these memories." His Holy Week street performances aim "to give up on Catholic dogmas," and in a Valentine's Day work he exchanged clothes with a woman artist. As much as the brief public nudity, "it was shocking for people to see me in women's dress."

Two years ago, Choqollo "travestied" the Peruvian flag, printing the coat of arms on pink dress fabric, inspired by the sewing skills of his indigenous mother. Before the conquistadors, "indigenous people respected androgynous identities, and women were political leaders," he says. The flag was one of two works that led to a group show in 2016 closing early.

Now, he says, "there are no galleries for me, so I will take to the streets."
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A fight to remember: the visual arts in Peru

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Barranco, a 19th-century summer resort in Lima overlooking the Pacific, has a growing cluster of artists' studios and galleries. In a white, early 20th-century villa, work in the Livia Benavides Gallery includes an exquisite semi-abstract painting of tiny rubber tyres on a gold background by William Córdova, who grew up in Peru and Miami, and Chinese-ink drawings by Fernando Bryce, a Limenean who spent 25 years in Berlin.

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Story

Peru is known for being the home of the Inca Empire and the site of Machu Picchu as a surviving example of this civilization’s unique architecture. The Andean nation is also renowned for its breathtaking landscapes, unique villages with a long history, traditions, beaches, wildlife and its culture, of course. The country is also home to a number of artists, ranging from those rising talents who create the most amazing handicrafts and sell them on the streets, to the gifted musicians that manage to fill huge auditoriums.

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Peruvian Arts Practitioners in Pursuit of a Fairer Law

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If there is one thing the pandemic has demonstrated, it is the importance of the arts in society. Thus, the new law that enshrines art and nurtures its practitioners cannot but put at the center the creative expression that makes all of us more human.

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On 9 th January 2019 at 6PM Retroavangarda Gallery in Jerozolimskie Business Park cordially invites everyone interested to the opening of a big contemporary Peruvian art exhibition 'Abstraction and contemporary painting of Peru'. It is a very interesting review of the most recent accomplishments of 28 Peruvian artist. Most pieces were created in 2018 and they are mostly made on small or medium sized paper in different artistic techniques (oil, acrylics, gouache, ink, linocut, lithography, collage).

This presentation of contemporary Peruvian art will be accompanied by a solo exhibition of Daniel Rodriguez from Lima. The exhibition is titled 'Geometric Structures' and encompasses 20 pieces of the artist from 2010-2018 time period. The main part of the exhibition consists of pieces from his newest cycle of geometric compositions done in acrylics. Despite visible inspirations from European avant-garde art, the balanced compositions and defined color palette add to Rodriguez's pieces an individual and original character. The exhibition showcases also splendid collages which utilize pieces of packages, fabrics, different kinds of paper and paint. These pieces, created a number of years ago, are kind of a reference to the art of renown Spanish artist Antoni Tàpies.

Daniel Rodriguez is the director of Colorbox, an art group he established in 2016. This initiative's main goal is also to promote Peruvian art in the international environment. Other members of Colorbox are also Adriana Cillóniz, Allen Ladd i Verónica Penagos.

All artists participating in the contemporary Peruvian art exhibition: Adriana Cillóniz, Adriana Romero, Aldo Ramírez, Aldo del Valle, Alex Sánchez Balboa, Allen Ladd, Ariana Macedo, Carlos Pulido, Carlos Lenes, Daniel Rodríguez, David Brillas, Diego Salazar, Dora Urdanegui, Franci Quirita, Francisco Pantigoso, Irina Gonzales, Lucia Portocarrero, Marco Gutiérrez, Nico Cotrina, Renato Rosado, Renzo Campodonico, Román Inciso, Rudy Munayco, Sandra Leonardo, Verónica Penagos, Víctor Navarro, Víctor Ruiz De Somocurcio, Yaneth Nuñez Trujillo.

The exhibition is organized under the patronage of Ministry of Foreign Affairs of Peru

Organizers:
Embassy of Peru in Poland
WIT - Wyższa Szkoła Informatyki Stosowanej i Zarządzania
Colorbox
Retroavangarda

Curator of the exhibition: Anna Kłos (Retroavangarda)
Coordination: Daniel Rodriguez, Colorbox

The exhibition will be open until the end of March 2019.

Galeria Retroavangarda is open from Tuesday to Friday 11AM to 7 PM
Galeria Retroavangarda Jerozolimskie Business Park
Aleje Jerozolimskie 146D, 02-305 Warszawa
www: retroavangarda.com, e-mail: retroavangarda.com@gmail.com

text by Anna Klos
translation by Karolina Klos

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Contemporary Peruvian art in Retroavangarda Gallery - Retroavangarda

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On 9 th January 2019 at 6PM Retroavangarda Gallery in Jerozolimskie Business Park cordially invites everyone interested to the opening of a big contemporary Peruvian art exhibition 'Abstraction and contemporary painting of Peru'. It is a very interesting review of the most recent accomplishments of 28 Peruvian artist.

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We asked speaking about contemporary Peruvian art to Brenda Ortiz Clarke, founder of BLOC ART, a cultural hub based in Miraflores, one of the trendiest districts of Lima.

Peruvian art moves between tradition and innovation. Of course archeology is the best globally known area, but on the contemporary side something is moving.

How did Art Nomade Milan end up in Peru?!

A few years ago I had begun to investigate the textiles found in the Chachapoyas burials, in the Amazonas region. So I too had started from archeology. However contemporary extra-European art has already jumped to the attention of collectors for some years. From the Italian point of view, we have to mention the in-depth studies held by Galleria Continua and Primo Marella Gallery.

If you focus on the American territory, Mexico hosts one of the best known art fairs, ZONAMACO.

Mexico, Brazil, Colombia ... and Peru?!

A geographically and climatically rich nation, it certainly has not been confined to Machu Picchu. News is on the horizon and Brenda will help us discover them.

We travel thanks to digital, since health regulations still allow few trips. Brenda is a "citizen of the world": born in Scotland and moved to Peru at a very young age.

Girl power and cosmopolitanism: just what Art Nomade Milan likes 🙂

- Brenda, your academic path is very similar to mine. From a Bachelor degree in Communications to some work experiences in the marketing sector for retail and mass consumer companies. Where does your passion for art come from? CONTEMPORARY PERUVIAN ART
My passion for art comes from my mother's side. The way she raised me and my sister definitely was the main structure to see life and the world itself in a very different way. We used to have cultural Saturday's going to Museums, artists' studios, music classes and even roadtrips inside the country or abroad. I consider this one of the pillars in my personal structure as it really molds emotional intelligence.
- You moved to Perú at an early age and one of BLOC ART main goals is to promote contemporary local artists. Do you think that peruvian ancient art and archeology are more globally known than modern expressions? Why?
Yes, I do. I consider a key part of this is how the ecosystems are organized and how local agents in our art local industry are starting to communicate more fluently but not as effective as it should be. A very good example of it is comparing Peruvian Art market to the Colombian one, they organized quite fast a circular economy solution during the current crisis meanwhile in Peru the Ministry of Culture doesn't have good communication and it feels slightly divorced.
BLOC ART

Even so, it is part of our responsability to stablish a better way to promote Artists. I am a true believer that as we are good in culinary arts, we do have that potential with our talented artists from all over the country, I mean we have Andes, Jungle and Coast, it just evoques a very rich cultural heritage in every single angle. I know with true collaboration we can make art essential to all citizens of this amazing country.

- Does a contemporary art system (art galleries, art institutions and collections, art fairs) already exist in Perú or it is a structure that are currently at its early stages?
The ecosystem exists but it is not well integrated, we do have a ministry of culture, museums, galleries and a couple of art fairs but it is mostly centralized in the capital of our country. It is not yet as Mexico where four cities have developed their cultural activities in a more fluent way, but again, it comes from how we share information and impacts the individuals. I think what we need is a reconstruction taking "advantage" of Covid crisis and reinvent with those that are left.
- Can I define BLOC ART as an art gallery or it is something more? Contemporary Peruvian art

BLOC ART is an amalgam, I personally don't like labels that is why we are art managers to artists, art gallery to art fairs, embassies amongst other institutions and art dealers or advisors to collectors and potential buyers. We even created an art news during the pandemic. At the end it is a projection of myself but it wouldn't be possible with no artists, no collectors, no team work. It is a synergystic collaboration between many different agents who are art movers from different parts of the world and truly love and let the power of art work in them.

- Mexican art or Brazilian contemporary art are well known globally. Which are the differences with contemporary Peruvian artistic expressions? How can Peruvian art attract European collectors?
Every country has its own heritage and as I mentioned before we have three different regions in the country which has such rich information. If we travel to the jungle side we will find for example the amazing art of Rember Yahuarcani, a native huitoto artist that participates in asian art fairs and exhibitions. His art pieces have such fine lines representing the ancestral myths from his clan "The White Heron" who were brought by a british man centuries ago and understand the relationship that humankind should have with nature. Now if we go to the Coast you will be introduced to this world in Claudia Caffarena's art pieces who although was born in the capital of Lima she is half Italian - half Chiclayana (City with pre-colombian culture legacy) who works ceramics that includes porcelain and golden leaf, also installations that shows a hollistic main concept with words of power from ancient times.
In the Sierra side, there is another batch of tradition that Sandra Cáceres is sharing through her knitting process with organic fibers and such delicate sculptures.
After explaining this I think what would capture the attention is how one country gathers such wide heritage translated into contemporary artwork that no one else has seen before. An absolute "outisde the box" moment.

- In BLOC ART artistic portfolio there are many women artists. How much the female role is important in Peruvian culture?
There are so many talented female Peruvian artists but our culture is still very machista (chauvinist). Lots of them live abroad to make a path in the art field more openly than in their own country. Now according to gender if we want to have a child there is a mínimum of time that you are definitely "off" the market but considering this there should be more support. More than 30% of our portfolio are female artists and a third part of them are mothers, the struggle is real but not imposible to continue promoting their careers worldwide. We can grow faster together than separately by ourselves.
- Perú is also well known for its textile traditions. How does fiber art affect contemporary artistic ways of expression?
I've seen in the last 5 years how mostly female artists have studied and included more and more ancient knitting techniques in their projects. A good example is Liliana Ávalos based in the north side of Lima city where lots of immigrants from jungle and sierra side stablished since late 80's trying to scape from terrorism. She is a multidisciplinary artist who works photography, silk-screen printing, soft sculpture which most of the time incorporates traditional embroidery from Mantaro Valley located in Junin region (Sierra side). Another great example is Ivet Salazar, who knitts with ceramic, just an unbelievable result on how sculptures gathers such rich baggage but with finesse.
- BLOC ART has taken part in many art fairs, especially in South America. Do you think that fairs are important to strengthen the links with collectors and to increase the visibility of an art gallery? What do you think about online editions?

Most definitely fairs are a special time to nurture knowledge and taste on the field while selling art besides finding new collectors and potential buyers. I'm missing those events because they are super fun and it truly helps to gain exposure. In our first local participation on 2019 we took 80% of the entire line of the young projects section with 3 solo shows and one collective show, it was a total statement and complete strategic move.
Online editions are not enough, even though we are currently selling art thanks to technology, the limitations of connecting in a more personal way are quite not there yet and don't think it will be posible through a screen... I find it a slightly cold interaction.

- You visited some well-known Italian cities once in your life. What do you like of our country? Do you have a favorite Italian Museum or art gallery?
Oh yes! I remember telling you Elisabetta, that Italy would be the only country I would dare to move for a couple of years; you do have great taste in fashion, also tasty food and above all previous appreciation for art, the beauty of it is everywhere. I remember my visit to Galleria Borghesse, also walking Rome and even visiting Dante Alligheri's town, tasting one of the most delicious ravioli in my life. I would love to visit again in a near future maybe with an art exhibition connecting both countries through its art, that would be a magical experience!
- COVID-19 pandemic: how is the situation in Perú right now? How does this affect BLOC ART activities and the entire Peruvian art system?
The current pandemic we are experiencing is a very tough situation but it will only make us stronger specially to those that keep up the good fight. Einstein once said: "...In crisis emerges the best of each, because without crisis all winds are only mild breezes." Not being able to attend fairs or host exhibitions in a regular basis we had to figure out a very fast but effective way to continue promoting peruvian art to the world. This is why I decided to launch an IGTV programming that includes a weekly art news, an architecture program that takes art as the main axis of the different projects, a live show with our curator Daniel G. Alfonso from Cuba where we deconstruct artists with the audience and a live show with our New York ally Rachael N. Clarke explaining the power of art in different times.
The art news as a matter of fact was the way how BLOC ART connected with Art Nomade Milan and thanks to that now we are doing this collaboration. Plus we were contacted by Alejandra Castro Rioseco, Chilean collector who runs the first virtual Museum that promotes female artists under the name Mia Collection.
Our brand new member of the team Helena Herzberg also brought up a project to launch a blog that documents this specific time, I see all of this as an epic experience and how we are re-inventing through true collaboration with people from all parts of the world.
It is not easy for everyone in the country but again it is difficult because there must be a reconstruction of the local system. The regular citizen doesn't think of art as essencial in his/her life which is very sad but not imposible to change that.

- Now it's time to think about the future 😊 Can you tell us some of BLOC ART next projects?
Sure, we are going to start our partnership with Artsy online platform to reach out more international clientele and specific connections from different agents. I personally want to introduce the weekly Art deconstruction program to TV or radio in order to keep democratizing the Arts in the country so that's this year's goal, is not an easy one for sure but not impossible. Continue collaboration with international agents is one of the objectives of this year so we can promote Peruvian and Latin American Art across all borders.

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Contemporary Peruvian art between tradition and innovation

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Peruvian art moves between tradition and innovation. Of course archeology is the best globally known area, but on the contemporary side something is moving. How did Art Nomade Milan end up in Peru?! A few years ago I had begun to investigate the textiles found in the Chachapoyas burials, in the Amazonas region.