THE RIGHT TO CLEAN

BORDER | SURFACE | CLAIRE | FRANCIS

ISHMAEL

ABRAHAM ABRAHAM

SARAH SARAH

MANDATORY PASSAGE

SCENARIO

NO WIND

KEPT ALIVE

KEPT ALIVE PORTRAITS

SABBATH 2008

AND MELANCHOLY

67 BOWS

SOUVENIR

BANGKOKING

CANICULE

MADE IN FRANCE

G SPOTTING

SOIL


                                                        

                                                                                       

Following ABRAHAM ABRAHAM SARHA SARAH (2012), ISHMAEL continues Pereg’s ongoing investigation of the everyday routines at the Cave of the Patriarch. Pereg returned to The Cave of the Patriarch, which is also called Ibrahimi Mosque  الحرم الإبراهيمي‎. Under closed military supervision, Pereg spent one whole day following the adhan, the five Muezzin calls for prayer from 4am to 9pm {4am Fajr (pre-dawn) , 12:30pm Dhuhr (midday) , 4pm Asr (afternoon) , 7:30pm Maghrib(sunset) / Mincha(before sunset) , 9pm Isha'a (night)}, documenting the singularity of the way in which the ritual is conducted in the Cave of the Patriarch at this time.

The Cave of the Patriarch is located in Hebron, at the heart of the West Bank. It is a sacred place for both Jews and Muslims. Since the mass murder of Palestinians perpetrated by Baruch Goldstein, a Jewish settler from Kiryan Arba, in 1994, the cave has been physically divided between Muslims and Jews. 80% of the cave is a mosque, 20% functions as a synagogue. The IDF is in charge of the only doorway connecting the two separate areas. In ISHMAEL, Pereg follows the Islamic call to worship (adhān), recited by a Muezzin five prescribed times during the day. The adhān was traditionally recited from the Minaret tower - but is now called using a microphone. Due to the particular architectural division between Muslims and Jews in the Cave of the Patriarch, the room from which the Muezzin calls from was left in the Jewish side of the cave.  Ishmael follows the journey of a Muezzin, escorted by IDF soldiers, as he makes his way from the mosque through the synagogue and back.  The work begins in the mosque, where the Muezzin waits for the Israeli soldiers to meet him at the dividing door and escort him through the Jewish side. The escort ends at a green door, from there the Muezzin proceeds to open the door and lock it behind him. He settles, prepares, and then calls the adhān using an amplifying sound system that echoes his prayer throughout the cave and beyond to the city. The soldiers guard the door during the entire time, and once the prayer is over they escort the Muezzin back to the mosque area.  The manner in which the work is shot supports this narrative by positioning three cameras – one in the mosque, one at the dividing door and one in the synagogue. Due to local demand from the Jewish settlers, the Border Police has decided to forbid the 7:30pm Muslim Maghrib (صلاة المغرب sunset call), and instead a Jewish Hazan calls for the evening prayer Mincha (before sunset).This is the only place in the world that a Jew is calling publicly for prayer. These events are part of the surreal routines that maintain the fragile status-quo in the cave over the last two decades.  Echoing the cooperation between Israeli Defense Forces, the Border Patrol Police and Hebron’s Police Force, Pereg placed three cameras – one inside the mosque, one at the door/threshold between the mosque and the synagogue, and one inside the synagogue. She articulated a narrative meticulously  edited it into a multi-channel video installation. The work emphasizes the performative qualities of the routine activities in the Cave that touch upon the link between ceremony and territory, bringing forth a reality that is far from the general public’s awareness, revealing the complex way in which systems pertaining to religious belief, social norms and politics intertwine. Pereg’s work examines different types of public spaces, such as vertical burial sites (KEPT ALIVE, 2010), documentation of roadblocks in Jewish Orthodox neighborhoods during the Sabbath (SABBATH 2008), or the upkeep of the church of the holy sepulcher (THE RIGHT TO CLEAN, 2015). Pereg attends to different aspects of the regular maintenance occurring in these places, pausing on what she calls spiritual bureaucracy. Her works reveal the form through which religion marks concrete territories in order to maintain itself. Pereg’s subjects relate to the power relations and cooperative arrangements in place that serve to strengthen the religious narrative in each site, thus raising questions about the metaphysical and physical tie created in these types of ritualistic unions.

Editing: Nira Pereg  |  Filming: Ziv Berkovich  | Sound design : Nati Zeidenstadt  |  Post: Tal Korjak  |

Selected Press: hyperallergic   ART21 magazine

INSTALLATION VIEW

                                    

ISHMAEL

2015  |  The Cave of the Patriarch / Ibrahim Mosque, Hebron, West Bank  |  Four Channel Video installation with Sound  | Duration: 10 min 25 sec.loop > Edition of 7+2AP

ISHMAEL 4 Channel video demo.

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ISHMAEL Solo Show at On Stellar Rays+Braverman Gallery. May 2016. New York, NY, USA


    

ISHMAEL at the Helena Rubinstein Pavilion, Tel Aviv Museum of Art , August 2017 Photo by Elad Sarig


    

ISHMAEL Solo Project at ART Basel 2015 FEATURES section with Braverman gallery    

5 CALLS


Sun Clock, 2015, installation view. Floor tile and painted aluminum cast, 40 x 20 x 20cm; pedestal 120 x 20 x 20cm.