Everything was changed by the Yom Kippur Warīut the Yom Kippur War changed that irrevocably. There he was, studying architecture, dutifully – and/or willingly – following in the footsteps of his father, Munio Weinraub, a lauded architectural pioneer and leading light of the Bauhaus movement in Israel. There are numerous strata to “War Requiem.” There is, of course, the highly personal, painful level of an artist endeavoring to impart some of his angst, half a century after his young soul was rudely awoken from a then nicely meandering life path. AN EVOCATIVE scene from the opening of Gitai’s 2000 film ‘Kippur.’ (credit: AMOS GITAI) Surprisingly, and intriguingly, the exhibition also features ceramic creations that echo both the paintings and some of the textural aesthetics of the on-screen footage you encounter in the second, fittingly cloistered, exhibition space. ![]() There are video clips of interviews with some of the leading figures of the very real-life drama that erupted and gradually evolved across the latter part of that year and into the next. Besides his best-known avenue of artistic expression on film, the spread takes in Haifa-born (and now largely France-based) Gitai’s efforts in the plastic arts field, including seemingly nebulous pastel paintings – both on blank pieces of paper and, tellingly, on newspapers of the day from 1973. “War Requiem” is an arresting and, sadly, highly pertinent roll-out of the detritus of destruction, grief, and emotional scarring. Not that military clashes are ever too far from the regional agenda. Humor of the darkest nature aside, Gitai’s “Kippur: War Requiem” exhibition, which opened at the Tel Aviv Museum of Art a month ago, curated by Mira Lapidot with assistance from Amit Shema, and is due to run through to January, has accrued even more street-level credence over the past few weeks. If you are going to display an exhibition of works fueled by wartime angst and post-trauma, another local round of violence can do wonders to boost public interest. Thankfully, Amos Gitai is still very much alive and being consummately creative but the 73-year-old internationally acclaimed Israeli filmmaker unwittingly stands to reap the rewards of a different horrific “marketing” development. Just ask the specter of Van Gogh, who hardly made a sou out of his now universally lauded paintings that, should one ever come on the market, would sell for millions. The old joke in the art world is that if artists really want to make good money from their work, it can help to shuffle off their mortal coil. (photo credit: AMOS GITAI) Yom Kippur War veteran revisits old collection 50 years later By BARRY DAVIS OCTO01:45 Jerusalem Post Must ‘KIPPUR: WAR Requiem’ features a powerful cinematic installation. NOTE! Consider delaying until first div on page If (slot) slot.addService(googletag.pubads()) ![]() (function (a, d, o, r, i, c, u, p, w, m) Yom Kippur War veteran revisits old collection 50 years later - The Jerusalem Post
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