RS Tours: Glass Museum in Arad - Unexplainable!
Root Source Tours takes you to the amazing Glass Museum in Arad, Israel. Gidon Friedman has managed to create sculptures in glass that seem to defy what is humanly possible! Watch to learn why.
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Contact the museum at:
Diacore, Ron Arad's 'The Last Train' - Ron Arad drawing
Diacore - High Definition Diamonds
The Last Train is Ron Arad's response to Diacore's initiative and commission to create a work of art incorporating diamonds.
The Last Train was created in response to a Diacore initiative and commission to create a work of art incorporating diamonds. The piece is about the strength of the raw material rather than being seen as a symbol of value and an object of adornment. It is about the way diamonds have often been -since the advent of glass panes in the 16th century- used to etch messages of love, hate, rebellion or even pain
The exhibition of the same name in the 55th Venice Biennale, includes works by Francesco Clemente, Anthony Gormley, Christian Marclay, David Shrigley, Cornelia Parker, Richard Wilson, Robert Wilson, Sara Fanelli, Sue Webster and Tim Noble, Leandro Erlich and Gavin Turk, as well as texts by Ron Arad and Francesco Clemente.
I was going to catch the last train from Naples -- I arrived on the platform just as the doors closed. The train lingered a little and I saw that in an empty carriage there was a guy with a ring on his fist, doing the most amazing drawings on the glass. It reminded me of the images of Picasso drawing with a match in the air. Although I didn't know how I would get out of Naples that night, I felt like I was compensated for missing my train by witnessing some beauty that no one else had seen before. These pieces are about this memory.
Ron Arad
FINE ART & DOLL MUSEUM ARAD מוזאון הבובות ערד Музей Кукол Комедии Дель Арте Арад
Музей Кукол Комедии Дель Арте Арад Израиль
גלריית בר כוכבא-Bar Kocva Israeli Art Expo
.bar-kocva.co.il, E-mail:barkocva@netvision.net.il,
Successful Event,Bar Kocva Israeli Art Expo...Highly recommend fundraising shows in the Temples and JCC.
Since the 1980's, Bar-Kocva has surfaced as one of Israel's most prominent and well-known artists, and has been seen in galleries and fine stores internationally.
Bar-Kocva also represents 45 different Israeli artists who work in ceramics,glass,paintings,metal and wood. WE HAVE THE BEST COLLECTION- EACH PIECE IS EXQUISITE!!!
מוזיאון הבובת עומד בפני סגירה בגלל עיריית ערד. מירי ליבוביץ ואדוארד שרוסטר, סיפורם המלא 2
מוזיאון הבובות בערד, פנינה תיירותית, תרבותית ואמנותית, שהוקם על ידי האמנים מירי ליבוביץ ואדוארד שרוסטר, עומד בפני סגירה בגלל הפרת כל ההבטחות וההסכמים שהעירייה נתנה לאומנים.
שתפו ועזרו להם לקבל את הצדק שמגיע להם!
סיפורם המלא -
חלק 1:
חלק 2:
Eduard Shruster:
+972-52-2398918
eddie@artists2.com
Miri Leibovitz:
miri@artists2.com
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עוד סרטונים ממוזיאון הבובות:
More videos from Doll Museum:
יצירות של מירי ליבוביץ 1 במוזיאון הבובות:
Doll Museum - Part 1 - Miri Leibovitz's Works :
יצירות של מירי ליבוביץ 2 במוזיאון הבובות:
Doll Museum - Part 2 - Miri Leibovitz's Works :
יצירות של אדוארד שרוסטר במוזיאון הבובות:
Doll Museum - Part 3 - Eduard Shruster's Works :
יצירות על קומדיית דל'ארטה עי מירי ליבוביץ
Doll Museum - Part 4 - Commedia dell'arte Works by Miri Leibovitz
מדהים! סגירת מעגל השראה עם מירי ליבוביץ:
Amazing! Inspiration Coming Full Circle with Miri Leibovitz - Part 5:
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Doll Museum:
artists2.com
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מה את/ה חושב/ת על התוכנית? ספר/י לנו מה דעתך בתגובות למטה.
הירשם מנוי לתוכניות ״מיקסים״ עם אורלי נתנאל:
עשה לנו לייק בפייסבוק:
סדרת התוכניות מיקסים עם אורלי נתנאל עוסקות במוסיקה, אומנות, ציור, פיסול, שירה, ספרות וכל עולמות התוכן העוסקים ברוח ושיש בהם כדי לקדם חשיבה בריאה, יצירתית, חיובית וראייה המעוררת השראה.
תוכניות נוספות:
יצירת קשר עם אורלי נתנאל:
orlynetanel@walla.co.il
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Nendo & Caesarstone Collaboration | Design Museum Holon
As the centrepiece of the recently opened nendo: the space in between exhibition at Design Museum Holon, leading quartz manufacturer Caesarstone and renowned Japanese design studio nendo unveiled 'in the shade', a new commission that will remain part of the Museum's permanent collection.
Presented in the external courtyard and inspired by the strong effects of light and shadow in Israel, in the shade is constructed using a collection of 5 free-standing sheets of glass coloured by Glas Italia, supported by Caesarstone pedestals. Resembling the look of natural stone, the pedestals are created using a variety of Caesarstone designs in different tonalities, whilst the glass sheets embody the overall colour palette of the exhibition.
Appearing to divide light and shadow, the unison of the quartz along with the positioning of the glass evoke the feeling of being outdoors when looking from one side and indoors when looking through to the other side.
In addition, Caesarstone is presenting 'stone garden', a previous collaboration with nendo consisting of 155 table-like elements made out of ten different stone-shaped Caesarstone colours, clustered together to form a seemingly floating landscape.
Our first collaboration with Caesarstone was 'stone garden', an installation presented in 2013 at Interior Design Show Toronto, and then again in Milan and New York. Each time the piece was presented, the audience had a different, yet positive reaction, highlighting the many faces of Caesarstone and its diverse, expressive and talkative nature. I feel that some materials have the ability to talk to designers and possess a certain value and magic that inspires them. The more I work with Caesarstone, the more I feel that this material talks to me and inspires me to further delve into the creative process.– Oki Sato, nendo
Spectacular spectacles at the Holon Design Museum
Grab a pair of your favorite shades and take a look at one of the coolest exhibits of eyewear in the world, featuring intriguing optometry pieces from the 19th century, curious contemporary glasses, and futuristic VR shades - all at the Design Museum of Holon.
Diacore, Ron Arad's 'The Last Train' - Francesco Clemente
Diacore - High Definition Diamonds
The Last Train is Ron Arad's response to Diacore's initiative and commission to create a work of art incorporating diamonds.
The Last Train was created in response to a Diacore initiative and commission to create a work of art incorporating diamonds. The piece is about the strength of the raw material rather than being seen as a symbol of value and an object of adornment. It is about the way diamonds have often been -since the advent of glass panes in the 16th century- used to etch messages of love, hate, rebellion or even pain
The exhibition of the same name in the 55th Venice Biennale, includes works by Francesco Clemente, Anthony Gormley, Christian Marclay, David Shrigley, Cornelia Parker, Richard Wilson, Robert Wilson, Sara Fanelli, Sue Webster and Tim Noble, Leandro Erlich and Gavin Turk, as well as texts by Ron Arad and Francesco Clemente.
I was going to catch the last train from Naples -- I arrived on the platform just as the doors closed. The train lingered a little and I saw that in an empty carriage there was a guy with a ring on his fist, doing the most amazing drawings on the glass. It reminded me of the images of Picasso drawing with a match in the air. Although I didn't know how I would get out of Naples that night, I felt like I was compensated for missing my train by witnessing some beauty that no one else had seen before. These pieces are about this memory.
Ron Arad
Diacore, Ron Arad's 'The Last Train' - Last Train Performance
Diacore - High Definition Diamonds
The Last Train is Ron Arad's response to Diacore's initiative and commission to create a work of art incorporating diamonds.
The Last Train was created in response to a Diacore initiative and commission to create a work of art incorporating diamonds. The piece is about the strength of the raw material rather than being seen as a symbol of value and an object of adornment. It is about the way diamonds have often been -since the advent of glass panes in the 16th century- used to etch messages of love, hate, rebellion or even pain
The exhibition of the same name in the 55th Venice Biennale, includes works by Francesco Clemente, Anthony Gormley, Christian Marclay, David Shrigley, Cornelia Parker, Richard Wilson, Robert Wilson, Sara Fanelli, Sue Webster and Tim Noble, Leandro Erlich and Gavin Turk, as well as texts by Ron Arad and Francesco Clemente.
I was going to catch the last train from Naples -- I arrived on the platform just as the doors closed. The train lingered a little and I saw that in an empty carriage there was a guy with a ring on his fist, doing the most amazing drawings on the glass. It reminded me of the images of Picasso drawing with a match in the air. Although I didn't know how I would get out of Naples that night, I felt like I was compensated for missing my train by witnessing some beauty that no one else had seen before. These pieces are about this memory.
Ron Arad
Diacore, Ron Arad's 'The Last Train' - Anthony Gormley
Diacore - High Definition Diamonds
The Last Train is Ron Arad's response to Diacore's initiative and commission to create a work of art incorporating diamonds.
The Last Train was created in response to a Diacore initiative and commission to create a work of art incorporating diamonds. The piece is about the strength of the raw material rather than being seen as a symbol of value and an object of adornment. It is about the way diamonds have often been -since the advent of glass panes in the 16th century- used to etch messages of love, hate, rebellion or even pain
The exhibition of the same name in the 55th Venice Biennale, includes works by Francesco Clemente, Anthony Gormley, Christian Marclay, David Shrigley, Cornelia Parker, Richard Wilson, Robert Wilson, Sara Fanelli, Sue Webster and Tim Noble, Leandro Erlich and Gavin Turk, as well as texts by Ron Arad and Francesco Clemente.
I was going to catch the last train from Naples -- I arrived on the platform just as the doors closed. The train lingered a little and I saw that in an empty carriage there was a guy with a ring on his fist, doing the most amazing drawings on the glass. It reminded me of the images of Picasso drawing with a match in the air. Although I didn't know how I would get out of Naples that night, I felt like I was compensated for missing my train by witnessing some beauty that no one else had seen before. These pieces are about this memory.
Ron Arad
Bedouin women
Prior to the 1948 Israeli Declaration of Independence, when the Negev became part of Israel, an estimated 65,000--90,000 Bedouins lived in the Negev. According to Encyclopedia Judaica, 15,000 Bedouin remained in the Negev after 1948; other sources put the number as low as 11,000.
An Israeli study in 1999 estimated a total Bedouin population in Israel of 170,000 for 1998, of which 110,000 in the Negev, 50,000 in the North and 10,000 in the central region. This figure may also include non-Israeli Bedouins residing in Palestinian Authority-governed areas[citation needed] who do not hold Israeli citizenship.
All of the Israeli Bedouin were granted Israeli citizenship in 1954.[58]
The Bedouin who remained in the Negev belonged to the Tiaha confederation[59] as well as some smaller groups such as the 'Azazme and the Jahalin. After 1948, some Negev Bedouins were displaced. The Jahalin tribe, for instance, lived in the Tel Arad region of the Negev prior to the 1950s. In the early 1950s, the Jahalin were among the tribes which, according to Emmanuel Marks, moved or were removed by the military government.They ended up in the so-called E1 area East of Jerusalem.
About 1,600 Bedouin serve in the Israel Defense Forces, many as trackers in the IDF's elite tracking units.
Famously, Bedouin shepherds were the first to discover the Dead Sea Scrolls, a collection of Jewish texts from antiquity, in the Judean caves of Qumran in 1946. Of great religious, cultural, historical and linguistic significance, 972 texts were found over the following decade, many of which were discovered by Bedouins.
Successive Israeli administrations tried to urbanize Bedouins in the Negev. Between 1967 and 1989, Israel built seven townships in the north-east of the Negev, with Tel as-Sabi or Tel Sheva the first. The largest, city of Rahat, has a population of over 53,000 (as of December 2010); as such it is the largest Bedouin settlement in the world. According to the Israel Land Administration (2007), some 60 per cent of the Negev Bedouin live in urban areas. As for the rest, they live in so-called unrecognized villages which are not officially recognized by the state due to general planning issues. They were built chaotically without taking into consideration local infrastructure. These communities are scattered all over the Northern Negev and often are situated in inappropriate places, such as military fire zones, natural reserves, landfills, etc.
On September 29, 2003 Israeli government has adapted a new Abu Basma Plan (Resolution 881), according to which a new regional council was formed, unifying a number of unrecognized Bedouin settlements - Abu Basma Regional Council.[64] This resolution also regarded the need to establish seven new Bedouin settlements in the Negev,[65] literally meaning the official recognition of unrecognized settlements, providing them with a municipal status and consequently with all the basic services and infrastructure. The council was established by the Interior Ministry on 28 January 2004
Israel is currently building or enlarging some 13 towns and cities in the Negev. According to the general planning, all of them will be fully equipped with the relevant infrastructure: schools, medical clinics, postal offices, etc. and they also will have electricity, running water and waste control. Several new industrial zones meant to fight unemployment are planned, some are already being constructed, like Idan haNegev in the suburbs of Rahat.[67] It will have a hospital and a new campus inside.[68] The Bedouins of Israel receive free education and medical services from the state. They are allotted child cash benefits, which has contributed to the high birthrate among the Bedouin (5% growth per year). But unemployment rate remains very high, and few obtain a high school degree (4%), and even fewer graduate from college (0.6%).
In September 2011, the Israeli government approved a five-year economic development plan called the Prawer plan. One of its implications is a relocation of some 30.000-40.000 Negev Bedouin from areas not recognized by the government to government-approved townships.According to Jonathan Cook, the European Union has recently begun to call these relocations instances of forced transfer.In a 2012 resolution the European Parliament called for the withdrawal of the Prawer plan and respect for the rights of the Bedouin people.
RON ARAD SPYRE MUSIC Amazing Royal Academy's Skynet Big Brother ? Summer Exhibition at Brilliant RA
This is an amazing piece of art that Ron Arad and his creative team has created - an engineering marvel too .. Definitely a must see ! Music: Spyre Copyright 2016 by Alan Rollings
For the RA’s Summer Exhibition Arad has designed for the Annenberg Courtyard Spyre, a constantly moving sculpture with a built-in camera recording live footage of its surroundings. It certainly looks alarming (he shows me a video realisation), swinging over the heads of passers-by in a voluptuous, snake-like arabesque, or bending down like a long-necked Jurassic sauropod. Might it be mildly terrifying? “Not at all,” he says, with a semi-sinister, infectious giggle. “It’s huge, that’s true. But it’s dancing for you. Normally we are looking at sculpture, now it is looking at us.”
Thought of Train of Thought – Terrace Wires: Ron Arad RA is at St Pancras International Station, London, in partnership with HS1 Ltd, from 7 July to January 2017.
Ron Arad’s Spyre is installed in the RA’s Annenberg Courtyard as part of the RA Summer Exhibition from 13 June to 21 August 2016.
In the studio with Ron Arad RA
By Fiona Maddocks
Published 23 May 2016
There is barely a straight line to be found in the north London studios of artist, designer and architect Ron Arad RA. Fiona Maddocks meets the maverick whose life and art is always on the move.
From the Summer 2016 issue of RA Magazine, issued quarterly to Friends of the RA.
Ron Arad is rarely without his trademark hat. Today’s example is pulled over his head, urchin style. He likes to keep his head covered. Is it for religious reasons? “No. I have no religion in me. Some people have good hair. I have a good hat.”
At once Arad launches into another thought, not connected with headgear. “This workspace is what I call a progressive kindergarten. I am not organised or responsible or methodical. I rely on others” – his team of 20 – “to be all those things.” They are, he says, architects and engineers and people who are well ordered. “I jump from one thing to another. Look at that,” he says, pointing to a sculpture on the table. “No one asked me to blow some glass and stick it in a bucket.”
Secluded from a busy north London thoroughfare, the approach to Arad’s hidden world is unpromising. As you climb the old fire-escape-style stairs and open a weather-beaten wooden door, you feel you might be entering a garden shed or workshop fronting some shady enterprise. But inside the transformation to hi- tech and rampant elegance is absolute.
“It used to be a sweatshop. When we first came it was full of old sewing machines,” Arad says. “I liked the idea of an indoor-outdoor space – there are little courtyards between the various buildings.” One houses his celebrated curved table-tennis table: all in his team are ping-pong addicts. Is he competitive? He laughs at the very possibility that he wouldn’t be. “Yes. I’m competitive.”
Born in Tel Aviv in 1951, Arad studied in Jerusalem at the Bezalel Academy of Arts, moving to London in 1973 to train at the Architectural Association. “I had a privileged childhood, with nothing to rebel against. Yet I always had a profound dislike of convention. I always wanted to find a way of not doing what I was supposed to and getting applauded for that!”
He has an international reputation as architect, industrial designer and artist. All are connected. As we walk round the vast arched gallery which is his studio, he indicates a dizzying variety of objects he has created: wrap-around eye wear, jewellery, furniture of every kind, including his 1981 Rover Chair – “I picked up this Rover seat and made myself a frame” – and the iconic curvy Bookworm that can be bent into any shape to make a bookshelf ...see the full article and visuals at
Fiona Maddocks is a journalist, broadcaster and Classical Music Critic for the Observer. Article her Copyright 2016
מוזיאון המזגגה
הפעם נועה מבקרת במוזאון המזגגה שבקיבוץ נחשולים
Funtastico | Jaime Hayon | Design Museum Holon | November 2015 - April 2016
סיור וירטואלי בתערוכה פאנטסטיקו | חיימה חיון
פתיחה: 30 בנובמבר 2015 | נעילה: 30 באפריל 2016
Jaime Hayon Funtastico - Design Museum Holon i24News
Spanish designer/artist Jaime Hayon's Funtastico exhibition on display at (DHL) Design Museum Holon, Israel.
Journalist: Daniel Campos
Camera: Naseeb Saffadi
Video Editor: Yotam Wax
CultureBuzz's Ultimate Exhibition Guided Tour! With Maya Muchawsky Parnas & By the Wall.
Our 28th chapter of a fascinating Series, providing you with the Ultimate Exhibition Guided Tours by either the artist, the curator, the Gallery owner or Museum director (& sometimes more than one)!
What: By the Wall.
Curator: Meira Yagid Haimovici.
Where: Tel Aviv Museum of Art, 27 Shaul Hamelech Blvd.,Tel Aviv.
When: 28 May - 14 December 2013.
Meet your guide: Maya Muchawsky Parnas (the artist).
For more:
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DESIGN MUSEUM HOLON PRESENTS: OVERVIEW
An exhibition exploring the relationship between vision and design.
First Exposure to Claude Samuel's Eyeglasses Collection
20 December 2016 – 29 April 2017
Curator: Maya Dvash
Royal Academy Ron Arad Interview Spyre RA Summer Exhibition © 2016
Sadly Ron's majestically crafted piece of art has now been removed from the square as the Summer Exhibition at the RA has concluded.
Evidently Spyre has been sold to an enthusiastic buyer for nearly 2 million pounds.
This is an amazing piece of art that Ron Arad and his creative team has created - an engineering marvel too .. Definitely a must to see !
Music: Toot Toot Todalee Doot © 1990 and Industrial Waste © 2013 by Alan Rollings
For the RA’s Summer Exhibition Arad has designed for the Annenberg Courtyard Spyre, a constantly moving sculpture with a built-in camera recording live footage of its surroundings. It certainly looks alarming (he shows me a video realisation), swinging over the heads of passers-by in a voluptuous, snake-like arabesque, or bending down like a long-necked Jurassic sauropod. Might it be mildly terrifying? “Not at all,” he says, with a semi-sinister, infectious giggle. “It’s huge, that’s true. But it’s dancing for you. Normally we are looking at sculpture, now it is looking at us.”
Thought of Train of Thought – Terrace Wires: Ron Arad RA is at St Pancras International Station, London, in partnership with HS1 Ltd, from 7 July to January 2017.
Ron Arad’s Spyre is installed in the RA’s Annenberg Courtyard as part of the RA Summer Exhibition from 13 June to 21 August 2016.
In the studio with Ron Arad RA
By Fiona Maddocks
Published 23 May 2016
There is barely a straight line to be found in the north London studios of artist, designer and architect Ron Arad RA. Fiona Maddocks meets the maverick whose life and art is always on the move.
From the Summer 2016 issue of RA Magazine, issued quarterly to Friends of the RA.
Ron Arad is rarely without his trademark hat. Today’s example is pulled over his head, urchin style. He likes to keep his head covered. Is it for religious reasons? “No. I have no religion in me. Some people have good hair. I have a good hat.”
At once Arad launches into another thought, not connected with headgear. “This workspace is what I call a progressive kindergarten. I am not organised or responsible or methodical. I rely on others” – his team of 20 – “to be all those things.” They are, he says, architects and engineers and people who are well ordered. “I jump from one thing to another. Look at that,” he says, pointing to a sculpture on the table. “No one asked me to blow some glass and stick it in a bucket.”
Secluded from a busy north London thoroughfare, the approach to Arad’s hidden world is unpromising. As you climb the old fire-escape-style stairs and open a weather-beaten wooden door, you feel you might be entering a garden shed or workshop fronting some shady enterprise. But inside the transformation to hi- tech and rampant elegance is absolute.
“It used to be a sweatshop. When we first came it was full of old sewing machines,” Arad says. “I liked the idea of an indoor-outdoor space – there are little courtyards between the various buildings.” One houses his celebrated curved table-tennis table: all in his team are ping-pong addicts. Is he competitive? He laughs at the very possibility that he wouldn’t be. “Yes. I’m competitive.”
Born in Tel Aviv in 1951, Arad studied in Jerusalem at the Bezalel Academy of Arts, moving to London in 1973 to train at the Architectural Association. “I had a privileged childhood, with nothing to rebel against. Yet I always had a profound dislike of convention. I always wanted to find a way of not doing what I was supposed to and getting applauded for that!”
He has an international reputation as architect, industrial designer and artist. All are connected. As we walk round the vast arched gallery which is his studio, he indicates a dizzying variety of objects he has created: wrap-around eye wear, jewellery, furniture of every kind, including his 1981 Rover Chair – “I picked up this Rover seat and made myself a frame” – and the iconic curvy Bookworm that can be bent into any shape to make a bookshelf ...see the full article and visuals at
Fiona Maddocks is a journalist, broadcaster and Classical Music Critic for the Observer. Article her Copyright 2016