Clan * / commune (* in Arabic: rich [tribe])
Curator: Liat Yehuda
Bedouin Museum of Culture, Joe Alon Center

A clan unites a group of women who are connected by blood or biological proximity to an ancestor;
A commune is a social structure that proactively organizes a way of life based on alternative values.
The two frameworks unite a group of friends who function as an extended family. The exhibition presents two extended families, a Bedouin tribe and a Jewish commune, in their own Bedouin tent which is not used as a permanent residence for them, but as a "temporary" space for a moment, and at the same time, super-temporary and primitive.
The clan
The series of photographs, taken by Musa al-Atauna (soon to be a graduate of the Bezalel Department of Architecture), documents his tribe, his extended family, as they prepare for a wedding party in Hura, as is the long-standing tradition of tribal gathering and hospitality. This tradition was not even interrupted due to the quarantine and corona guidelines as Aletowna?s photographs show. It is not a miracle of the Bedouin hospitality tradition in its ancient form, however, it has added up-to-date elements that characterize the spirit of the time: the 'rababa' (traditional string instrument) is replaced by the synthesizer; The camel is replaced by a luxury jeep; The fairy blends in with stylish styling with a branded shirt; And everyone sips bitter Bedouin coffee and also enjoys the sweetness of the "taste of life" (Coca-Cola). Aletauna's gentle gaze focuses on small situations and tribesmen who were visible to the eye of the camera. It focuses on the male role set: in a group that cooks together during a lively conversation; In adolescents whose assistance in preparation represents a kind of initiation ceremony, in a group of children who occupy themselves with an attractive observation position; And in a wash dance whose many participants move as one body. Small narratives join the big picture: a community of connection, evil and brotherhood among its members.
The commune, the collective
Adva Karni documents her subjects in photography. The photo archive she creates is an outline for a meticulous series of paintings in a realistic style. Karni uses the series Painting Collective for Four Days / Off the Grid in oil paints on canvas and watercolors on paper, a material that has served as a mainstay in the high art tradition of Europe. This tradition stands in stark contrast to the object of Karni's painting - a temporary Bedouin tent whose total components are a representation of material poverty (an improvised structure made of remnants of tarpaulins and wood, cloth patches, mattresses and furniture from everything nearby). The Bedouin tent described by Karni, is used for an annual gathering for an urban group of friends, of which Karni herself is a member; Her gaze is sympathetic to the narrative of sharing and distance that the temporary environment produces, and she focuses on small moments of kindness: touch, men's conversations about trifles, a private moment of a woman alone, staring, playing music, sleeping, playing with children and animals. At the same time, she offers a reflexive observation of what she calls ?time migration?: the tent as a refuge from social and capitalist dictates or a reflection on a journey of search for way, wonder and loneliness.
This exhibition makes it possible to look at the similarities between two extended families: the clan and the commune are rooted in the map of genealogical history at an ancient or ancient point in time, and despite the distance of time they continue to exist today, demonstrating how, as Derrida wrote, It is possible to establish the similarity between the narratives and situations represented in the images of Aletowna and Karni. In both, the ancient "time", the past, mixes a little differently with the present.

מרכז ג'ו אלון, ליד קיבוץ להב ימים א'-ה' 8:30 ? 15:30 בשישי ובשבת האתר סגור