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עמוד:14
Especially Kadishman Menashe Kadishman This year , 2006 , seventy-four years after his birth , a comprehensive exhibition was held at the Tel Aviv Museum of Art for Menashe Kadishman , recipient of the Israel Prize for Sculpture in 1995 . Toward the end of 2006 , from September to December , his exhibition "Sculptures from Storage" is on display at the Office in Tel Aviv Gallery Rachel Sukman Menashe Kadishman , in his unique way , knew when to come into the world . He was born in Tel Aviv in 1932 . Two years earlier , in 1930 , 50 , 000 residents lived in the city . Who dreamt that only two years later , in 1934 , their number would double . 1932 was an especially important year in the evolving fields of art and culture ; salad days . Everything was marked by hope for the future . In the city streets and in its few cafes people who would later mark the beginnings of Hebrew poetry , painting , and theater met . Architects Arieh Sharon , Joseph Neufeld and Ze ' ev Rechter contemplated ways to save the appearance of the first Hebrew city , opting for the Bauhaus style . The first Purim parade was held after sketches by Nanum Gutman . The first talking film was screened at the Mugrabi Opera ( the old Opera House on Allenby Street by the beach ) . The Tel Aviv Museum was officially inaugurated at 16 Rothschild Boulevard , and the Tel Aviv Museum Company headed by Meir Dizengoff was established . Against this backdrop , in a home in which art was never foreign , Kadishman would grow up to become an artist , and later on , despite his training as a sculptor , will not be afraid to touch colors , initially painting the back of sheep and subsequently - any substance that comes his way . Twelve years ago , in 1994 , when I founded the Office in Tel Aviv , Kadishman was among the first visitors . Already back then he expreseed his desire to exhibit several of his works in the gallery whose space was even smaller than it is today . Sometimes it takes twelve years to make a decision . Kadishman ' s retrospective at the Tel Aviv Museum of Art invoked the desire in me to revisit his storage which I visited more than twelve years ago . In 1993 I invited Kadishman to participate in a group exhibition , "Touching the Matter , Touching the Spirit , " that Icu rated at Sara Levi Gallery , Tel Aviv . The exhibition was based on a " personal selection of artists whose handwriting I knew and liked . Observation of a work is like observing the portrait of a man whose facial features are familiar , and you are happy to see and call him by his first name . We point at a painting and call it 'Nurit '; we point at a sculpture and call it 'Menashke ' , " as I wrote in the exhibition brochure . " The exhibition featured Nurit David , Moshe Kupferman , Moshe Gershuni , Meira Shemesh , Jenifer Bar-Lev , and Asaf Ben-Zvi . My second encounter with Kadishman occurred in the exhibition "Tel Aviv in the Tracks of the Bauhaus " held in 1994 at the historical building of Haaretz newspaper on Mazeh Street , Tel Aviv ( a Bauhaus building designed by architect Joseph Berlin and his son Ze ' ev ) . Kadishman hung plates painted yellow outdoors , on the avenue of trees leading up to the building , whereas indoors he exhibited the work Segments - a model of a 1968 sculpture made from aluminum and glass ( the original sculpture , created during Kadishman ' s sojourn in London at the beginning of his career as a sculptor , is kept in the MoMa Collection , New York ) . For the exhibition catalogue Kadishman wrote a short text , including the following lines : "One should not , I think , relate to the Bauhaus in the terms of its simple forms or any other of its formalistic features ; for the Bauhaus came into being as a social response , a comment on people as they live or should live visa-vis each other , as social creatures . " When I read these lines today , they are clearer to me than in 1994 . In the 1950 s Kadishman worked as a shepherd in Kibbutz Ma ' ayan Baruch and Kvutzat Yizrael . This fact and this work , more than his studies at London ' s Slade and St . Martin ' s schools of art , left the imprint of
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