{"id":12975,"date":"2023-01-19T13:02:33","date_gmt":"2023-01-19T13:02:33","guid":{"rendered":"https:\/\/ummelfahemmuseum.com\/exhibition-52\/"},"modified":"2026-09-15T07:40:52","modified_gmt":"2026-09-15T07:40:52","slug":"exhibition-52","status":"publish","type":"page","link":"https:\/\/ummelfahemmuseum.com\/en\/exhibition-52\/","title":{"rendered":"exhibition-52"},"content":{"rendered":"\t\t
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Anyway | Ruth Schloss<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\u05e4\u05e8\u05d8\u05d9\u05dd \u05e0\u05d5\u05e1\u05e4\u05d9\u05dd \/ \u0627\u0644\u0645\u0632\u064a\u062f \u0645\u0646 \u0627\u0644\u062a\u0641\u0627\u0635\u064a\u0644 \/ more details<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Ruth Schloss: Anyway<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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As witnesses to a mission of mercy, Ruth Schloss\u2019 works cry out against the \u201canti-indifference\u201d of\u00a0the ego toward the other, toward the human. The artist who, in her paintings and drawings,\u00a0commemorated the impressions of her uncompromising testimony, characterized her art\u2014and art\u00a0generally\u2014as a personal response, conscious or unconscious, to the artist\u2019s contact with the time,\u00a0the environment, and the society in which she lives and works. The Anyway exhibition presents,\u00a0and gives presence to, three segments of Schloss\u2019 work:<\/p>

Nabiha: a shared language<\/b>
Turning her attention to the individual in her works, Schloss substantiated the life-story of Nabiha,\u00a0a hardscrabble Christian Arab woman who remained alone after her family migrated to\u00a0neighboring Arab countries in the aftermath of the 1948 war. Although Schloss\u2019 visual\u00a0documentation of Nabiha is personal, it is not dissociated from her way of viewing the collective\u00a0narrative. Her piercing, level gaze always turns toward the pitfalls of daily life and human\u00a0existence.<\/p>

Face to face
<\/b>In many of her paintings, Schloss preserved the creases and traces of her characters\u2019 faces.
Gazing straight ahead or with eyes diverted, they appear sunken into themselves or converging\u00a0with their foreground. The facial traces in the portraits on display at the exhibition upset the\u00a0serenity of those who observe them, demanding their awareness, responsibility, or non-indifference.<\/p>

Transparent observation points
<\/b>Schloss\u2019 Israel war paintings from 1949 onward are based on documentary photography of the\u00a0calamities of war that resolved into seized lands, demolished structures, people living in destroyed\u00a0houses, terror in women\u2019s and children\u2019s eyes, refugee convoys, an abandoned battlefield, and\u00a0remnants of corpses. In her works, Schloss commemorated all of these as remnants of the\u00a0destruction and devastation that spread among both the victors and the vanquished. Influenced by\u00a0her contemplation of the photographs, Schloss painted her view of war through the windows of the\u00a0<\/span>battle, thus drawing the observer\u2019s gaze to the remnants of the destruction and faraway victims.<\/span><\/p>

Schloss took responsibility, trustfully and unreservedly, for the deep and stinging appearance of\u00a0her works, which turn the viewer\u2019s gaze toward the so-present other\u2014who is totally foreign to the\u00a0viewer\u2014in their bleakest hours. Her works explicate the connection to the individual\u2019s outcry and\u00a0leave searing signs of the intersubjective relationship between the non-other and the other,\u00a0seemingly separate but interdependent.<\/p>

Curator: Nava T. Barazani<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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