The Swedish government, in its usual common-sense approach to the world, has sponsored an exhibition called "Making Differences" which explores genocide, among other things that set us apart on this planet. One of the entries, that of an Israeli-born named Dror Feiler, is Snow White and the Madness of Truth, "a boat carrying a photograph of female suicide bomber Hanadi Jaradat, floating in a pool of red liquid," highlighted by a Bach cantata playing in the background. It seems that the Israeli ambassador to Sweden took great offense to this installation and, in a fit of rage, attacked and destroyed part of the exhibit before he was escorted out of the gallery. The ambassador is now being held answerable to Sweden's Foreign Affairs department while the artist remains unrepentant of his work. For a full report of the incident and aftereffects, please click here.
This defacement has been condoned by the Israeli government, with its rationale being one of self-defense against anti-Semitism. In fact, many wrote the BBC praising and decrying the actions of the Israeli ambassador. One lot chided Israel for not being able to handle the truth, while the other argued that the Bomber art exhibit is in bad taste. How would it be accepted if it were Osama Bin Laden's visage up there and not that of a female Palestinian suicide bomber? A third viewpoint expressed the entire situation as "poor taste confront[ing] poor taste."
Why the classification Bomber art? It's just art. Do certain motifs consitute the actions themselves? Furthermore, so what if it had been Osama Bin Laden up there? Understanding comes from being brave enough to explore one's own anxieties, even the better through art and literature. Just because one doesn't want to see something doesn't mean it goes away. Bin Laden as well as the suicide bombers do happen to be symbols of our times, and their widespread beliefs beg scrutiny of the non-belligerent variety. Living under the shadow of that which causes fear, and ignoring it through dismissal and censorship, only increases its importance and renders it all the more fearful.
If the ambassador had seen the installation through his fellow Israeli's eyes - that a Palestinian and several Jewish people had to die at all over the Israeli-Arab conflict, that a beautiful and educated woman felt compelled to give up her life for such a desolate cause, that the work portrays the overall pathos of such senselessness and the history it stems from - he wouldn't have reacted in such a way. Unfortunately, his self-righteous indignation got in the way of his humanity. As long as this disposition prospers and is encouraged by both sides of a battle, peace is unattainable.
The art is Anti-Semitism? What about Anti-Arabism? Too long has the Israeli government ridden on the coattails of historic oppression to foster its own pogrom against the Palestinians. Not all Israelis are out to exterminate those that come in the way of their national sovereignty, a prime example being the artist Feiler himself who stands against all human outrage. That message is not worth losing over a collective feeling of false moral rectitude.
Ironically enough, the incident puts a new shade on the concept of interactive art. The exhibit achieved the dialogue it sought, even if it was not in the introspective and anti-media-frenzy manner in which it was originally intended. Here's hoping the sensation surrounding Snow White does not prove to be Freiler's cause of death, nor his kiss of death.
Posted by maitri at January 19, 2004 02:34 PM