The law is not patriarchal because it denies the existence, even the power, of women…The law is patriarchal because it denies the bodies, sexualities of women. In patriarchy, there is no menstrual blood. –Kathy Acker
Katherina Olschbaur -Dirty Elements 11. January –14. March 2020
The University Art Gallery is pleased to present a series of new paintings by Austrian-born, Los Angeles based artist Katherina Olschbaur in Dirty Elements, her first solo institutional exhibition in the U.S.
Olschbaur provides a female perspective to a history of canonized male painters, whose work simultaneously inspires her. Although traces of matriarchal order in Western thought typically appear as a mythological apparition, Olschbaur paints a narrative that subverts our expectations under the normative language of patriarchy. For Olschbaur, art historical tropes are appropriated and used like garments, worn then cast aside in a process that is ever changing and moving within each work. In this way, Dirty Elements investigates the power dynamics of patriarchal order and its violent denial of female sexuality. Referencing a wide spectrum of thought, Olschbaur’s practice takes root in mythology, religious and historical paintings, the subcultures of S/M, and film. Embracing Georges Bataille’s concept of the formless, the paintings explore the dirty elements of our carnal horizontality. In so doing, they feature provocative and erotically charged scenes that are at times humorous and disturbing.
Olschbaur’s practice involves a process of fervently sketching out these scenes before painting them. Working in a wet-on-wet process, she paints on a malleable surface that is in a constant state of disruption, where scenes formulate out of an amalgam of autobiographical, historical and imaginary narratives. In this layered process, her paintings elicit the expressive freedom to create order that only leads to disorder. By creating angular compositions, tension builds within the narratives by disallowing any singular perspective. This dense and meditative space is reflected by focusing on representations of the body as a site of repressed desire. Placing gender constructs into question, figures are seen bound, trampled or falling into animated plasticity. The backdrops are dark and ominous landscapes formed through a mirage of artificial colors, while the foregrounds are pregnant with smooth glossy bodies that sometimes transpose into animals. Without relying on meaning alone, the works contemplate a space between seduction and malaise, moving beyond the silent surface of the canvas.
Katherina Olschbaur b.1983, Austria lives and works in Los Angeles has been the subject of solo exhibitions at Gnyp Gallery, Berlin (2019), Nicodim Gallery, Los Angeles (2018), OOF Books, Los Angeles (2018), PØST, Los Angeles (2018), Galerie Werkstadt Graz (2016), Museum Spoerri, Austria (2011), MUSA Vienna (2011). Recent group exhibitions include Paul Kasmin Gallery, New York, Nicodim Gallery, Los Angeles and Bucharest, Christine König Galerie Vienna, PG Art Gallery, Istanbul, Museum Gironcoli, Austria, Salzburger Kunstverein, Kunsthalle Krems, and at Symbiosis – XI Biennale de la Mediterranée, Thessaloniki. Awards and residencies include IBK Painting Prize (2018), Red Gate Residency, Beijing (2017), Theodor Körner Prize (2009).
One of the most comprehensive presentations in Switzerland to date of the New York-based artist Marlene McCarty (b.1957 in Lexington/KY, USA/CH), who studied in Basel from the late 1970s to the early 1980s. She was an early member of the AIDS activist collective Gran Fury, which gained international recognition through their appearance at the 1990 Venice Biennale and other interventions. The exhibition has been created in collaboration with Merian Gardens, an institution belonging to the Christoph Merian Foundation.
A major retrospective exhibition of the video and sound works of Basel-based artist Christoph Oertli (b. 1962 in Winterthur), whose work reflects the connection between everyday life and existential questions in particular and focuses on people and their living environments. The exhibition is accompanied by a publication from the Binding Sélection d’Artistes.
The first institutional solo exhibition of the Vienna-based artist Stefan Karrer (b. 1981 in Basel), who explores internet platforms and digital material to examine the relationship between people and technology. The exhibition is accompanied by a sound performance as well as an artist book from Mark Pezinger Books. Solo Position is a competition format launched by kulturelles.bl.
Kunsthaus Baselland Lena Eriksson Annual Kunsthaus Baselland Exterior Project 2020 13 March – 31 December 2020 Opening and special event: Thursday 12 March, 6.30 pm
Lena Eriksson (b. 1971 in Visp, lives in Basel) finds her subjects in everyday life, which she deftly observes in her own unique way. She cultivates the art of friendly exchange and hospitality. Her main mediums are drawing, video, and performance. She led the art space Lodypop in Basel from 2004 to 2009 and has been working as a lecturer at the Lucerne University of Applied Sciences and Arts since 2014.
Andrea Blum 8 May – 5 July 2020 Opening: Thursday 7 May, 6.30 pm
Andrea Blum (b. 1950 in New York) is a New York based artist whose work addresses the relationship of the social/political world to the private psychological one. Her approach is to zoom in and out of the conditions which organize us as a culture, thereby hoping to affect us as individuals. She has designed projects in Europe and the United States that include urban space, parks, libraries, domestic space and furniture. This is her first solo show in Switzerland.
Marina Rosenfeld 8 May – 5 July 2020 Opening: Thursday 7 May, 6.30 pm
The first major solo exhibition in Switzerland of the composer, sound artist, and visual artist Marina Rosenfeld (b. 1968, USA), who lives and works in New York. Rosenfeld’s works intervene in sites through the media of sculpture, sound, and drawing/notation. Her materials include the liminal registers of ambient noise, the voice and its reflections, and networks of amplification and distortion.
Thu Van Tran 8 May – 5 July 2020 Opening: Thursday 7 May, 6.30 pm
This is also the first major solo exhibition in Switzerland of the artist Thu Van Tran (b. 1979, FR/Vietnam), who comes from Vietnam and lives in Paris. She is known for her precise and yet extremely poetic works that interweave questions of postcolonialism with those surrounding our ability to remember the histories of countries, materials, rituals, heritages, and so on.
Bachelor and Master, Institut Kunst der HGK FHNW Degree Show 24 — 30 August 2020 Opening: Sunday 23 August, 2 pm
Once again—and now for the fifth time—the Art Institute of the College of Art and Design FHNW is a welcome guest at Kunsthaus Baselland. A young generation of aspiring artists will be given an important platform here to present their graduation works to the public in a professional setting.
Afterglow 18 September – 15 November 2020 Opening: Thursday 17 September, 6.30 pm
With artists from Switzerland and abroad, the focus of the group exhibition is on expansive video installations that have used the medium in an innovative way from the 1970s onward and continue to have a high impact or resonance to this day. By video installations we mean works that significantly integrate the physical space as well as elements from the video narrative, and which are also able to physically involve visitors. The exhibition is curated by Ines Goldbach and Käthe Walser.
Regionale 21 29 November 2019 – 10 January 2020 Opening: Saturday 28 November
What began many years ago as a Christmas exhibition has now become one of the largest cross-border projects in the Basel, South Baden, and Alsace region. Eighteen institutions from the trinational area select regional artists from around 800 portfolios to present their artistic work.
ZKM & STAATSTHEATER KARLSRUHE TURANDOT Opera in three acts | Oper in drei Akten Music by Giacomo Puccini Libretto von Giuseppe Adami & Renato Simoni nach Carlo Gozzis Turandot In italienischer Sprache mit deutschen & englischen Übertiteln PREMIERE: Saturday, 25.January 2020 | 7 pm Samstag, 25. Januar 2020 | 19 Uhr Duration: Dauer: ca. 2h 45, 1 Pause AES+F, 2019 TURANDOT Opera set design & costumes HD video installation (1, 3, and multi-channel versions) Scene, video and costume designs AES+F anschließend Premierenfeier OPERN- & MEDIENKUNST-SYMPOSIUM Samstag, 25.01.2020 | 18:30 Einführung: 19 – ca. 21:45 H Hermann-Levi-Platz 1 76137 Karlsruhe, Germany https://aesf.art/projects/princess-t/ http://www.staatstheater.karlsruhe.de/programm/info/3117/
MUSIKALISCHE LEITUNG Johannes Willig REGIE Fabio Cherstich VIDEO & AUSSTATTUNG AES+F CHOR Ulrich Wagner DRAMATURGIE Boris Kehrmann THEATERPÄDAGOGIK Anna Müller BADISCHE STAATSKAPELLE & BADISCHER STAATSOPERNCHOR & EXTRACHOR Kooperation mit dem Teatro Massimo Palermo & Teatro Comunale Di Bologna In Zusammenarbeit mit dem Lakhta Center St. Petersburg. https://www.staatstheater.karlsruhe.de/programm/info/3040/
Turandot ist die letzte Oper von Giacomo Puccini. Das Libretto schrieben Giuseppe Adami und Renato Simoni nach dem gleichnamigen Theaterstück von Carlo Gozzi. Die Oper wurde erst nach Puccinis Tod von Franco Alfano nach den Skizzen und Aufzeichnungen Puccinis vollendet.
Zwei Machtmenschen liefern sich einen Geschlechterkampf von welthistorischem Format. Die kleinen Leute werden zwischen den Giganten zermahlen. Erinnerte sich der Frauenheld Puccini an Affären aus seinem Privatleben, als er seine letzte, härteste und modernste Oper aus einer heiteren Commedia dell’arte entwickelte? Seine Frau hatte 15 Jahre früher sein platonisch geliebtes Dienstmädchen in den Selbstmord getrieben. Schreckte der Komponist deswegen vor dem finalen Liebesduett der Monster Turandot und Kalaf zurück?
Das STAATSTHEATER KARLSRUHE bringt das Stück um Verführung und Macht zusammen mit vier internationalen Institutionen auf die Bühne. Das Konzept erarbeitet und realisiert der Mailänder Opern und Schauspielregisseur Fabio Cherstich gemeinsam mit der vierköpfigen Moskauer Künstlergruppe AES+F, die mit Turandot ihre erste Oper ausstattet. Das Kollektiv gehört zu den wichtigsten Stimmen der internationalen Gegenwartskunst. Die herausfordernde Perfektion seiner Videoarbeiten erregt auf Biennalen rund um den Globus Staunen und Debatten. Mit diesem Werk aus dem Kernrepertoire setzt das STAATSTHEATER seine Reihe Oper und Medienkunst fort. Fabio Cherstich gibt damit sein Karlsruher Regiedebüt.
19 – 21.30 Digital Freischütz VR-Oper in vier Episoden à 15 Minuten, STAATSTHEATER
SAMSTAG 25.1.2020 | 9.30 Kaffee & Anmeldung 10.00 Begrüßung & Input Dr. Frank Mentrup Oberbürgermeister Dr. Susanne Asche Leiterin Kulturamt Nicole Braunger Operndirektorin STAATSTHEATER Peter Weibel CEO ZKM
10.45 Key Note Kay Voges Intendant Schauspiel Dortmund
11.30 – 13 Panel I Cities of Media Arts – Oper & Medienkunst in Deutschland AES+F Medienkunstkollektiv Manuel Braun Regisseur & Videokünstler Fabio Cherstich Regisseur Carl Hegemann Autor & Dramaturg Stephan Mösch Publizist, Musik- & Theaterwissenschaftler Yuval Sharon Regisseur Kay Voges Intendant Schauspiel Dortmund
13 – 14 WORKING LUNCH im ZKM
14 – 15.30 Panel II in English Far Beyond – Internationale Perspektiven zu Oper & Medienkunst
14 – 14.45 Best Practice International Präsentation der Teilnehmenden
14.45 – 15.30 Panel Talk Cyberräuber VR-Experten, Berlin Vertreter Ars Electronica Linz Lilli Paasikivi Intendantin Finnische Nationaloper, Helsinki Olga Soloveva Direktorin Digital Opera 2.0, St. Petersburg Vertreter Theatre in the Digital Age, European Theatre Convention (ETC)
15.30 – 16 Kaffeepause
16 – 17.30 Panel III Kunst der Klänge – transmediale Ansätze im Zusammenspiel zwischen Komposition, Aufführung und Rezeption im Musiktheater des 21. Jahrhunderts
16 – 16.30 Listen to the music Präsentation der Teilnehmenden & des Projekts De-Linking Sounds
16.30 – 17.30 Panel Talk Georg Haidu Komponist Anno Mungen Musikwissenschaftler Matteo Pasquinelli Professor für Medienphilosophie HFG Marlon Schumacher Komponist Marc Sinan Komponist
17.30 Shuttle ZKM – STAATSTHEATER
18 H WORKING DINNER MITTLERES FOYER STAATSTHEATER
18.30 Einführung Turandot
19 H Premiere Turandot GROSSES HAUS STAATSTHEATER
SYMPOSIUM OPER & MEDIENKUNSTZKM & Staatstheater
Am 25. Januar dreht sich alles um die Zukunft der Oper: Digitale Technologien umgeben uns tagtäglich. Sie eröffnen auch in der der Oper unzählige Möglichkeiten, dem Publikum ungewöhnliche Erlebnisse zu ermöglichen und diese Kunstform auf neue Weise näher zu bringen. Dadurch werden auch Menschen begeistert, die womöglich noch nie in einer Opernaufführung waren. Um einen Einblick in die Entwicklungen von Digitalität und Medien im Musiktheater zu gewinnen und der Frage nachzugehen, wie Oper im Jahr 2070 aussehen könnte, lädt das STAATSTHEATER zusammen mit dem Karlsruher ZKM Medienkünstler und Theatermacher zum SYMPOSIUM der Reihe OPER- UND MEDIENKUNST ein. Einen Tag lang diskutieren internationale Künstler*innen und Theaterschaffende im Medientheater des ZKM über die Verbindung von Oper und Medienkunst, über die Herausforderungen und Chancen der Digitalisierung für die Künste und eigenen Arbeitsweisen. Nach der Eröffnung durch einen Beitrag des renommierten Regisseurs und Intendanten Kay Voges werden in drei Panels Theorien und Praxisbeispiele aus unterschiedlichen nationalen und internationalen Perspektiven präsentiert und zukünftige Projekte vorgestellt.
Das SYMPOSIUM mündet in der Premiere der Oper Turandot. Das STAATSTHEATER KARLSRUHE bringt das Stück um Verführung und Macht zusammen mit vier internationalen Institutionen auf die Bühne. Das Konzept erarbeitet und realisiert der Mailänder Opern und Schauspielregisseur Fabio Cherstich gemeinsam mit der vierköpfigen Moskauer Künstlergruppe AES+F, die mit Turandot ihre erste Oper ausstattet. Das Kollektiv gehört zu den wichtigsten Stimmen der internationalen Gegenwartskunst. Die herausfordernde Perfektion seiner Videoarbeiten erregt auf Biennalen rund um den Globus Staunen und Debatten. Turandot stellt einen weiteren Beitrag in unserer Reihe OPER UND MEDIENKUNST dar und ist eine internationale Kooperation mit den Opernhäusern in Palermo und Bologna: Zwei Machtmenschen liefern sich einen Geschlechterkampf von welthistorischem Format. Die kleinen Leute werden zwischen den Giganten zermahlen. Erinnerte sich der Frauenheld Puccini an Affären aus seinem Privatleben, als er seine letzte, härteste und modernste Oper aus einer heiteren Commedia dell’arte entwickelte? Seine Frau hatte 15 Jahre früher sein platonisch geliebtes Dienstmädchen in den Selbstmord getrieben. Schreckte der Komponist deswegen vor dem finalen Liebesduett der Monster Turandot und Kalaf zurück?
OPERN- & MEDIENKUNST-SYMPOSIUM FRIDAY 24.1. 17.00 – 18.00 Guided exhibition tour ZKM 19.00 – 21.30 Digital Freischütz VR-Opera in four episodes, 15 minutes each, STAATSTHEATER
SATURDAY 25.1. at ZKM 9.30 Coffee & Registration 10.00 Opening ceremony Dr. Frank Mentrup Mayor Dr. Susanne Asche Head of the Kulturamt Nicole Braunger Opera director STAATSTHEATER Peter Weibel CEO ZKM
10.45 Key Note Kay Voges, Intendant Schauspiel Dortmund 11.30 – 13.00 Panel I Cities of Media Arts – Opera & Media Arts in Germany AES+F Media arts collective Manuel Braun Director & Video artist Fabio Cherstich Director Carl Hegemann Author & dramatic advisor Stephan Mösch Publicist, Music & theatre scholar Yuval Sharon Director Kay Voges Intendant Schauspiel Dortmund
13.00 – 14.00 WORKING LUNCH at ZKM 14.00 – 15.30 Panel II in English Far Beyond – International Perspectives on opera & media arts 14.00 – 14.45 Best Practice International Presentation of attendants
14.45 – 15.30 Panel Talk Cyberräuber VR experts, Berlin Representatives Ars Electronica Linz Lilli Paasikivi Intendant Finnische Nationaloper, Helsinki Olga Soloveva Director Digital Opera 2.0, St. Petersburg Representatives Theatre in the Digital Age, European Theatre Convention (ETC)
15.30 – 16.00 Coffee break 16.00 – 17.30 Panel III Art of sound – transmedial approaches in the interaction between composition, performance, and reception in the musical theatre of the 21st century
16.00 – 16.30 Listen to the music Presentation of attendants & of the project De-Linking Sounds 16.30 – 17.30 Panel Talk Georg Haidu Composer Anno Mungen Music scholar Matteo Pasquinelli Professor for media philosophy HFG Marlon Schumacher Composer Marc Sinan Composer 17.30 Shuttle ZKM – STAATSTHEATER 18.00 WORKING DINNER MITTLERES FOYER STAATSTHEATER 18.30 Introduction Turandot
GROSSES HAUS STAATSTHEATER 19.00 Premiere TURANDOT
FRAMEWORK PROGRAMME Project presentation AES+F im PanoramaLabor ZKM, Digital Freischütz & VIVISCIMcollectif bjorn | Tours of the ZKM
Digital technologies are ubiquitous. Applied to opera they open up countless possibilities to offer unusual experiences and to make this art form accessible to the audience in a new way. This allows for the spark of enthusiasm to also reach those people who have never seen an opera performance before. The STAATSTHEATER together with the ZKM Karlsruhe invites media artists and theatre producers to attend this symposium in the Opera and Media Arts series. Attendants will gain an insight into the development of the digital and media in musical theatre and investigate the question of what opera could look like in the year 2070. The symposium culminates in the premiere of the opera Turandot, which is staged by the Italian director Fabio Cherstich in collaboration with the Russian video arts collective AES&F and produced as a cooperation with the opera houses in Palermo and Bologna. Registration firstname.lastname@example.org Free admission
/////// / |< ||| | ZKM | Zentrum für Kunst und Medien Karlsruhe /////// / |< ||| | ZKM | Center for Art and Media Karlsruhe /////// / |< ||| | ZKM | Centre d’art et des médias Karlsruhe Lorenzstr. 19, D-76135 Karlsruhe https://zkm.de/de
RAHMENPROGRAMM Projektpräsentationen AES+F im PanoramaLabor ZKM, Digital Freischütz & VIVISCIM collectif bjorn | Führungen durch ZKM
Sike Albrecht geboren 1986 in Soest lebt und arbeitet in Düsseldorf
2010 – 2015 Studium der Freien Kunst an der Kunstakademie Düsseldorf, Meisterschülerin bei Prof. Andreas Gursky 2006 – 2010 Studium der Freien Kunst an der Kunstakademie Münster, bei Prof. Michael van Ofen
Volo Bevza Metamorphose Series 2018-2019 “My works refer to the omnipresence of the internet as well as the global invasion of what is called “augmented reality” into daily life, natural environments, and into the way we look at paintings. My suggestion is defamiliarization – to render familiar things strangely – to question the illusionistic realm of painting as much as the one of the computer desktop. The series Digital Water is referring to typical computer desktop interfaces and encompasses the alchemical search for visual keys to a casual “user experience“. Metamorphose shows computer generated shapes and refers to Ovid as well as states of change.”
Kamilia Bischof geboren 1986 in Graz, Österreich lebt und arbeitet in Berlin und Wien
Olga Jakob *1985 in Kiew lives and works in Cologne
2014 – 2015 Masterclass, Prof. Helmut Dorner 2009 – 2015 Academy of Fine Arts Karlsruhe 2012 School of Art Berlin Weissensee 2005 – 2009 University of Cologne
Markus Saile born in Stuttgart lives and works in Cologne
Erik Swars 1988 born/grew up in Zwenkau/Leipzig
2005-2006 Academy of HGB Jochen Plogsties 2010-2011 Academy of LSOD Christian Weihrauch 2011 – 2016 Burg Giebichenstein University of Art Halle (Saale) Prof. Triebsch 2013-2014 Geidai Tokyo National University of Fine Arts 2015 JASSO scholarship Geidai Tokyo National University of Fine Arts 2016 Diploma Jochen Plogsties – Peter Möller
TAMA -Tel Aviv Museum of Art Tigist Yosef-Ron, winner of the 2019 Haim Shiff Prize for Figurative-Realist Art Exhibition 2020 Doron Rabina, TAMA Chief Curator 27 Shaul Hamelech Blvd Tel Aviv, Zip code: 61332012 ISRAEL http://www.tamuseum.org.il/default.aspx
Tel Aviv Museum of Art marks the Jewish new year
By hanging three works by artist Tigist Yosef-Ron, depicting three Ethiopian-born Israelis: Yehuda Biadga z”l, Yosef Salamsa z”l and Avera Mengistu
Three tragic cases that attest to the relationship of the Ethiopian community with the Israeli public. The three drawings, on loan from the artist, were hung between the two Israeli art permanent display galleries at the Herta and Paul Amir Building. The hanging of these works joins the social and civil issues that the Museum has recently placed on its agenda, in changing exhibitions as well as in its permanent displays -among them censorship and freedom of speech (“Forbidden Music”), civic duty and climate change (“Solar Guerilla”) and women’s status in Arab society (“Samah Shihadi: Spellbound”).
Tigist Yosef-Ron: “Yehuda and Yosef were young Israelis killed by police violence, and Avera Mengistu is a young Israeli who is being held by Hamas for over five years. The series was created from a deep sense of frustration that these sad cases and the families’ pain do not move the Israeli public to action. It bothers and hurts me that the cry remains within the Ethiopian community. Against this background, TAMA’s approach to present these works and to treat the issue gravely serves as a source of consolation and hope.”
Doron Rabina, TAMA Chief Curator: “TAMA presents the best modern and contemporary art, but is also well grounded in the here and now, and emphasizes containing and dealing with issues that are troubling and ought to be placed on Israeli society’s agenda. A museum formulates a social and ethical stance, in addition to a cultural one. It is of great importance to us that our hundreds of thousands of visitors throughout the year, among them tens of thousands of children and pupils, are exposed to a credible and thought-provoking mirror of the reality in which we live.” A solo exhibition by Tigist Yosef-Ron, winner of the 2019 Haim Shiff Prizefor Figurative-Realist Art, will open at TAMA later in 2020.
JERUSALEM — The chief prosecutor of the International Criminal Court said on Friday that she had found a basis for investigating possible war crimes by Israel in the occupied Palestinian territories. But she is first asking the court to confirm that it has jurisdiction there, which Israel insists it does not.
Israeli Patriots and Justice Seekers Should Look to the Hague With Hope
Gideon Levy Dec 22, 2019 12:20 AM Now it’s a double header. In a combination of events, not entirely coincidental, Israel and its prime minister are both accused of crimes, and both are trying to evade justice in the same way: by hobbling the justice system in each case. The suspicions regarding the state’s crimes are much more serious than those of its prime minister, and therefore the state’s evasion of justice is much more nefarious. The Israelis, almost all of them, think differently, of course. For them, the greater corruption is that of the prime minister; in their consciousness, that of the state doesn’t exist. No one told them about the crimes that are committed every day. They have only been told that their army is the most moral in the world and they have swallowed this, hook, line and sinker. In Israel anyone who dares call a crime a crime is an anti-Semite. Now the chief prosecutor of the International Criminal Court in The Hague, Fatou Bensouda, says there is reason to believe that Israel has committed war crimes. Perhaps anti-Semitism has spread to her home country of Gambia as well. But Chief Prosecutor Bensouda is cautious in her statements; she is too cautious.
This is the day we’ve been waiting for. All seekers of justice have been waiting for it. Anyone who believes that crimes have been committed hopes for the day when the perpetrators will be brought to justice, whether they be murderers, rapists, robbers or army commanders, ministers or settlers responsible for war crimes. The likelihood of Israel investigating itself is not slim; it’s nonexistent. And so we look to The Hague, to the place where war criminals are judged when their countries would not dream of prosecuting them. Israel is a clear example of such a country. Does anyone seriously think that war crimes were not committed during the 2014 war in the Gaza Strip? Not even on Black Friday in Rafah? That the transfer of hundreds of thousands of civilians to occupied territories and the forced takeover of land there, including privately-owned land, is not a bold-faced and callous infraction of international law? Is there any fair legal official who sees hundreds of unarmed demonstrators killed near the fence that imprisons Gaza, a war crime in itself, and does not want to see those responsible punished?
This is a great day because it is not only a question of past crimes, but crimes that are happening every day, to this very day. They are going on while these lines are being written and while you are reading them. There is not one moment without a crime. The only way to stop them is by criminalizing those responsible. Israel will never do this itself, only The Hague. When ministers and officers fear leaving the country, the Air Force will think twice before bombarding tin shacks in Gaza and massacring their inhabitants.
The road is still long and the terror Israel casts on the international community is still great. But one achievement has already been chalked up: Israel did not deny the crimes, but rather the authority of the court to judge them. This misstep of Israeli propaganda will be corrected, but the claim that The Hague does not have the authority to deal with what is happening in the areas Israel occupies raises a powerful question: So who does? The Military Advocate General? The High Court of Justice? Surely you jest. “A black day for truth and justice,” said Prime Minister Benjamin Netanyahu, on a day that is incomparably glorious in its promise of truth and justice. “Capitulation to the false and defamatory propaganda of Palestinian terror,” Kahol Lavan lawmaker Yair Lapid pontificated, once again proving that on the important issues, there really is no difference between him and Netanyahu.
Israel has done everything to reach The Hague. That’s what happens when the prosecution is a cemetery for war crimes, the High Court whitewashes them and the media hides them and covers for them. That’s the way it is when international law is disparaged for decades. There’s probably no other country that thumbs its nose at international law this way and pays no price for it. Perhaps now the moment of truth is approaching, the moment of penalty. It will be very good for Israel. It might clean out its stables, stained with blood and stolen land. Every Israeli patriot and seeker of justice should now look to The Hague with hope.
By: Zvi Barel [Haaretz] [Photo by Emil Salman] 25.12.19 First Netanyahu was beeping on the court, now he was begging on the Hague. The Israeli Prime Minister’s defense speech against the ICC’s accusations is ready. Here is the first paragraph: “This is a very difficult day, and I know it is very difficult for a lot of people who support and love the State of Israel. And I want to tell you a few things from heart to heart. I think it should be blind to not see that something is wrong with the ICC investigators. Because tonight, we are witnessing an attempt by a government coup against the State of Israel, with false allegations and a process of filthy and deceitful investigations. “
Selling, isn’t it? In a brief act of copy-pasting, with minor corrections, from Benjamin Netanyahu’s hysterical speech on the evening of the attorney general’s announcement of his decision to prosecute. The same spirit, the same bitterness, and especially the same contemptuous assertion of selective enforcement. Why not investigate Syria and Iraq, China, Iran and Hamas, whining about the accused’s professional spokesmen, sorry, suspected, because this is only a “probe” and not an investigation under warning. Selective international enforcement is a miserable and dangerous claim. Unhappy, because it is similar to the claim of a captured driver while other drivers are quickly passing the policeman. Dangerous, because Israel puts itself in line with the worst in the world, and demands the same treatment. There can be no more compelling encouragement for the investigation than the Israeli demand to investigate the collegiate countries who committed the same crimes. Like her as an admission of guilt. Does Israel really want to be treated as it is in China, Iran or Syria, and perhaps it feels a lot of fate with Russia, which conquered the Crimea? Russia is subject to sanctions for that occupation; Iran is being punished not only because of the nuclear program but also because of the human rights violation, and as for China – the US House of Representatives this month received a bill calling for sanctions on it for the ongoing violation of the Uighur minority. So maybe Israel wants to enjoy its “discriminatory for good” treatment of Turkey, which is not investigated by the International Criminal Court for killing Kurdish civilians in its territory? Not really. The U.S. Congress on both houses recently recognized the Armenian murder of 1915 as a genocide, and President Donald Trump last year imposed sanctions on Turkey for the arrest of an American priest. The punishment of these countries did not require the tedious procedure of the International Criminal Court. If there is international selective enforcement, it is precisely Israel that enjoys it.
China has something to learn from us For that matter, from Israel’s point of view, even if the International Court of Justice had decided to investigate those countries, and even do them, it would not matter. Because Israel does not at all recognize the offenses attributed to it, first of all, the establishment of settlements in occupied territory. Or as Netanyahu made clear: “The tribunal comes and tells us that we have no right to live here, and if we live here, we commit a war crime.” In other words, Israel is on its way to another long beep on evil international institutions, who only want to be harassed.
This is, of course, a false claim. The Tribunal does not deny Israel’s right to live “here” in the State of Israel, whose borders the international community recognized, the one that established the Criminal Court. Nor does it deny the right of settlers to reside in the West Bank or on the moon in the future, if Israel and the Palestinians agree to it. But right now, under international law, it’s an offense. No anti-Semitism against Zionism, no discrimination, and no revenge.