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When Adar Enters
Cataloger
catalog number
Montevideo 685 /The Archive 669/ 706 Bartana, Yael/ 179 Bartana, Yael
Medium
Length
7'00''
Video Type
Year
2003
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Expolitation
jerusalem
Judaism
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Surveillance
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Young and old in carnival attire, dressed as animals, characters from literature or history, soldiers, and policemen. Girls and young women are preening in bridal gowns: Queen Esther on the eve of her wedding, celebrating the victory of her people. In When Adar Enters, Bartana raises questions concerning the place of rituals and ceremonies common to Israeli society. She has chosen to film Purim because it is the only holiday during which, in contrast to all other days of the year, religious Jews permit themselves to cast off the bonds of “prohibited and permitted” behaviour. They celebrate the rescue of the Jews in the Kingdom of Ahashveros in Persia from Haman’s plot to exterminate them. It is considered a blessing to devote the Purim holiday to a feast with drinking, merriment, the exchange of delicacies among friends and giving gifts to the poor. 

Throughout the film, we are witness to stolen glances directed back towards the camera and hidden faces that create a sense of threat and approaching catastrophe. Despite the costumes and the carnival atmosphere, the exceptional presence of a camera in the religious quarter and the sense of strangeness and suspicion evoked by its very presence, reveal the fear that outsiders are taking advantage of the image of ultra-orthodox Jews by entering their world – the fear that the camera will not convey the codes of that world but only its masks.


Also found on the Netherlands Media Art Institute sample compilation, ”Single Channel Works, Installations, 2003 – II”

Young and old in carnival attire, dressed as animals, characters from literature or history, soldiers, and policemen. Girls and young women are preening in bridal gowns: Queen Esther on the eve of her wedding, celebrating the victory of her people. In When Adar Enters, Bartana raises questions concerning the place of rituals and ceremonies common to Israeli society. She has chosen to film Purim because it is the only holiday during which, in contrast to all other days of the year, religious Jews permit themselves to cast off the bonds of “prohibited and permitted” behaviour. They celebrate the rescue of the Jews in the Kingdom of Ahashveros in Persia from Haman’s plot to exterminate them. It is considered a blessing to devote the Purim holiday to a feast with drinking, merriment, the exchange of delicacies among friends and giving gifts to the poor. 

Throughout the film, we are witness to stolen glances directed back towards the camera and hidden faces that create a sense of threat and approaching catastrophe. Despite the costumes and the carnival atmosphere, the exceptional presence of a camera in the religious quarter and the sense of strangeness and suspicion evoked by its very presence, reveal the fear that outsiders are taking advantage of the image of ultra-orthodox Jews by entering their world – the fear that the camera will not convey the codes of that world but only its masks.

Also found on the Netherlands Media Art Institute sample compilation, ”Single Channel Works, Installations, 2003 – II”

Catalogue No. 669
File: The Archive

Catalogue No. 685
File: Montevideo

Catalogue No. 706
File: Bartana, Yael

Catalogue No. 179
File: Bartana, Yael

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 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
 

When Adar Enters

Young and old in carnival attire, dressed as animals, characters from literature or history, soldiers, and policemen. Girls and young women are preening in bridal gowns: Queen Esther on the eve of her wedding, celebrating the victory of her people. In When Adar Enters, Bartana raises questions concerning the place of rituals and ceremonies common to Israeli society. She has chosen to film Purim because it is the only holiday during which, in contrast to all other days of the year, religious Jews permit themselves to cast off the bonds of “prohibited and permitted” behaviour. They celebrate the rescue of the Jews in the Kingdom of Ahashveros in Persia from Haman’s plot to exterminate them. It is considered a blessing to devote the Purim holiday to a feast with drinking, merriment, the exchange of delicacies among friends and giving gifts to the poor. 

Throughout the film, we are witness to stolen glances directed back towards the camera and hidden faces that create a sense of threat and approaching catastrophe. Despite the costumes and the carnival atmosphere, the exceptional presence of a camera in the religious quarter and the sense of strangeness and suspicion evoked by its very presence, reveal the fear that outsiders are taking advantage of the image of ultra-orthodox Jews by entering their world – the fear that the camera will not convey the codes of that world but only its masks.


Also found on the Netherlands Media Art Institute sample compilation, ”Single Channel Works, Installations, 2003 – II”

Young and old in carnival attire, dressed as animals, characters from literature or history, soldiers, and policemen. Girls and young women are preening in bridal gowns: Queen Esther on the eve of her wedding, celebrating the victory of her people. In When Adar Enters, Bartana raises questions concerning the place of rituals and ceremonies common to Israeli society. She has chosen to film Purim because it is the only holiday during which, in contrast to all other days of the year, religious Jews permit themselves to cast off the bonds of “prohibited and permitted” behaviour. They celebrate the rescue of the Jews in the Kingdom of Ahashveros in Persia from Haman’s plot to exterminate them. It is considered a blessing to devote the Purim holiday to a feast with drinking, merriment, the exchange of delicacies among friends and giving gifts to the poor. 

Throughout the film, we are witness to stolen glances directed back towards the camera and hidden faces that create a sense of threat and approaching catastrophe. Despite the costumes and the carnival atmosphere, the exceptional presence of a camera in the religious quarter and the sense of strangeness and suspicion evoked by its very presence, reveal the fear that outsiders are taking advantage of the image of ultra-orthodox Jews by entering their world – the fear that the camera will not convey the codes of that world but only its masks.

Also found on the Netherlands Media Art Institute sample compilation, ”Single Channel Works, Installations, 2003 – II”

Catalogue No. 669
File: The Archive

Catalogue No. 685
File: Montevideo

Catalogue No. 706
File: Bartana, Yael

Catalogue No. 179
File: Bartana, Yael

 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
 

 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis