Maxim Reider told me about the exhibition of photographs by Menahem Kahana in Tel Aviv. Menahem Kahana started the series in 1995; he photographs the grand children of what’s left from the famous Roman Vishniac’s subjects. There is an interesting background interview with Menahem Kahana on Maxim Reider’s blog: Keeping haredim in the picture. I personally don’t like the name ‘chareidim’, firstly Kahana clearly photographs mostly Chasidim, secondly the name Chareidim is stupid, literally translated trembling it is patently false description. Below are few selected photographs, available to purchase at the Yosefa Drescher Fine Art.
Again remarkable art follows a paradox. This would not have been as interesting had this been a photograph of two boys on a donkey, But the formal urban garb, the mischievous cigarette, the messianic symbolism of a Jew riding a donkey through the Holy Land hills makes this an unforgettable shot. There is also subtle color match between the donkey hair and the side locks.
Again a paradox. This is a man Purim drunk on a red wine or a wounded man in a pool of blood (the Rabbi on the right looks like Breslever Rav Koenig from Tzfat).
Again a paradox. A tiny man during his Pidyon Haben and an oversized Chalah. Faces are not seen, just the hands holding onto the bread, the symbol of life. The bread is on the table like a giant animal ready to be slaughtered as a sacrifice. The boy resting on a silver reflective dish, garnished with golden confetti, ready to start his life.
I don’t like this photo (ok, it got some movement and contrast), not sure why I think this is a weak shot.
Again a paradox. A new life next to the killing machine, the family drama. A man (perhaps a brother in law) starring into the phallic barrel of death – Bravo Menachem Kahana!
Might as well finish with a donkey who is playing a Rebbe, although more useful than a real one.
Further reading: