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Map" from a workshop with Thomas Hirschhorn"
Reviews
Ha'aretz | Galeria
Avi Pitchon
Art Critics | Ha'aretz
Its beginning and end - a short video loop with a flock of hundreds of birds circling or landing on a trio of huge cranes at sunset, and an insane diorama in which a theatrical phantasmagoria that combines a "flock" of cranes with a garden labyrinth, angels, shipwrecks and architectural monuments - amazing
Art Critics | Ha'aretz
Its beginning and end - a short video loop with a flock of hundreds of birds circling or landing on a trio of huge cranes at sunset, and an insane diorama in which a theatrical phantasmagoria that combines a "flock" of cranes with a garden labyrinth, angels, shipwrecks and architectural monuments - amazing
The window | Art blog
Samdar Shafi
Curator
"Archivist of the Feathers: Autobiographical Mythology" by Jackie Perel is a fascinating project in aesthetics no less than in the narrative and scope of the issues. At its center is the myth of Icarus and Daedalus, which undergoes a gender reversal for Pearl's relationship with her father, she writes. The detail she discovers about her father is that he adopted Bez and that he has already passed away. Through a space copied from a feather archive in Germany, you arrive at a huge diorama where a relief from the 17th century depicting the myth of floating cranes in a forest is disassembled/
Curator
"Archivist of the Feathers: Autobiographical Mythology" by Jackie Perel is a fascinating project in aesthetics no less than in the narrative and scope of the issues. At its center is the myth of Icarus and Daedalus, which undergoes a gender reversal for Pearl's relationship with her father, she writes. The detail she discovers about her father is that he adopted Bez and that he has already passed away. Through a space copied from a feather archive in Germany, you arrive at a huge diorama where a relief from the 17th century depicting the myth of floating cranes in a forest is disassembled/
הארץ | גלריה
Shaul Seter
Art critic, Haaretz
Jackie Perel brings up a multi-layered, multi-splitting story: in the installation and in the performance, she positions Sodom precisely as a historical place. Perel presents photographs of the potash production plant that was established in Sodom, on the shores of the Dead Sea, in the 1930s, together with a cinema for the workers, which was housed in a cave on Mount Sodom; She reads excerpts from the diary of the factory workers who were separated from their families and taken to the desert; It places a concrete processor that has been converted into a salt processor. Alongside these, it echoes the mythological Sodom, the sinful city, the city of Lot who feeds his daughters, the city of the women who look back: in a small bed of Sodom in space, in the quotation of the references in the Koran about the people of Lot, the homosexuals, in Bonnie Taylor's famous poem "A Total Eclipse of the Heart " in which she demands to turn back and look. The cocoon of contexts is busy and complicated - there is nothing that compares to Lot's riddle
Art critic, Haaretz
Jackie Perel brings up a multi-layered, multi-splitting story: in the installation and in the performance, she positions Sodom precisely as a historical place. Perel presents photographs of the potash production plant that was established in Sodom, on the shores of the Dead Sea, in the 1930s, together with a cinema for the workers, which was housed in a cave on Mount Sodom; She reads excerpts from the diary of the factory workers who were separated from their families and taken to the desert; It places a concrete processor that has been converted into a salt processor. Alongside these, it echoes the mythological Sodom, the sinful city, the city of Lot who feeds his daughters, the city of the women who look back: in a small bed of Sodom in space, in the quotation of the references in the Koran about the people of Lot, the homosexuals, in Bonnie Taylor's famous poem "A Total Eclipse of the Heart " in which she demands to turn back and look. The cocoon of contexts is busy and complicated - there is nothing that compares to Lot's riddle
Architecture and design | Ynet
Talia Levy Roseboim
Jackie Perrell's work entitled "Archivist of the Feathers: Autobiographical Mythology" also emphasizes the building's elements as it spans two rooms and uses an existing window in the building as a frame for the installation she created. The installation includes a picture of a crane with dozens of flying birds on it, a video of the work of collecting and cataloging the feathers in the archive in Berlin and behind the window a combination of them.
Jackie Perrell's work entitled "Archivist of the Feathers: Autobiographical Mythology" also emphasizes the building's elements as it spans two rooms and uses an existing window in the building as a frame for the installation she created. The installation includes a picture of a crane with dozens of flying birds on it, a video of the work of collecting and cataloging the feathers in the archive in Berlin and behind the window a combination of them.
Laisha | Wandering discovers and shares
Asi Friedman
Art critic, LaIsha.
“De Zone exhibit is about the misleading effect of mirage, that same optic experience characterizing dessert sceneries. Jackie Pearl’s video art piece is especially exciting, based on the story of the Sodom potash factory’s workers…”
Art critic, LaIsha.
“De Zone exhibit is about the misleading effect of mirage, that same optic experience characterizing dessert sceneries. Jackie Pearl’s video art piece is especially exciting, based on the story of the Sodom potash factory’s workers…”
ידיעות אחרונות | פסטיבל עכו
Shai Bar-Yaakov
Yediot Aharonot theater critic
“…a rebellious and anti-establishment voice…”
The play excels in its imaginative design and an unconventional look at the world created from the connection between the poetic text to the unique design, accentuating the dirty and estranged surroundings.
Pearl herself plays the narrator in a gentle yet ironic performance, while the two actresses on stage – Rotem Goldenberg and Anat Zonenfeld – help her fulfil her vision well…
The play manages to sensitively and compassionately express the other viewpoint of the girl/woman who is estranged from her environment and feels as if she’s an amphibious creature simultaneously existing under and above the water.”
Yediot Aharonot theater critic
“…a rebellious and anti-establishment voice…”
The play excels in its imaginative design and an unconventional look at the world created from the connection between the poetic text to the unique design, accentuating the dirty and estranged surroundings.
Pearl herself plays the narrator in a gentle yet ironic performance, while the two actresses on stage – Rotem Goldenberg and Anat Zonenfeld – help her fulfil her vision well…
The play manages to sensitively and compassionately express the other viewpoint of the girl/woman who is estranged from her environment and feels as if she’s an amphibious creature simultaneously existing under and above the water.”
Haaretz – Gallery
רויטל מדר
דגל שחור
שתי היוצרות מציגות חלל סגור שהוא חדר במחלקה בבית חולים לחולי נפש. במקום, שבו מתרחשת רוב העלילה, דמויות נשים מתפצלות שוב ושוב, מחליפות תפקידים, כלואות בחלל ועם זאת מצליחות להחזיק גם בזהות שחורגת מגבולות המוסד הודות לזהות האתנית והמגדרית שנוכחת לרגעים...דיון מורכב יותר, ונחוץ מאוד, בשאלות של זהות....זהויות שוליות חיות לרוב בתוך ניגודים, ו״פנינה לב נייר״ נשענת על כמה וכמה ניגודים, המוסיפים לאי־סדר האלמנטרי שנוכח בה מתוקף התרחשותה במקום מושבן של נשים שהחברה הגדירה כחולות נפש. הזמן שבו מתרחשת העלילה...תלוש, אין לו תוקף במציאות כפי שזו מוצגת לנו, יכול להעיד על התלישות של הנשים המאושפזות, אבל השיכונים הנחשפים מפעם לפעם ברקע מבהירים שהצמצום שלו לעניין זה בלבד יהיה פשטני. הפער הזה בין התאריך לבין התפאורה הלוא קיים לא פעם גם במקומות שונים בארץ, שננטשו זה כבר על ידי המדינה, ושכל מי שתבקר אותם מבחוץ לא תבין כיצד קפאו על שמריהם.
ניגוד נוסף שבתוכו נעה העלילה הוא זה שבין הטהור למטונף. חלוקה של האחות - לבן למשעי ברובו אך מפויח בצווארון ובמכפלת - מציג את שני הקצוות הללו על גופה של אשה אחת: האחות מטעם הממסד. הפנינים, מוטיב חוזר בהצגה, הן ביטוי לטוהר, אך בה בעת, שלא כמו על צווארה של האשה הבורגנית, הפנינים כאן יוצאות מכלל שליטה: הן ניתנות לחולות כתרופות חדשניות, ואלה בתורן מתקשות לבלוע את אבן החן היוקרתית; וכשהן מסרבות, הן פולטות החוצה שרשראות פנינים ארוכות ללא סוגר, שמתפזרות על הרצפה כך שאי אפשר לאסוף אותן. אבל וזאנה גרינולד ופערל מציעות דיון עדין ורגיש בזהויות, דקיק, אבל לא פחות נוכח מזה של נושאי הדגלים
דגל שחור
שתי היוצרות מציגות חלל סגור שהוא חדר במחלקה בבית חולים לחולי נפש. במקום, שבו מתרחשת רוב העלילה, דמויות נשים מתפצלות שוב ושוב, מחליפות תפקידים, כלואות בחלל ועם זאת מצליחות להחזיק גם בזהות שחורגת מגבולות המוסד הודות לזהות האתנית והמגדרית שנוכחת לרגעים...דיון מורכב יותר, ונחוץ מאוד, בשאלות של זהות....זהויות שוליות חיות לרוב בתוך ניגודים, ו״פנינה לב נייר״ נשענת על כמה וכמה ניגודים, המוסיפים לאי־סדר האלמנטרי שנוכח בה מתוקף התרחשותה במקום מושבן של נשים שהחברה הגדירה כחולות נפש. הזמן שבו מתרחשת העלילה...תלוש, אין לו תוקף במציאות כפי שזו מוצגת לנו, יכול להעיד על התלישות של הנשים המאושפזות, אבל השיכונים הנחשפים מפעם לפעם ברקע מבהירים שהצמצום שלו לעניין זה בלבד יהיה פשטני. הפער הזה בין התאריך לבין התפאורה הלוא קיים לא פעם גם במקומות שונים בארץ, שננטשו זה כבר על ידי המדינה, ושכל מי שתבקר אותם מבחוץ לא תבין כיצד קפאו על שמריהם.
ניגוד נוסף שבתוכו נעה העלילה הוא זה שבין הטהור למטונף. חלוקה של האחות - לבן למשעי ברובו אך מפויח בצווארון ובמכפלת - מציג את שני הקצוות הללו על גופה של אשה אחת: האחות מטעם הממסד. הפנינים, מוטיב חוזר בהצגה, הן ביטוי לטוהר, אך בה בעת, שלא כמו על צווארה של האשה הבורגנית, הפנינים כאן יוצאות מכלל שליטה: הן ניתנות לחולות כתרופות חדשניות, ואלה בתורן מתקשות לבלוע את אבן החן היוקרתית; וכשהן מסרבות, הן פולטות החוצה שרשראות פנינים ארוכות ללא סוגר, שמתפזרות על הרצפה כך שאי אפשר לאסוף אותן. אבל וזאנה גרינולד ופערל מציעות דיון עדין ורגיש בזהויות, דקיק, אבל לא פחות נוכח מזה של נושאי הדגלים
Martha Knows | Theater Magazine
‘Shouting Pearls and Beads on the Floor’
“…in this play, the artists bring with them the entire metropolitan. The stunning set design, created following Pearl’s ideas and by the hands of designer Zohar Shoef, transformed the establishment’s bedroom into the entire city, on all its rooftops, water tanks, with the moon illuminating all of it. There’s also a fascinating use of puppets, which were uniformly designed on all their shapes and types, while each serving a different purpose. These puppets, the imaginative work of Pearl, make the entire play rise to new heights and flutter the viewers’ hearts.”
“…in this play, the artists bring with them the entire metropolitan. The stunning set design, created following Pearl’s ideas and by the hands of designer Zohar Shoef, transformed the establishment’s bedroom into the entire city, on all its rooftops, water tanks, with the moon illuminating all of it. There’s also a fascinating use of puppets, which were uniformly designed on all their shapes and types, while each serving a different purpose. These puppets, the imaginative work of Pearl, make the entire play rise to new heights and flutter the viewers’ hearts.”
The Sting | A Special Project
Edited by Tehila Hakimi
Poet and author
“Pnina Lev Ni’ar”: The Only Medication to Suffering is Beauty
“The play starts off with measured thumps created by the actresses on stage, and slowly, during the 50 exciting minutes of the play, this rhythm also turns into a heartbeat, my heartbeat. Three actresses are talking about childhood from afar, childhood that bears a lot of pain but also entails everything we all knew at school, at the neighborhood – the same scenery. The text is wonderous, the entire setting is the handiwork of Jacqueline, paper-painted creations and special photographs that move to the rhythm, the costumes, the music and movement on stage, all create such a beautiful and exciting piece, and it all works with the beating of the heart. Jacqueline succeeds in exposing and treating a terribly difficult subject with such gentleness and beauty that produces simultaneously harsh and releasing sensations, and the setting of the water tanks above the projects and beyond the pain. I cried a lot but also left with a smile on my face, I’ve never seen such a beautiful and gentle pain. Thank you, Jacqueline and Hana, I hope you take your beautiful creation to many more stages.”
Poet and author
“Pnina Lev Ni’ar”: The Only Medication to Suffering is Beauty
“The play starts off with measured thumps created by the actresses on stage, and slowly, during the 50 exciting minutes of the play, this rhythm also turns into a heartbeat, my heartbeat. Three actresses are talking about childhood from afar, childhood that bears a lot of pain but also entails everything we all knew at school, at the neighborhood – the same scenery. The text is wonderous, the entire setting is the handiwork of Jacqueline, paper-painted creations and special photographs that move to the rhythm, the costumes, the music and movement on stage, all create such a beautiful and exciting piece, and it all works with the beating of the heart. Jacqueline succeeds in exposing and treating a terribly difficult subject with such gentleness and beauty that produces simultaneously harsh and releasing sensations, and the setting of the water tanks above the projects and beyond the pain. I cried a lot but also left with a smile on my face, I’ve never seen such a beautiful and gentle pain. Thank you, Jacqueline and Hana, I hope you take your beautiful creation to many more stages.”
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