Three exhibits at Instituto Cultural Cabañas let visitors savor the Israeli presence that filled Guadalajara at the recent International Book Fair.
Cabañas is the local institution that most resembles the type of large art institute to which many foreigners are accustomed, with its permanent collection — the famed Orozco murals on the dome interior — plus well curated, changing exhibits in its other salons — in this case, “Israel: Contemporary Art,” “Hebrew Texts from the Palafox Library” and “Amen.”
Surprisingly, none of the three Israeli shows are narrowly focused on Israel, but are instead intercultural in scope.
The most markedly universal show has a title that sounds, ironically, the narrowest — “Israel: Arte Contemporaneo.” This artist, Michal Rovner, a woman, presents an almost indescribable blend of video, installation and sculpture which depicts strangely individual yet unidentifiable, moving images of people amassed in rhythmic patterns, some in an architectural frame. This arresting exhibit fills three rooms and remains only until January 19.
Scheduled to remain until February 2, the show “Textos Hebraicos de la Biblioteca Palafoxiana” (Hebrew Texts from the Palafox Library) is the most complex and scholarly of the three. In a limited space, the exhibit captures, with facsimiles and photographs, the feel of this library, located in Puebla, Mexico, and consisting of thousands of volumes that were sent from Europe to Juan de Palafox y Mendoza, the bishop of Puebla, starting in 1646.The existence of the Palafox Library is testimony to the disturbing “Holy Inquisition,” much of which was directed against Jews in Spain and Mexico and which was only officially closed in 1820. The Library’s collection of scrolls and codices, many of which are in Hebrew — plus Latin, Sanskrit, Chaldean and Greek — naturally hold great linguistic and religious interest but is perhaps most remarkable for what it reflects about the sheer ferocity of the centuries that included the end of Moorish domination of Spain, Spain’s exploration of the Americas, and the Protestant Reformation in Europe. One may surmise that the sacred and precious documents ended up in Mexico to try to ensure their safety, even though the atmosphere here was not safe for the prohibited “criptojudios” (hidden Jews) who were killed by Inquisition authorities. Thus, the Library’s history, presented in printed explanations in English and Spanish alongside the facsimiles, is perhaps even more interesting than the texts themselves, which, after all, are in languages most visitors don’t know. (However, the texts can still be appreciated for their design and significance.)
Another of the Israeli shows with wide appeal is “Amen,” a collection of 30 large images by renowned French photographer Gaal D. Cohen. His striking photos of Jerusalem’s people and architecture have peace as their common denominator and take in the three religions most relevant in the city — Judaism, Christianity and Islam — bringing to the forefront the ironic similarities among creeds that usually appear mired in strife.
“Amen” remains in the Cabañas until April 19.
Instituto Cultural Cabañas, Plaza Tapatia (Cabañas 8) about five blocks behind (east of) Teatro Degollado. (33) 3818-2800, 3668-1800, ex. 31051, 31065, 31642. Cost: 70 pesos for adult foreigners; 20 pesos for seniors and children 6 to 12 years old. Open Tuesday to Saturday, 10 a.m.–4 p.m.; Sunday, 10 a.m.–3 p.m.; Tuesdays free.