Curator: Yasmine Bergner

Cover image: Max Harris

The body is the medium through which we communicate with “the other” and the environment. We create personal and social identities through which we establish “human social networks” via the body. Changing and manipulating the body through tattooing is interpreted here as an active pursuit through which people engage in self-identity and in positioning themselves within their social relationships.

The exhibition focuses on the ancestral aspect of the tattoo, as it arises both concretely and metaphorically. The participating artists address, through the act of tattooing, the legacy of ancestors living within us, influencing and shaping our world.

An inscription on the skin allows us to commemorate memory, to reveal and illuminate a hidden layer, to affiliate ourselves with positions and concepts, and to keep them close to our hearts.

A tattoo is an act of change, fixation, and transformation. An expression of the eternal in a transient world.

A tattoo is a “secret revealed,” embodied on the surface from the skin into the light.

The art of tattooing is inherently linked to rites of passage and initiation in shamanic traditions in non-Western tribal cultures.

In Western culture, until the end of the 19th century, the art of tattooing was considered an “inferior” and decadent genre, and tattoos were even used as a tool for diagnosing criminal tendencies.

The art of tattooing receives empowering treatment in contemporary culture. Its status as an independent artistic genre is increasingly becoming established after hundreds of years in which it was labeled as a fringe phenomenon.

Today, a new social trend is flourishing, warmly embracing the genre and recognizing its importance and multicultural uniqueness.

Research and Curating: Yasmine Bergner

Participants: Esther Cohen Skin, Dafna Shapira Hasson, Shunit Gal, Rany Pardes, Max Harris, Malkiela Feig, Lilach Madar, Amalia Zand, Galia Pasternak, Arik Weiss, Eyal Fried, Ron Amir, Lars Krutak, Ajarn Matthieu, Nimrod Reuveni, Jude Moskovich, Yasmine Bergner, Haim Maor, Shimon Pinto, Om Kultov, Julia Freidin

Binyamin Gallery: 11/7-3/8, 28 Chelnow St., Tel Aviv

Opening: 11/7 Thursday at 20:00

Live performance: “Bone Marrow” (Premiere)

By Dafna Shapira Hasson and Shunit Gal, 20:30

Yasmine Bergner

Amalia and Almagor Zand against the background of a work by Yasmine Bergner and Ajarn Matthieu

Yasmine Bergner (pictured with tattoo artist Amalia Zand, The Big Bear)

Photography: Jude Moskovich

From right: Eyal Fried, from left: Haim Maor

Eyal Fried

Performance by Dafna Shapira Hasson and Shunit Gal

Dafna Shapira Hasson and Shunit Gal

Amalia Zand (The Big Bear) against the background of her work “Bloodline”

Amalia Zand (The Big Bear)

From right to left: Shimon Pinto, OmKultov, Ron Amir, Julia Freidin, Nimrod Reuveni, Rany Pardes

Ajarn Matthieu

From right to left: Galia Pasternak, Yasmine Bergner, Haim Maor

From right: Arik Weiss, from left: Shimon Pinto

Arik Weiss

Haim Maor

Rany Pardes

Julia Freidin

Lars Krutak

Nimrod Reuveni

Yasmine Bergner (pictured with Zohar Bergner Zherno)

Photography: Jude Moskovich

Shimon Pinto

Lilach Madar and Malkiela Ben Shabat

To download the full exhibition catalog

Design: Shunit Gal

Ancestors Catalog

הפוסט Ancestors | Group Exhibition | Binyamin Gallery Tel Aviv | Curator: Yasmin Bergner הופיע לראשונה ב-גיאומטריה מקודשת.

Opening: 10/11/2016 Closing: 10/11/2017

Eretz Israel Museum [MUZA] – Tel Aviv

Since the dawn of history, the tattooed body has been a way to glorify and define the individual and the collective. The art of tattooing originates in shamanic rites of passage and initiation traditions in indigenous cultures. Every tattoo work around the world contains pieces of culture and history and embodies personal, social, ecological, and spiritual values.

The exhibition deals with the history of tattooing and reveals a variety of contemporary artistic trends in Israel and around the world. It also presents the works of the American photographer and tattoo anthropologist Dr. Lars Krutak, whose books and travels document traditional and contemporary tribal tattoo cultures around the globe. A significant place in the exhibition is dedicated to contemporary tattooing and the Israeli tattoo community, as documented through the camera lens of “Tattoo Project” (Featured image: Alex Tilkin and Stas Weinstein). A place of honor is also given to the tradition of pilgrimage tattooing in Jerusalem (the Razzouk family), to David Mosko, the “Tattooed Sailor,” alongside the works of other tattoo artists and photographers from Israel and the world, films, rare items, and colorful documentation.

Today, more than ever, global tattoo culture is an intercultural celebration that connects the ends of the earth, between the past and contemporary reality. Tattoo cultures around the globe contain fascinating pieces of culture and history that simultaneously embody personal, social, and spiritual values.

Global tattoo culture is currently undergoing a historical re-examination in the wake of modernization and globalization processes. A new global social trend is emerging, embracing tattoo art and recognizing its importance and multicultural uniqueness. This global trend reflects cultural diversity and presents a revival of ancient customs of body decoration and tattooing alongside contemporary and groundbreaking practices, arriving today from the four corners of the earth. This fascinating cultural trend expresses a cross-border cultural mosaic of the human experience through tattoos—a living and breathing art on our bodies.

It seems that after thousands of years of tradition, tattoo art has captured our hearts again and is here to stay. If in the past tattoos were considered an expression of rebellion and non-conformism, today they represent, more than anything, freedom of choice. The tattooed body is a personal body diary, reminding us where we came from and where we would like to go, and is experienced more and more by the Israeli public as a deep internal and spiritual process.

The tattoo has a special ability to connect body and soul, between one person and another, and between the individual and the culture in which they exist. Tattoos are an illustration of our ability to change and be changed. Through them, a person can take ownership of their body and turn it into a temple, a canvas, or a private billboard. In my tattoo research over the last decade, I aim to expose the Israeli public to a variety of contemporary artistic tattoo trends in Israel and abroad, and to teach the history of tattooing as a world-encompassing artistic-spiritual practice since the dawn of history.

Text: Yasmine Bergner, from the exhibition book (to download the exhibition book in PDF, scroll to the bottom)

Exhibition documentation: Leonid Padrul

Courtesy of Eretz Israel Museum

Photography: Leonid Padrul, courtesy of Eretz Israel Museum

The International Tattoo Symposium that accompanied the exhibition:

Participants:

Dr. Lars Krutak, Mordechai Levy, Alexander Tilkin, Malkiela Ben Shabat, Prof. Meir Bar-Ilan, and Yasmine Bergner.

Tattoos of the Future // Yasmine Bergner

Research in the field of futurism examines the possibility that the world of tattoos will undergo an evolution in design, style, and technology in the coming decades; this is similar to the transformations that tattoo culture has experienced throughout history. We will examine how evolutionary and technological development can influence the way we decorate our bodies in the future.

Yasmine Bergner is the exhibition curator and a spiritual mentor through tattoos. She researches the history of tattooing and sacred geometry.

Indigenous Tattoo Heritage // Dr. Lars Krutak

The tattooed indigenous body is a tool of development and change, encoding within itself the ancient personal, social, ecological, and spiritual worldview, and existing over generations of tribal belief through a wealth of visual symbols (lecture in English).

Dr. Lars Krutak is a tattoo anthropologist, photographer, and researcher. He is famous for his research and books on the history and culture of the tattooed indigenous body. He produced and hosted the Discovery Channel documentary television series “Tattoo Hunter,” which documented vanishing tattoo cultures around the world. A variety of his works are presented in the exhibition.

Writing God’s Name on the Body: A Religious, Mystical, and Magical Experience // Prof. Meir Bar-Ilan

In ancient times, Jews used to write God’s name on the body in ink, and they did so within a religious, mystical, and magical framework. The lecture will review a selection of evidence for these ancient and forgotten customs and how they can be understood in the contemporary era.

Prof. Meir Bar-Ilan is a researcher of Jewish society and culture who teaches in the Department of Talmud and the Department of Jewish History at Bar-Ilan University.

Bar-Ilan researches a very wide range of sources in Judaism in antiquity. Through interdisciplinary research methods, he examines the Bible, external literature, Talmud, prayer, Hekhalot literature, mysticism, magic, numerology, astrology, and tattoos.

Tattooed Models: Representations of Femininity in the Digital Age // Malkiela Ben Shabat

The lecture seeks to examine the self-identity representations of models in digital media from a feminist perspective through their tattooed bodies.

Malkiela Ben Shabat holds a Master’s degree in Gender Studies from Tel Aviv University. Malkiela is a performer, photographer, and an independent researcher focusing on the intersection of tattoo culture, representations of femininity, and feminist theory. The “Tattoos” exhibition presents “Girls,” a series of photographic works by Malkiela Ben Shabat and photographer Dan Belilty.

Tattoo Project // Alexander Tilkin

Alexander Tilkin and Stas Weinstein have been documenting contemporary Israeli tattoo culture in photography as a significant, large-scale phenomenon since 2011. The project strives to give expression in cultural discourse to a phenomenon that has approached the center from the margins in giant steps and has become in the last decade a significant and present component in culture and art in Israel and the world.

The lecturer Alexander Tilkin holds a Bachelor’s degree in Software Engineering, a Master’s degree in Computer Science, and is a student of Business Administration at Tel Aviv University.

Jerusalem Under the Skin: On the History of the Jerusalem Tattoo // Mordechai Levy

The history of the pilgrimage tattoo, which is a tradition unique to the Land of Israel: an ancient custom since the Middle Ages of pilgrims to Jerusalem who used to tattoo themselves as a memento of their journey.

This tradition is continued by the Jerusalemite Razzouk family, the oldest tattoo family in the world, which is presented in the exhibition.

Mordechai Levy joined the Foreign Service in 1975. He served as a special advisor for Christian and Muslim affairs to the Mayor of Jerusalem (2004–2008).

Before his retirement from the diplomatic service, he served as Israel’s ambassador to the Holy See (2008–2012). He specialized in issues of pilgrimage to the Holy Land in the Middle Ages and the history of tattoos in Western culture.

The opening: A moment of satisfaction with Dr. Lars Krutak and Wassim Razzouk

Opening evening: Video art by Haim Mahalev, tattoo artist. Projection on the museum wall

A moment of satisfaction at the official opening

In the photo: The museum management, Dr. Lars Krutak, Alex Tilkin, Yasmine Bergner

Yasmine Bergner is a multidisciplinary artist, tattoo artist, and tattoo culture researcher.

הפוסט Tattoos | The Human Body as a Work of Art | Museum | Curator: Yasmin Bergner הופיע לראשונה ב-גיאומטריה מקודשת.

Curator: Dafna Shapira-Hasson

Participating Artists:

Yasmine Bergner, Batya Hashkin, Shunit Gal, Sivan Zarifi, Anati Toker, Ayelet Tarlovsky, Mirei Shanan, Bell Shapir, Dafna Shapira-Hasson.

Sara Arman Gallery, Tel Aviv 2019

“We curate memories in our bodies, we curate passion and heartbreak. We curate joy, moments of celestial peace. If we want to have access to them, if we want to move into them and through them, we must enter into our bodies… Our body tells stories.”

The Right to Write / Julia Cameron

“The ‘Histories: Installation/Performance’ exhibition refers to the concept of ‘history’—literally translated from English as ‘His-story’—but in its feminist reversal to ‘Herstory,’ meaning a personal female perspective on history as a personal story.

In the early 1970s in the United States, Judy Chicago and Miriam Schapiro began teaching art courses for women. They initiated workshops where they asked women to write about their personal lives as motivation for a personal process and for creating art. Part of the project was ‘WomanHouse’ (1972, California), a house they renovated together, with each artist addressing a specific space in the house.

The ‘Histories: Installation/Performance’ exhibition attempts to point to a personal story woven within a work of art when the female body is a part of it, as a continuation of contents related to feminist art, and as a private story woven between the body and the objects it produces (she produces).

In the exhibition, 9 women present installations, objects, and performances simultaneously. At scheduled times, 9 performances will take place in relation to and with the objects in the exhibition, performed by each of the artists. The fact that the gallery where the exhibition is presented exists within an active home places the performances as part of the daily activity of a house, as a meeting place between actions, objects, and a personal story.”

From the exhibition text:

Text and Curatorship: Dafna Shapira-Hasson

To download the full catalog:

Design: Shunit Gal

Installation-Performance 2019

הפוסט היסטוריות מיצב – מיצג | גלריה שרה ארמן | תערוכה קבוצתית בהשתתפות יסמין ברגנר הופיע לראשונה ב-גיאומטריה מקודשת.

Group Exhibition and Co-Curatorship:

Yasmine Bergner, Assi Meshullam, and Esther Cohen-Skin

Meshuna Gallery, 112 Herzl St., Tel Aviv, 2012

The myth has always been present behind the scenes of every style and era in art. The recognition of the timeless quality of the myth does not indicate a sentimental or utopian longing, but rather points, in a sober and measured manner, to the fact that something eternal is always present, even if hidden, and allows it to be an inseparable part of the visual and mental richness of contemporary art. This is a direct statement, free of nostalgia or bias.

The Exhibition:

We must lend an ear, respond, and recognize the importance and vitality of the myth’s constant presence. The human cultural infrastructure changes frequently; it is a flexible space based on our memories and our private and collective consciousness. Culture always looks simultaneously at the past and the future and influences us as individuals and as groups. The artists seek to create private and interpersonal connections to the myth, the symbol, and the archetype, to the histories etched genetically and consciously into our collective memory, and to pour new and relevant content into them.

The authentic or false faces of history change and dissolve in the broad perspective of thousands and millions of years. Political poles blur, and what remains is the symbol and the archetype acting as a key.

The artists seek to use these raw materials as a playground, each in their own unique way, in order to turn them into a discourse present in the “here and now.” We seek to dismantle the master narratives that have been passed down to us throughout the ages.

We seek to question and investigate visual representations, the meanings and implications of changing cultures. To understand our different personal experiences in relation to them, and the influences of memory or cultural amnesia that have piled up one upon another throughout history. To listen, decode, and respond to the personal call awakened in us by the primal.

May 2014

Yasmine Bergner

Yasmine Bergner is an artist, tattooist, curator, and researcher of tattoo cultures. The various media in which she works are drawing, sculpture, performance, and tattooing, which today stands out as an independent artistic field. The diverse media influence and bleed into one another, creating a discourse that longs to connect and bridge cultures and languages, the primitive and the modern, the intellectual and the spiritual.

Her training as a tattoo-artist led her simultaneously to specialize in drawing and woodcarving, and to years of independent research and writing on tattoo cultures and sacred geometry. In non-Western cultures, tribal artists were (and sometimes still are) accustomed to carving their tattoo stamps and tribal totems in wood. The close connection between tattooing and carving gained synchronic meaning and relevance for Bergner through the independent research she conducted in parallel with her artistic work. Outside of the West, woodcarving is considered a traditional art reserved for men. The artist takes ownership of this creative field, and under her hands, it becomes an act of personal freedom, a connection to the power latent in the tough physical act of carving—a connection between femininity and masculinity.

In performance, she strives to contain timeless symbolism, spiritual processes embodied in an iconic bodily image. Does the body hold the image, or vice versa? For her, this is an action that strives to awaken mythical forces and anchor them in our lives with the goal of empowering them and filling a missing spiritual void.

Installation view, Photos: Sigal Colton

Staircase Totem, Nimrod’s Mother, and drawings, installation view

Holyland, Zohar and Seleni in the Holy Land, pencil on paper, 2014

She Saw Everything, pencil on paper, 2014

Our Reflection, pencil on paper, 2013

Staircase Totem, Nimrod’s Mother, carved pine wood, 2013-2014

Photos: Sigal Colton

Harp Mandala, amplified musical instrument, carving – Yasmine Bergner

Musical planning and implementation – Amit Tiefenbrunn, Artistic Director of the Barrocade Orchestra Israel

Esther Cohen-Skin

She is a multidisciplinary artist working in the media of digital drawing, embroidery, sculpture, and text. In her complex work processes, impressions, symbols, and texts documenting a life period and state of mind solidify into a whole. The images and texts are rich in unique contexts that become personal archetypes for the creator.

Cohen-Skin strives to create new lyrical connections between symbols, thus changing their meaning into a new narrative, a new language, which stirs within a wide artistic field of action, calling on the viewer to decode a world of states, sensations, and thoughts with internal logic and poetics. Her series of painting/embroidery works reveal an engagement in a meditative action usually associated with traditional female labor. Images made with analytical precision that draws from digital language emerge, out of a striving for pure and accurate aesthetics, the “line” as a value, as a path. The unique medium transforms the works; the enigmatic images evoke a desire for tracing and searching, and reflect their metaphysical conductivity precisely through the “craft” quality of the works and the tangible presence of the hand.

Installation view, Photos: Esther Cohen-Skin

Untitled, mixed media, 2014

Untitled, embroidery on fabric, 2013

Untitled, embroidery on fabric, 2014

Assi Meshullam

Assi Meshullam’s works deal with the space between personal and collective identity, the creation of personal rituals, and the soul of the person seen in all its beauty and ugliness through their own self-observation. His paintings, sculptures, text works, and performances strive to dismantle cultural taboos and paradigms. A new myth is built out of his unique perspective. Meshullam creates subversive inversions and transitions between impurity and purity, between darkness and light, and between reason and ignorance. His gaze is a penetrating social mirror of the human condition.

His imaginative creations exist simultaneously in different spiritual dimensions, between the high and enlightened and the low and base, and create a unique state of consciousness that strives to embody, connect, and redefine meanings of “good” and “bad,” spiritual and secular, sacred and profane. His work “Ro’ekhem” (Your Shepherd) is a fascinating and broad textual work of art that strives to create a fictional religious text, drawing inspiration from existing religious texts, adopting their archaic metaphorical style to create a poetic, subversive, and critical text.

Untitled, mixed media, 2013

Untitled, mixed media, 2013

Untitled, mixed media, 2013

Untitled, mixed media, 2013

Untitled, mixed media, 2013

Untitled, mixed media, 2013

Photos from the opening night

Photos from the work process

Installing the totem with Oren Fisher

הפוסט Ob | Mashuna Gallery | Yasmin Bergner | Esther Cohen Skin | Assi Meshulam הופיע לראשונה ב-גיאומטריה מקודשת.

The ritual of tattooing reflects the cultural worldview of the community, the degree of freedom, and the social supervision of the individual. The tattoo is a tool that constitutes part of rites of passage and initiation—the significant life stages of a person within the culture in which he/she lives. It is a symbol of belonging and status, a tool for personal and collective development, and, of course, an aesthetic tool for glorifying the body.

Today more than ever, the global tattoo culture is a cross-cultural celebration, connecting East and West, past and present.

In recent decades, tattoos have become an integral part of the art world, corresponding with and drawing inspiration from primitive, classical, and post-modern art, and challenging the boundaries of body art and the definition of self.

Contemporary tattoo art connects geographical cultures, trends, and different—even opposing—artistic languages. The tattooed body in the 21st century makes virtuoso use of art history: realism, cubism, geometry, pointillism, digital design, comics, manga, and graffiti all find their way into new, revolutionary, and fresh genres of tattoos.

Examining the various tattoo cultures throughout history across the globe grants us the ability to examine the human soul alongside historical changes, political agendas, trends, and social revolutions up to the present day.

Tattoo culture touches all areas of life; it is universal and therefore carries a first-rate humanistic message.”

Yasmine Bergner

From the research work: “Tattoo Culture in the Mirror of Art, History, and Culture”

The conference and exhibitions are courtesy of the Edmond de Rothschild Foundation

104 Rothschild, Tel Aviv

June 2016

Production and Curation: Tal Danai, Founder and CEO of ArtLink

Lead Producer: Tal Kramer

Associate Curator: Tal Reshef

Professional Consultant for the conference: Yasmine Bergner

Lecturers: Anna Felicity Friedman, Yasmine Bergner, Prof. Meir Bar-Ilan, Malkiela Ben Sabbat, Tattoo Project (Alex Tilkin and Stas Weinstein), Jacob Raz, Jonathan May

Screening of the film “The Mark of Cain” by director Alix Lambert

Exhibitions:

“Outlaw Aesthetics” by Sandi Fellman

“Desert Ink” by Jonathan May

The conference and exhibitions are courtesy of the Edmond de Rothschild Foundation

104 Rothschild, Tel Aviv

June 2016

Production and Curation: Tal Danai, Founder and CEO of ArtLink

Lead Producer: Tal Kramer

Associate Curator: Noa Reshef

Professional Consultant: Yasmine Bergner

Lecturers: Anna Felicity Friedman, Yasmine Bergner, Prof. Meir Bar-Ilan, Malkiela Ben Sabbat, Tattoo Project (Alex Tilkin and Stas Weinstein), Jacob Raz, Jonathan May

Screening of the film “The Mark of Cain” by director Alix Lambert

Exhibitions:

“Outlaw Aesthetics” by Sandi Fellman

“Desert Ink” by Jonathan May

הפוסט Without a frame | Tattoo conference | Professional consultant: Yasmin Bergner הופיע לראשונה ב-גיאומטריה מקודשת.

Photography & Video: Judd Moskovitz

“A Woman’s Hand” – Article by Shunit Gal

First Image:
A carved wooden hand holds a brush and mechanically combs a woman’s hair. The woman sits passively during the combing process, her body leaning against the back of the chair and her head tilted to the side, while her long hair is fully spread out before the action of the machine.

Second Image:

The wooden hand, now holding a tree branch like a paintbrush, awakens the seated woman to rise and become active. The artist begins to move, and a painting is created across the front of her body, while her long hair flows behind her and no longer serves as a barrier.

In the second state, she shifts the element of instinctive physicality into drawing. This time, she actively harnesses the energy of the monotonous machine for her own action. She moves her limbs so that the brush paints upon her body, like a child discovering the joy of drawing—as a revelation of liveliness and primal freedom, and as a source of abundant life.

In both states, the body is the arena in which the event unfolds. Through it and upon it, the artist tells the story without any words at all.

The hair functions as a lever between the machine and the woman—there is no longer a need to smooth it; she is already “beautiful,” and any further energy spent proving her femininity is unnecessary. Here, “beautiful” parallels “straight and orderly,” according to the standard [Comme Il Faut].

Which standard? The machine’s standard, of course. Even today, women are often expected to straighten their curls if they don’t “pass the screen” (the row of combed hairs represents a sequence of possibilities, thoughts, ideas, full potential—static energy waiting).

The monotonous state (boredom) is only possible when one side is passive. From the moment she discovers her capacity for agency, the machine’s output can no longer be uniform.

The monotonous machine fails in creation—it cannot paint.

This is the uniqueness of the work [2] Awakening – In Her Savior’s Arms: like a circular return to primordiality without relinquishing the whole female body. The complete female body is present also as an artistic image—a site of life creation and continuity, in contrast to death and the end of action.

Thus, it is a woman’s hand, capable of shifting meaning in different directions. And yet, the machine [3] remains the same machine, and the woman remains the same woman. Only the meaning changes.

Viewing the work is highly aesthetic, akin to painterly aesthetics that return to the material. We experience both a sense of subjugation and a sense of joy and discovery, journeying with the artist with long hair through the female odyssey—a slow and precise return, leaving no detail forgotten. The knowledge she has processed along her long path becomes engraved in us, like the tattoos on Yasmin Bergner’s body [4].

A Mechanized Doll / Dalia Ravikovitch

On this night I was a mechanized doll,

And I turned right and left, to all the passersby,

And fell face down to the ground and shattered into pieces,

And they tried to mend my shards with a skillful hand.

And afterward I became a restored doll,

And all my manners were measured and obedient,

Yet by then I was already a second-type doll,

Like a bruised vine still held captive

In a trellis.

And afterward I went to dance at the ball of dances,

But they left me among cats and dogs,

And all my steps were measured and timed,

And I had golden hair and blue eyes,

And a dress colored like the flowers in the garden,

And a straw hat with a cherry decoration.

To view the full performance:
https://youtu.be/Sc3tb4yy9jg

Notes / Footnotes:

[1] The drawing line as a secret language, not yet deciphered, not yet structured.

[2] Awakening – in her Savior’s Arms is a wordplay hinting at awakening—emotional, spiritual, and sexual—as well as the symbol of the savior promised in legends, who will come to rescue the woman. Here, the SAVIOR is not the lover’s arms but the artist’s arms, which created and carved in wood, offering the possibility of self-salvation through personal creativity. ARMS refers both to arms and to a weapon. The upper part of the hand appears as bone without flesh. The skull brush was also hand-carved by the artist. The brush sits in the wooden hand like a sword in a scabbard. The skull brush also serves as a mirrored image of the tattooing artist drawing on herself.

[3] The machine, made of metal with twelve gears, stands on four metal legs and has a power on/off button.

[4] Yasmin Bergner is a tattoo artist (including tribal styles), performing slow, precise “painting” on the body using a machine, in a way that is very difficult to remove—like a memory.

Text: Shunit Gal
Photography & Video: Jude Moscovitz
2012

הפוסט Awakening – In Her Savior’s Arms | A Performance by Yasmin Bergner הופיע לראשונה ב-גיאומטריה מקודשת.