Tattoos in Africa and the Middle East. Cover illustration: Yasmine Bergner

הפוסט The World Atlas of Tattoo | By Anna Felicity Friedman הופיע לראשונה ב-גיאומטריה מקודשת.

הפוסט The Mother Wound | By Bethany Webster | Translated from English by Yasmine Bergner הופיע לראשונה ב-גיאומטריה מקודשת.

December 2017

To download a PDF file of the full article:

The One and Only Form – Yasmine Bergner

הפוסט The One and Only Form | The Science of Sacred Geometry | By Yasmine 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:

Curation & Text: Dafna Shapira-Hasson

To download the full catalog:

Design: Shunit Gal

Installation-Performance 2019

הפוסט Histories | Sarah Erman Gallery | Group exhibition with Yasmine Bergner הופיע לראשונה ב-גיאומטריה מקודשת.

Originally published in: Habama – Online Magazine for Art and Culture 2018

“It took me ten years to decide on my first tattoo, and fifteen minutes for the third. The permanence of the format meant I needed a long time to understand what expresses me so correctly that it will remain right forever; but the moment I knew how to phrase it, it was easy to identify the symbols that speak me precisely.”

This is likely the foundation for one of the most interesting sessions awaiting you at the “Hebrew Language Conference – Rishon LeZion” held at the Rishon LeZion Culture Hall for its 11th year. This time, the conference marks the 70th anniversary of the state and countless languages, because everything we do tells a story about us, and every such story has a language.

“Tattoos are like social networks communicating with each other, whether through genres or different tattooing practices. Sometimes it’s a message I want people to know about me, and I essentially turn myself into a work of art, a performance. It also breaks and disrupts the boundaries of normality, of the ‘matrix’ we were all born into. It’s as if I am creating my own body.”

Yasmine Bergner, Photo: Jude Moskovitz

Symbols, Words, and Messages

Over four days, from February 7 to 10, dozens of artists, singers, intellectuals, actors, lecturers, researchers, writers, and poets—(and for the sake of full disclosure, as someone for whom words are her favorite tools, I will also participate this year for the first time in one of the conference sessions)—will touch upon our various languages: from the language of the Bible to the language of the periphery, from children’s language to the language of fashion, from the language of cinema to, yes, the language of tattoos, which will be the focus of the “Tattoo of a Story” session to be held on Thursday, February 8, at 18:00.

“When people marry a symbol forever, they take physical ownership of that specific symbol and say something, either to themselves or to their environment,” says Yasmine Bergner, the session editor, one of the leading tattoo artists in the country, and the only one engaged in spiritual therapy and guidance through body art. “It’s a type of message. Tattoos are like social networks communicating with each other, whether through genres or different tattooing practices. Sometimes it’s a message I want people to know about me, and I essentially turn myself into a work of art, into a performance. It also breaks and disrupts the boundaries of normality, of the ‘matrix’ we were all born into. It’s as if I am creating my own body. It emphasizes the fact that we are a work in progress. We are constantly changing and evolving, and the body becomes a kind of life diary that changes with us.”

And the language of tattoos?

“Tattoos are a language in every sense. A tattoo is information; it essentially encodes information. Tattoos are one of the oldest arts in existence. Since the dawn of history, since ancient times, people have tattooed themselves for various reasons: as decoration and glorification of the body, as a symbol of belonging and tribal or class status, and as a tool for expressing personal and social identity.”

Which has greatly intensified in our society in recent decades, as tattooing has become almost mainstream.

“Yes, very much so in the last ten years. In the last 20–30 years, there has been a global phenomenon called the ‘Tattoo Renaissance.’ They have become an art genre in their own right, very virtuoso. Serious tattoo artists literally digest the entire history of art and ‘vomit’ them out as new genres on the body, drawing inspiration from everything possible—from etchings, classical art, design, expressionist art, everything. Also from tribal art, which is seeing a great revival worldwide, and it all merges. There is no East or West. The world is a global village.”

Photo: Dr. Lars Krutak, Hamar tribe scarification, Ethiopia

“Since the dawn of history, people have also tattooed themselves as a way to pass knowledge from generation to generation—of the tribal worldview, beliefs, the way tribal people perceived themselves within reality, and as a way to connect to ancient ancestors, to the hidden reality, and to guides or benevolent spirits that are actually here all the time and communicate with us. Tattoos also served as a medicinal tool, for healing the body and soul through empowering symbols, totems, and also as a type of ancient acupuncture. For instance, there are ancient mummies found with tattoos that aren’t for beauty but for healing. They correspond to acupuncture points in the body and treat various rheumatic pains.”

Tattoo Culture in Judaism

As part of the panel at the 2018 “Hebrew Language Conference,” Bergner will present the various roles of tattooing from ancient cultures to the present day, alongside Prof. Haim Maor, an expert in Talmud and the history of the Land of Israel, and Judaica artist Erik Weiss, shattering the myth that tattooing is strictly forbidden in Judaism.

“I am going to lecture on various contexts of tattoo culture within Biblical Judaism. Allegedly, we have the prohibition on tattoos in Judaism, and there is a common opinion that Jews do not get tattooed,” says Bergner, “but various studies show us that this was likely not true, and Jews in ancient times used to tattoo the names of God on themselves as part of religious worship.
“Even in the Kabbalah, there are amazing descriptions of angels who have the Torah engraved on their bodies in various places—they call them seals—and there are many mentions of writing on the body. Whether it was temporary writing or actual permanent ink, we don’t fully know, but there is a tradition of writing on the body. Even the word itself, ‘Ka’akua’ (tattoo), which is an onomatopoeia—a word whose sound reflects its meaning—links to the fact that it was an existing practice. The word is actually the sound of the tapping produced by the tattooing process with sticks hitting each other: ‘ka, ka, ka, ka.'”

“So, I will talk about various such examples. Erik Weiss, a visual graphic artist and contemporary Judaica artist whose work shows a great love for body writing and tattoos, will talk about his art, and Haim Maor, a curator and one of the veteran artists in Israel who deals in his works with his father’s Holocaust number, will lecture on the subject.”

 Arik Weiss, 2015

The Spiritual and Therapeutic Side

What path led you to define yourself as a spiritual guide through tattoos?

“A spiritual guide through tattoos is, in fact, a profession I developed over the years that combines all the things I know how to do best: art—I am a multidisciplinary artist; art therapy—in which I have a master’s degree and a therapeutic background; and tattoos. I went a long way from ‘Bezalel,’ through ‘Lesley College’ for art therapy studies, and then I became fascinated by tattoos. Many years later, I decided to abandon my therapeutic profession and learn to tattoo.

“After two years, because I was always drawn to spirituality and psychology, I started getting bored with just giving people tattoos without understanding who they are and without asking why they want to get that specific tattoo. I began to be a more attentive and interested tattoo artist.”

So, I also began researching the history of tattooing, thinking it would help me be a better tattoo artist, and I discovered there is an entire field of the anthropology of tattoos. For me, it was an explosion. A ‘BIG BANG,’ so to speak. I fell in love with it, and the penny dropped. I realized that this is an art so significant, so important, so close to home and close to the bone, rooted so deep in history, and that its meanings are so profound for a person—much more than some passing trend. It then became my agenda to spread this message and show people its meaning.

“I started writing articles about it and working with a therapeutic orientation. Over time, I developed my own way where I first meet the person coming to get a tattoo and try to understand what brings them to want this specific tattoo at this time in their life, how it relates to other things they are going through in other areas of life, and what they would like to receive from the tattoo on an empowerment level. Then we start designing it together, seeing which stylistic world we are drawing from, researching, and understanding the contexts so we don’t do something we don’t understand. We learn everything necessary about the tattoo, and then it truly becomes a talisman that has an impact on reality.”

Which of your tattoos do you love most?

“The last ones I did. Two Egyptian-style bracelets on my wrists, because I am very connected to Egyptian culture, researching them and studying it deeply—mainly because they dealt extensively with sacred geometry, and their art was the most amazing thing in the world. After about two years as a tattoo artist, I also started two independent fields of research that I integrate into my work: one is the history of tattoos, and the second is sacred geometry.”

Am I mistaken, or does that concept lead me to the “Merkabah” shape?

“Exactly. Sacred geometry is essentially a universal path of shapes and master-patterns that create the universe, showing us that everything in the universe emerges and comes into existence through those same geometric shapes and patterns. These patterns are the result of vibrations, sound. In fact, everything is sound, and sound has a geometric shape.”

How many tattoos did you have when you started thinking of tattooing as a profession?

“I had one tattoo then, really not too many.”

And today?

“Today, it’s not expected to end.”

The 11th Hebrew Language Conference, “Lashon Rishon,” will take place on February 7–10, 2018, in Rishon LeZion.

Interview: Tal Gordon

הפוסט Hebrew Language Conference | Tattoos in Judaism | Lecture by Yasmine Bergner 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 Unframed | Tattoo conference | Professional consultant: Yasmine Bergner הופיע לראשונה ב-גיאומטריה מקודשת.

Photography & Video: Jud 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

(From Hebrew)

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

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 | Performance by Yasmine Bergner הופיע לראשונה ב-גיאומטריה מקודשת.

To download a PDF file of part 2 of the full article

Nassim Haramein 2

הפוסט The Field Child Part Two | Interview with physicist and researcher Nassim Haramein הופיע לראשונה ב-גיאומטריה מקודשת.

To download a PDF file of part 1 of the full article

Nassim Haramein 1

הפוסט Field Child #1 | Interview with physicist and researcher Nassim Haramein הופיע לראשונה ב-גיאומטריה מקודשת.