BEAD LANGUAGE by Amit Shur feeds off old and new, comprising silver beads with delicate Muslim calligraphy and 3D printing..
(photo credit: SHAI BEN EFRAIM)
Musicians tend to talk about making the most of the universal language at their professional disposal, and searching for personal harmony-inducing common denominators through their craft. That, they – and others – observe, enables the instrumental interlocutors from all cultural, religious and ethnic backdrops, to ebb and flow along a mutually acceptable interface while evading potential political minefields.But there are all sorts of forms of communication. They appeal to different senses and energy levels, and can evoke responses on various levels. The delectable eyeful unveiled at the Museum for Islamic Art a couple of weeks ago which, in English, goes by the somewhat cumbersome name of “Jewelry Making: Past and Present,” conveys a wealth of esthetics and an abundance of cultural import. The Hebrew title of the exhibition is the far more succinct and apt “The Language of Jewelry,” which infers a discourse aspect to the layout.
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