No Respect for Artist in ISRAEL

Artist Motti Mizrahi

Magistrate’s Court TA-03-20
In Tel Aviv – Jaffa
Plaintiff: Moti Mizrahi, ID 004400842
11 Nitzana St., Tel Aviv-Jaffa 6811711
By Attorney Yuval Lippe and / or Nurit Asher Fenig
Moshe Kol St. 1/3, Tel Aviv – Jaffa 6962648
Tel: 052-2923932; Fax: 153-522-923932
– contrary
Defendants: 1. Tel Aviv-Jaffa Municipality
69 Ibn Gvirol St., Tel Aviv-Jaffa 6416201
2. Jordash Israel Ltd., H.P. 512636382
33. Opera Building Hotel Limited Partnership, H.F. 550266308
Both at 1 Sapir St., Herzliya 4685205

The nature of the claim: mercury, violation of moral right, copyright, negligence, contractual, tort, damages
Mental, hurting reputation, doing wealth and not trial, slander
₪ Claim amount: 1,750,000

Exhibit 2 – Attached photograph of the plaintiff dated 14.01.2020, first looking at the pile of debris that was once his work,
The statue “Eastern Kiss” – watching as his pain was evident from his gaze. The anguish and sorrow are evident and reflected in a simple picture
Exceeding any thousand-word description.

Artist Moti Mizrahi
They turned my sculpture into a scrap heap“:
Where did the piece from the Opera Tower go?
Artist Moti Mizrahi spent two years solving the mystery – what happened to the sculpture he created for the opera tower in the 1990s. Only recently revealed that the piece was dismantled and parts of it were abandoned in the building’s parking lot, and he is suing the boutique hotel owners set up there for almost NIS 2 million
By @NaamaRiba

For about two years, artist Moti Mizrahi did not know what the fate of the “Eastern Kiss” sculpture he created for the foyer of the opera tower in the 1990s. It is a large work more than 13 meters high and was familiar to anyone who has ever entered the tower’s entrance floor. But in 2017, after the rights to open a new boutique hotel were acquired, the sculpture disappeared. Only two months ago, after lengthy attempts to include lawyers and municipal officials, Mizrahi discovered that his work had been dismantled and demolished – and abandoned in the building’s parking lot. The artist claims that not only did the Opera Hotel Herbert Samuel not bother to update him that the statue was dismantled – she also tried to deliberately hide the fate of his work.

A view of the balcony from the street, before the renovation. The sculptures in the corners have been preserved (Photo: Sheeran Carmel)

Opera Herbert Samuel Hotel

A huge, tall, bright lobby welcomes guests to the Opera Herbert Samuel Hotel, which recently opened on the ruins of the Opera Tower Mall, at the intersection of Hayarkon, Allenby and Herbert Samuel Streets in Tel Aviv. The mall that died years ago, after planning and redesigning, became another hotel owned by the Nakash brothers – this time a three-story, 115-room beach hotel.

Only the two greenish statues of Motti Mizrachi at its edges remain as evidence of the building’s previous roll. As you exit the dining room onto the terrace, the atmosphere changes suddenly – the busy road and the promenade is bustling.

In the glamorous days of the mall, the lobby area served as a cafe extension, overlooking two floors of shops, with a large sculpture by artist Motti Mizrahi. Today it is a polished space with a bright and shiny stone floor, surrounded by facades covered with white plasterboard, with little artificial vegetation flowing from the metal railings. Mizrahi’s sculpture, by the way, “did not fit the new design,” says public relations officer Ethan Levinstein, “and he waits in the parking lot for the municipality or sculptor to come and take it.”,7340,L-5628358,00.html?sfns=mo

Statement of Claim
A. Introduction:
A. The plaintiff submits this claim on his behalf, but at the same time it has a broad public statement regarding culture and art.
Which is essentially for the benefit of the public, its welfare and its rights, and the blatant and disparaging manner of all those on the part of the defendants,
As reflected by the defendants’ attitude to the artistic aspect in general and public space in particular, and to the shameful and condescending expression
Given by them, not often, to the artist and the art, and especially to the case as to our case, where foreign considerations and money making become the line
Practically guides and constitutes the sole discretion in their relation to the artist and his creation, to the extent that the culture is discarded
And art as a blank, worthless tool and its replacement in a private business project.
B. As we will see in the lawsuit below, the place of the creators and artists whose rights have been enshrined in law and wide-ranging rulings,
Become one of the most insignificant, until the bodies responsible for maintaining and maintaining the rights of the artists
And the plaintiff as part of them, do not even regard this duty as a recommendation and ignore their responsibility grossly and blatantly and the consequences
Stemming from their conduct, knowing that they act on the margins of the law and even outside it, while trampling on fundamental values
Inherent in art and creation.

third. The interest of the claim in the creation of art created by the plaintiff, at the invitation of the defendant 1 and / or the entrepreneur Mr. Alfred Akirov in
1992, which includes the work known as “Oriental Kiss” and the supplementary work “The Fall of the Muses”, for this purpose
Combining them together, as interior and exterior sculptures in the “Tel Aviv Opera” (hereinafter “the Tower”), which is built as a 3-story tower
Commercial and above residential apartments, the first in Israel and the largest in his era.
D. Construction of the building now known as the “Opera Tower” in Tel Aviv for the consolidation of the lots on which Magic Cinema and the San
Remo was completed in 1993. The tower is located near Hayarkon and Allenby streets. In the early 1930s, the area was built
Hotel San Remo. In 1945, a building that functioned as a ‘magic’ cinema was built next to 1948. In the War of Independence it did
In the Navy headquarters building. The first Knesset held its meetings in the “Magic” cinema for more than nine months
1949. Subsequently, the building was transferred to the Tel Aviv municipality, which held the City Council meetings.
The structure of the “Israeli Opera” dates from 1958 to 1982 and hence its name.
God. “Oriental Kiss” – the work created by the plaintiff “Oriental Kiss”, is a sculpture that rose to a height of 13.5 meters
And stood in great glory in the tower’s plaza. The work expresses the history of the building, which is intertwined with the establishment
The state, the acclimatization of all its citizens to its various shades, along with its tradition, values ​​and personal history
Of the plaintiff, his family and his generation, on whom they grew up and brought them with them to Israel, and instilled it from the bottom of their hearts and minds to the whole.
and. In essence, it is said that the work “Oriental kiss” was created by the plaintiff with a mix of impressive techniques and figures
A 3-foot-tall man and woman, accurate to the smallest anatomy details. The plaintiff tried to maintain a motion, thus
That despite the physical statics of the work, it moves in space and time and in a delicate balance between
Heaven and earth, between East and West, humanity and technology, control and static versus freedom of movement. All this, in spirit
‘Operatic’ is appropriate to where it was placed. When the front of the “Opera Tower”, at the entrance, is placed the complementary work
“The fall of the Muses”, in which the accordion, muses and the Israeli spirit in danger of falling are expressed.

Appendix 3 – Contains 4 photographs of the “Eastern Kiss” pieces, with debris left and cigarette butts on them,
. ‘ Welding marks, cutting and brutal destruction of the sculpture for objects scattered side by side, from 15 images in the appendix

1. Mr. Motti Mizrahi

Motti Mizrahi (“the plaintiff” or “the artist” or “the sculptor”), born in 1946 in the Shabazi neighborhood of Tel Aviv-Jaffa,
Old-age parents of troubled parents of Iraqi-Persian origin.
2. The prominent Israeli artist living today and a multidisciplinary international artist, engaged in photography, sculpture, video,
1973 studied at Bezalel Art Academy. The plaintiff has both limbs from childhood as a result and multimedia. In 1969
From a chronic illness that also hurts his vision, he uses the crutches to walk and his disability is often manifested in his various works.
3. Plaintiff’s works are considered from the 1970s to the present day as key works of Israeli art,
Dealing with personal, social and political experience. His works explore relationships between groups in society
In Israel and around the world, dealing with issues of oppression and control of strong groups in weak groups.
4. The plaintiff belongs to a generation that began operating in the 1970s, the conceptual period in Israeli art. His body was then the center
For all his work. His disability and pains were used in performances such as Via Dolorosa, and in the staged footage “Foot with Wing”,
And “King of Jerusalem,” or “Fool on the Hill.” During the 1970s, the plaintiff contacted the school of seminary,
When the common denominator was social, the common denominator was the reference to the content
Personal, cultural and social at the center of the work, returning from abstraction to program form.
5. Throughout the years of work, the plaintiff has received wide international recognition and numerous prestigious awards, including an office award.
Education and Culture for 2002, Culinary Prize for Young Artist of the Israel Museum, Israel Museum of Sculpture Award
Sandberg and more.

Sie haben meine Skulptur in einen Schrotthaufen verwandelt“: Wo ist das Stück vom Opernhaus geblieben?

Der Künstler Moti Mizrahi hat zwei Jahre damit verbracht, das Rätsel zu lösen – was mit der Skulptur passiert ist, die er in den 1990er Jahren für den Opernhaus geschaffen hat. Erst kürzlich wurde bekannt, dass das Stück abgebaut und Teile davon auf dem Parkplatz des Gebäudes zurückgelassen wurden. Er verklagt die dort eingerichteten Boutique-Hotelbesitzer wegen fast 2 Mio. NIS

Naama Riba
Gepostet um 8:11 PM

Der Künstler Moti Mizrahi wusste ungefähr zwei Jahre lang nicht, was das Schicksal der “Eastern Kiss” -Skulptur war, die er in den 1990er Jahren für das Foyer des Opernturms schuf. Es ist ein großes Werk, das mehr als 13 Meter hoch ist und jedem bekannt war, der jemals das Eingangsgeschoss des Turms betreten hat. Nach dem Erwerb der Rechte zur Eröffnung eines neuen Boutique-Hotels im Jahr 2017 verschwand die Skulptur. Erst vor zwei Monaten stellte Mizrahi nach langwierigen Versuchen, Anwälte und Gemeindebeamte einzubeziehen, fest, dass seine Arbeit abgebaut und abgerissen worden war – und wurde auf dem Parkplatz des Gebäudes aufgegeben. Die Künstlerin behauptet, das Opernhotel Herbert Samuel habe sich nicht nur nicht darum gekümmert, ihn über den Abbau der Statue zu informieren, sondern auch versucht, das Schicksal seiner Arbeit absichtlich zu verbergen.

This is what the abandoned mall looks like two years ago: The sculptor of the artist Motti Mizrahi did not fit the new design and he waits in the parking lot until the municipality or sculptor collects it (Photo: Sheeran Carmel)

#mottimizrachi #sculpture #destroy @telaviv.yafo no #respect for #artistwork Even The Artist dont bekomme Respekt in ISRAEL:!!


EVENT LOG: If you want to announce your event in EstherArtNewsletter please fill out the form.

Leave a Reply

Please log in using one of these methods to post your comment: Logo

You are commenting using your account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s