Event DetailsFebruary 2, 2021 – December 31, 2021
The Artists House, Tel AvivElharizi 9
Tel Aviv, Israel
Mural on the eastern wall of The Artist House in Tel Aviv
Curated by Vera Pilpoul
‘An Allegorical Wedding’ (1906) is a sketch of a rug painted by Efraim Moshe Lilian for the Bezalel carpet workshop. It was prepared as an outline for a rug that was supposed to be given as a gift to the president of the Zionist world congress, David Wolfson, for his jubilee wedding. The outline is composed as a triptych. In the middle, there is a wedding, on the right-hand side “exile”, with the figure of the prophet Jeremiah who foresaw the destruction of Israel and the exile to Babylon, and on the left-hand side an illustration of “redemption”.
Nouli Omer’s work is a large-scale print of embroidery she made as a tribute to Lilian’s work. The printing is 6 square meters large and will be presented on the eastern wall of The Artist House in Tel Aviv during the next few months.
Omer presents a contemporary humoristic and critical interpretation of Lilian’s work. She explains: “I chose Allegorical Wedding by Lilian since I was able to give it a twist of my own, which expresses my perspective on the one hand and a contemporary reality on the other. I was drawn to the work’s spectacular color, composition and the painting itself as well as the innocence that evokes from it.”
Lilian’s allegory depicts a wedding of Israel and Zionism. The groom is dressed in red and brings to mind Tiglath-pileser III, king of Assyria, as he is depicted in embossments from Assyria, the woman is a representation of a typical Israelite woman. On both sides, enslaved persons are holding the “Wedding canopy pillars”. But, in the allegory of 2021 the Allegorical Wedding is between an Israeli woman and enlightenment.
During the last two years, Omer has been working on a series of embroideries addressing canonical works of art. She makes them with a feminist contemporary, humoristic, and often critical and defiant attitude.
The original work according to which the printing was made, is an embroidery on jute, 130 on 55cm large. Here Omer wishes to present a utopian reality where gender is natural and cheerful, colorful and unapologetic. Instead of Jeremiah on the right-hand side, symbolizing exile in Lilian’s original painting, Omer painted Miriam the prophet dancing with her tambourine. The bride is pregnant, wearing a floral dress as opposed to a virgin white dress as usual, while the groom, in fact, is wearing white as a symbol of virginity and internalizing gender equality. The people holding the canopy are four transgenders, and on the left, there is an embroidery of a bird, a symbol of freedom that accompanies Nouli Omer always.