The Museum

The Museum

Museum Front

The Museum is situated in a building that served as a military post and its facade was damaged by battles.

Museum Front

The Museum on the Seam is a socio-political contemporary art museum located in Jerusalem. The Museum in its unique way, presents art as a language with no boundaries in order to raise controversial social issues for public discussion. At the center of the changing exhibitions in the Museum stand the national, ethnic and economic seam lines in their local and universal contexts.

The Museum is committed to examining the social reality within our regional conflict, to advancing dialogue in the face of discord and to encouraging social responsibility that is based on what we all have in common rather than what keeps us apart.

Between May 2005 and June 2008 the Museum has presented a series of exhibitions on the theme of human rights. The series was opened with DEAD END that dealt with the threat that violence poses to our social fabric.

The second exhibition in the series EQUAL AND LESS EQUAL opened in September 2006. It dealt with work/slavery and exposed the distressed existence of man in a world of globalization and migration.

In the summer of 2007 BARE LIFE opened at the Museum, the third exhibition and last in the series dealing with human rights. The exhibition, which closed in June 2008, dealt with the disintegrating line between abnormal and normal situations. The exhibit pointed to the dangerous place where a temporary emergency situation can be turned into a legitimized status quo accepted by the silent majority, a situation that can in the end lead to a paranoia of suspicion and to the use of violence to re-establish public order.

Exhibition HEARTQUAKE, which was dedicated to exploring anxiety in its local and universal contexts, was opened in July 2008. HeartQuake tried to expose and to accentuate people’s emotional confrontation with their surroundings, and through the prism of anxiety to examine their responses as injurers and as injured - with the aim of understanding and influencing the dynamics of social and political relations.

In May 2009 NATURE NATION opened at the Museum Nature Nation is based on diverse aspects of distinctions, positions, beliefs, ideologies, and social, political and economic points of departure that explore the complex encounter between man and the environment and between man and nature. The exhibition proposed a critical reading, which presumes that the encounter between them is a mirror for broader phenomena. This mirror reflects the crisis in the relations between man and nature, which finds expression in neglect, conquest and deterioration.

In January 2010, exhibition HomeLessHome opened at the Museum. HomeLessHome aspired to investigate the relationship between the private home and the state. It studied the formal and functional similarity between the two spaces which enabled the definition of both as "home" (the national home), and the difference between them, which traditionally places the former in the private (or natural) sphere and the latter in the political sphere. The difference was explored in light of the traditional placement (since Aristotle) of the home as the "other" of the political, containing what has been removed from it, and thus defining the contours of the political, which it may not trespass. The home is seen as something "natural", as a space dominated by needs that are of no interest to the designed public space. Its interior is identified as a private, safe space, beyond the reach of legitimate intervention of the state.

The difference will be explored in light of the traditional placement (since Aristotle) of the home as the "other" of the political, containing what has been removed from it, and thus defining the contours of the political, which it may not trespass. The home is seen as something "natural", as a space dominated by needs that are of no interest to the designed public space. Its interior is identified as a private, safe space, beyond the reach of legitimate intervention of the state.

In October 2010 The Right to Protest was opened at the Museum.

At a time of differing and various ideologies - distinct from one another, mutually remote in their location on the political spectrum and moreover, mutually hostile - Israeli society is divided in its protest; it seeks a solution for its difficulties, it is split and fractured, with profound rifts both within itself, and vis-ˆ-vis its Palestinian neighbours. This marks the onset of a debate occurring in this exhibition, on the affinity between ideology and artistic creativity. That creativity sets out for us the ideology, by means of the artist serving as moral compass between contradictions and opposites. No artist can give way on the connection between his creativity and reality; nevertheless, according to Nietzsche, no artist can "tolerate reality". Creativity would not exist in the absence of reality, and the artist's work consists of building, between it and himself, a bridge that we onlookers are invited to stride across to encounter it on the other side. That is not for the purpose of getting us to accept the simple and straightforward interpretation arising from the work; rather, it leads us to deconstruct its components, to interpret their significance and decipher the hints which generally evade our eyes. This is the opportunity granted us by a work of art, to regain the sensations we have forfeited and acquire new sensations

 

 

The Museum is situated in a building that was built in 1932 by the Barmki family. Following the war of 1948 until the six days war of 1967, the building served as an army outpost on the border between Israel and Jordan alongside the Mandelbaum Gate that connected the divided city.

Between 1970 – 1997 the museum featured a permanent exhibition about the reunification of the city.
Between the years 1999 - 2005 an interactive exhibition on tolerance understanding and coexistence was on display Since 2005 the building serves as a socio-political contemporary art museum, initiated by the designer and curator Raphie Etgar due to the ongoing generous support of the von Holtzbrinck family of Germany.