| Abstrakt: |
In 1967, the Israel Museum in Jerusalem launched Mavochwith great fanfare. Despite its innovative vision, critics swiftly dismissed the exhibition, and both the curator and the artists labelled it a failed experiment. This article revisits Mavochto consider it as a watershed event in Israeli exhibitionary practice. The show is examined in a broader discussion on the genre of labyrinth-based exhibitions on which Mavochwas based. This genre, stemming from the surrealists’ shows in the 1930s and reaching its apex in Europe in the 1960s, heralded a shift in the concept of the museum from an object-oriented space to a dynamic venue of social participation. This article unravels the reasons behind the perceived failure of Mavochand offers insights on the implementation of western display models in geographical and cultural peripheries. |
