The proliferation of news platforms, ceaselessly and breathlessly pumping out “breaking news” and other information may provide a semblance of keeping up to date with developments around the world. Naturally, however, what we get to see, hear and read is generally channeled, edited and crafted to suit some political agenda so that we get to see evidence of some occurrence or other, but the angle of coverage may veer broadly across the different media outlets.
Another, more latent, downside of being subjected to a 24/7 barrage of news items is that we tend to become inured to the – more often than not, distressing – content of the events flashed onto our screens. Yigal Bareket gets that, and he says his colleagues behind the Incomplete photography initiative do too.
The Incomplete open air exhibition – the title refers to the fact that Israeli society will not be complete again until all the hostages come home – was launched outside Hechal Hatarbut in Tel Aviv, opposite the Eyal Ofer (formerly Helena Rubinstein) Pavilion, on May 29 and is due to run though to June 28. The show features 24 photos that reference activities relating to the hostages and the ongoing campaign to achieve their release.
“The hostages HQ team incorporates a group called BFF – Business for Families,” Bareket explains. “It is a group of business companies that supports the families of the hostages, not so much with donations but more with logistics and other things.” Bareket, who earns his keep as Marketing VP of Bank Hapoalim, one of the sponsors of the exhibition, is an enthusiastic amateur photographer in his spare time.
The dangers of overexposure
He points to the dangers of overexposure to the news. “Our greatest battle is to make sure people don’t forget the hostages – that was there from the start. This is not only about getting them released, but also about keeping public opinion trained on this and keeping the public aware and conscious of what is going on. The story constantly appears in the headline and people get used to it, and respond less.”
Visual images are generally a good means for achieving that, and the Incomplete backroom personnel includes heavyweights from relevant fields. The name Dana Wohlfeiler-Lalkin stands out brightly. She is the brains and vision behind the Local Testimony and World Press Photo exhibition that has been taking place annually at Tel Aviv’s Muza – Eretz Israel Museum for over 20 years.
Bareket, Wohlfeiler-Lalkin, and the other members on the Incomplete jury had their work cut out for them sifting through over 650 entries sent in by more than 250 photographers, professional and amateur alike, and whittling them down to just 24 representative exhibits that tell the story behind the hostages story.
“The idea was to get new material from photographers, to keep interest in the plight of the hostages in the public eye,” Bareket notes. “I got Itamar Peleg from Yoman Massa [aka Travelog] on board. That helped with contacting photographers.” Travelog specializes in concept trips around the world and documentary work.
Judging by the sneak preview of some of the prints I was sent, the full spread should achieve the sought after impact. Bareket says the idea was to appeal to a range of senses. “Some of the photographs are documentary, some are crafted and artistic. It is an eclectic collection.” Other than a few artistic creations, which include a chilling monochrome work by Shavit Vos, the vast majority of the entries were governed by the proviso that there should not be excessive editing, cropping and other manipulation.
Bareket says he is happy the exhibition is taking place and hopes it has the desired effect. But he says he would be happier were there no need for the event in the first place. “I hope that when we put up the exhibition, we are told to bring it down, because the hostages have been released – that is my most fervent wish.” Amen.