by Adam Baruch, The Israeli Magazin "SHISHI" ("Friday") June 1997.
Ziva Postec's film on Moshe Gershuni, shown on Israeli Channel 8, clearly proves that there is greatness in Israeli painting; greatness that, coming from its small place (Israel) and time of origin (the nineties), addresses all places and all times.
What is greatness? Well, it is what is often referred to in international language as "grandeur". Deep inspiration, a close link to time and traditions, and a superb style – this is the basis from which the artist works, and in accordance to which viewers and critics respond. And it all boils down to present – not alleged, not guessed – greatness.
Postec made her film on Gershuni as a Spaniard would on the Spanish Tàpies , or as a French would on the French Poliakoff, or as an American would on the American Morris – out of quiet confidence in the quality of the capital at hand. Biography? Now that's a biography! Persona? Now that's a persona! Plus, memory is both personal and collective, everything is full and fulfilled, and the painting magically responds to the artist's will. Gershuni's work is not only painting but also memory; it is text and gesture, a cabaret, religious and sacrilegious. And Gershuni's singing completes the painting. Some things are best sung or chanted.
Postec's film is for those who have not yet buried themselves in art-speech, or at least for those who are trying to free themselves of it for a while, so that they don't end their days in tedious discourse. But really, this film is for everyone.