“Synagogues of Greece: Light and Shadows” by Samuel Negrin & Ioannis Panagakos
Ξεκινώντας από τη μεγάλη συναγωγή της Αθήνας, και έπειτα από μήνες περιηγήσεων στις άκρες της χώρας, οι δύο φίλοι επέστρεψαν με εκατοντάδες φωτογραφίες, από τις οποίες γεννήθηκε η ιδέα της έκθεσης.
The camera unveils secret places, explores corners overlooked by the unsuspecting eye, caresses vessels laden with memories and symbolism, stands silently before sacred objects, discovers simple forgotten details, fingers the traces of time on the well-worn pews and age-old stones. It follows the light that travels through the buildings, along the walls, over the sacred vessels and watches the game light plays with the shapes it touches.
These photographs are not an attempt to make an architectural or historical record. The two photographers make no attempt to describe or relate anything. On the contrary, their aim was to use the camera to capture the atmosphere of the places they stopped at. With their different religious backgrounds, the two artists observe, sense and immortalise the singular feel that exudes from the places they are in – places of faith and worship that, even when deserted, retain a mystic radiance that permeates the visitor and is captured with unique sensitivity by the lens. The intuitive eyes of the two photographers guide the visitor on a private tour round the places of worship of the Jews of Greece.
The artists’ decision to use black and white film was a spontaneous one. They both agree that only black and white images can convey the mystic sense that these places exude. The absence of human forms from every image, every frame, enhances the effect. The photographers’ decision to capture the synagogues with no hint of human presence means that the objects become all important and the place is free to converse with the light. And it is precisely this dialogue between light and textures that makes the images vibrant, gives them a peculiar, ethereal feel of peace and warmth, and conveys the sanctity of the places with exceptional felicity and delicacy. Alone and free, the objects speak about the touch and the presence of the people who are not there, and who – in some cases – never will be again.
The exhibition lasted from May 2005 to spring 2006 and was presented at the Benrubi’s Contemporary Art Hall.
