Museum environment

Hallel. Carmel. Bezalel

The Exhibitions:
Halel. Carmel Winery
'Judaica Now!':
Goblets and Kiddush Cups
of the Bezalel School

These two exhibitions: "Halel. Carmel Winery" and
"'Judaica Now!': Goblets and Kiddush Cups of the Bezalel
School" focus on two pioneering phenomenon. Both of them,
each one in its own specific field, established a material
and cultural infrastructure for the renewal of the Jewish
settlement in Eretz Israel. The two integrated exhibitions
presented here show the primary aspects where these two
enterprises overlap. The principal point here is the fact that
their produce, wine in Rishon Le‑Zion and art in Bezalel,
symbolized the regenerated Jewish settlement. Moreover,
most of their products were purchased by Jews in the
Diaspora as an emotional gesture of love for Eretz Israel
together with a contribution for the realization of the idea
for its settlement.
The "Halel. Carmel Winery" exhibition tells the story of
the winery from its historical perspective. The winery
symbolized the realization of the dream of settling
Eretz Israel. Thus, it became a source of pride and a center
of attraction for the leaders of the people and the world
who pinned their hopes on it and visited the winery. The
historical exhibition aims to show how innovative the
Rishon Le-Zion winery was during its early years as it was
recognized as the prominent modern agricultural-industrial
plant in the Middle Eastern region. The winery played a key
role in the economic life of Rishon Le-Zion and the Jewish
settlements in the surrounding area. The exhibition displays
its development, achievements, challenges, transitions,
connections with the Diaspora and how it influenced
Rishon Le-Zion and the Yishuv in Eretz Israel. The exhibition
focuses mainly on the first few decades of the winery's
existence which were also the most momentous years in
its history, during which a modern industrial model was
developed leading to a breakthrough in the country.
The Bezalel exhibition 'Judaica Now'!: Goblets and
Kiddush Cups of the Bezalel School"is displayed from the
contemporary artistic standpoint. In this exhibition also
some 48 exhibits of contemporary wine and Kiddush cups,
handmade by artists and designers belonging to the Bezalel
School, are displayed. The philosophy and artistic language
of the School's members, men and women, were apparent as
expressed in the holy vessels and articles. The participants in
this group show had all attended Bezalel either as students
or teachers, some served as department heads. A large
group among these artists later became the elite of leading
Judaica artists, whose creations now enrich the collections of
important museums in Israel and throughout the world.

Curators:
"Hallel. Carmel Winery": Yona Shapira
"'Judaica Now!': Wine goblets and Kiddush cups of the
Bezalel School": Dr. Shirat‑Miriam Shamir, Ido Noy


הלַלֵּ. כרמל. בצלאל
התערוכות:
הַללֵּ. יקב כרמל
'יודאיקה עכשיו!':
כוסות וגביעי יין לקידוש
של אסכולת בצלאל

שתי התערוכות עוסקות בשני מפעלים חלוציים: יקב ראשון־לציון
ובית הספר לאמנויות "בצלאל". שניהם, כל אחד בתחומו, הניחו
תשתית חומרית ותרבותית ליישוב היהודי המתחדש בארץ ישראל.
שתי התערוכות המוצגות במשולב, מציגות את נקודות ההשקה בין שני
המפעלים. העיקרית שבהן היא העובדה שתוצריהם, היין ואמנות בצלאל,
היוו סמל ליישוב היהודי המתחדש ונרכשו על ידי יהודי הגולה כמחווה
רגשית של אהבת ארץ ישראל וכתרומה למען הגשמת הרעיון של
יישובה. היקב מוצג מן הזווית ההיסטורית ואילו בצלאל מוצג מנקודת
מבט אמנותית עכשווית.
היקב היה סמל להגשמת חזון יישוב ארץ ישראל, מקור לגאווה ואבן
שואבת למנהיגי עם ועולם שנשאו עיניהם אליו וביקרו בו. התערוכה
"הלל. יקב כרמל" מבקשת להציג את החדשנות של יקב ראשון־לציון
בשנותיו הראשונות כמפעל תעשיה חקלאית מודרני הבולט במרחב
המזרח התיכון ועומד במרכז חיי הכלכלה של ראשון־לציון ומושבות
הסביבה. בתערוכה מוצגים התפתחותו, הישגיו, אתגריו, גלגוליו,
קשריו עם הגולה והשפעתו על ראשון־לציון ועל הישוב בארץ־ישראל.
עיקר התערוכה עוסק בעשורים הראשונים לקיום היקב שהיו השנים
המשמעותיות בתולדותיו שבמהלכן עוצב בו מודל תעשייתי חדשני
ופורץ דרך בארץ.
התערוכה, "׳יודאיקה עכשיו!׳: כוסות וגביעי יין לקידוש של אסכולת
בצלאל" מציגה 48 גביעי יין וקידוש עכשוויים מעשה ידיהם של אמנים
ומעצבים השייכים לאסכולת בצלאל. מהתערוכה ניבטת תפיסת העולם
ושפתם האמנותית של חברי וחברות האסכולה כפי שאלו מקבלות ביטוי
בתשמישי קדושה. משתתפי התערוכה הקבוצתית, עברו כולם בבצלאל:
בין שלמדו או שלימדו בו או בין שהובילו אותו כראשי המחלקות. חלק
נכבד מאמנים אלה נעשו לאמני היודאיקה המובילים, שיצירותיהם
מעטרות את אוספי המוזיאונים החשובים בישראל ובעולם.

אוצרים:
הלל, יקב כרמל: יונה שפירא
'יודאיקה עכשיו!': כוסות וגביעי יין לקידוש
של אסכולת בצלאל: ד"ר שירת־מרים שמיר ועידו נוי

Modeling of the transport (fluxes) of gaseous air pollutants to the surfaces of paintings installed inside six different microclimate frames (mc-frames) was performed. Mc-frames are used to protect paintings against the external environment and to provide climate buffering. However, some can trap potentially harmful gases, especially acetic acid, which may be emitted inside the frames. A steady-state mass balance model was used to evaluate how changes in three factors (the ventilation rate, the volume of the mc-frame, and the inclusion of a pollutant absorber) would affect the concentrations of gaseous air pollutants transported to the paintings in the frames. The modeled impact to the paintings was determined to be higher inside than outside for two of six mc-frames when exposed to a 50/50 mixture of acidic (acetic plus formic acid at 100 µg/ m 3) and oxidative gases (nitrogen dioxide plus ozone at 2 µg/m 3). The concentrations of the pollutants were selected to provide clear degradative effects on the paintings. The modeling indicated the most effective way to reduce the potential pollutant impact on paintings in mc-frames is to reduce both ventilation and volume, and to also install a pollution absorber. TITRE—L'effet des polluants atmosphériques sur les peintures: une évaluation de la performance des cadres-boîtiers microclimats au moyen d'une modélisation RÉSUMÉ—On a effectué une modélisation du mouvement des polluants gazeux vers la surface de peintures placées à l'intérieur de six cadres-boîtiers microclimats différents. Ces cadres-boîtiers sont utilisés pour protéger les peintures contre l'environnement extérieur et pour fournir des conditions climatiques stables. Toutefois, ils peuvent piéger des gaz potentiellement nocifs, en particulier l'acide acétique, qui est souvent présent à l'intérieur des cadres. Un modèle de distribution de masse dans un régime d'équilibre dynamique a été utilisé pour évaluer comment les changements dans trois facteurs (le taux de ventilation, le volume du cadre-boîtier et l'utilisation d'absorbants contre les polluants) peuvent affecter la concentration de polluants gazeux en mouvement vers les peintures dans les cadres. L'impact sur les peintures s'est avéré plus élevé à l'intérieur de deux des six cadres-boîtiers, comparé aux conditions extérieures, lorsqu'ils sont exposés à un mélange 50/50 d'acides (acétique et formique, 100 µg/m 3) ou d'oxydants gazeux (dioxyde d'azote et ozone, 2 µg/m 3). Les concentrations de polluants ont été sélectionnées pour fournir des effets clairs de dégradation sur les peintures. La modélisation a indiqué que le moyen le plus efficace pour réduire l'impact potentiel des polluants sur les peintures dans un cadre-boîtier microclimat est de réduire la ventilation et le volume intérieur d'air, ainsi que d'utiliser un absorbant contre les polluants. TITULO—Cargas de impacto de contaminantes del aire sobre pinturas de caballete: Evaluación del rendimiento por medio de modelos para marcos microclimáticos RESUMEN—Se hicieron modelos de transporte (fluxes o movimientos unidireccionales) de contaminantes gaseosos del aire sobre las superficies de pinturas de caballete instaladas dentro de seis marcos microclimáticos (marcos-mc). Los marcos-mc se utilizan para proteger las obras contra el medioambiente externo y proveer mitigación del clima. Sin embargo, algunos marcos pueden atrapar gases potencialmente dañinos, en especial el acido acético, que puede ser emitido dentro del marco. Se utilizó un modelo de balance de masas en estado estacionario para evaluar como los cambios en tres factores (la tasa de ventilación, el volumen del marco-mc y la inclusión de un producto para absorber contaminantes) podrían afectar la concentración de los contaminantes gaseosos transportados a los lienzos dentro de los marcos. Se determinó por medio de este modelo que el impacto sobre los lienzos era mas alto por dentro que fuera del marco en dos de los seis marcos cuando eran expuestos a una mezcla 50/50 ácida (acido acético mas acido fórmico a 100 µg/m 3) y gases oxidativo (dióxido de nitrógeno mas ozono a at2 µg/m 3). La concentración de los contaminantes fue seleccionada para simular claramente los efectos degradantes en los lienzos. Este modelo indicó que la manera mas efectiva de reducir el impacto potencial JAIC 50 (2011):105-122 106 TERJE GRØNTOFT, SUSANA LÓPEZ-APARICIO, MIKKEL SCHARFF, MORTEN RYHL-SVENDSEN, GUILLERMO ANDRADE, MICHAŁ OBARZANOWSKI, AND DAVID THICKETT en los lienzos dentro de marcos-mc es reducir la ventilación y el volumen y adicionalmente instalar un producto que absorba los contaminantes. TÍTULO—Impacto de poluentes do ar em pinturas: avaliação de performance através de modelos para molduras de microclima RESUMO—Foram realizados modelos do transporte (fluxos) de gases poluentes sobre a superficie de pinturas instaladas dentro de seis molduras diferentes de microclima (mc-moldura). Mc-molduras são usadas para proteger as pinturas contra o ambiente externo e para servir como barreira climática. No entanto, algumas podem acumular gases potencialmente nocivos, especialmente o ácido acético, que frequentemente é emitido dentro das molduras. Um modelo de massa em estado de equilíbrio foi utilizado para avaliar como três fatores de mudanças (nível de ventilação, o volume da mc-moldura, e a inclusão de um absorsor de polutentes) afetariam a concentração de gases poluentes do ar transportados par as pinturas dentro das molduras. O impacto do modelo nas pinturas foi maior dentro do que fora em duas das seis mc-molduras quando expostas a mistura 50/50 de gases ácido (acético mais fórmico a 100 ug/m 3) e gases oxidantes (dióxido de nitrogênio mais ozônio de 2 ug/m 3). As concentrações dos poluentes foram selecionadas para fornecer efeitos degradativos semelhantes nas pinturas. O modelo indicou que o meio mais efetivo de reduzir o impacto poluente potencial nas pinturas dentro das mc-molduras é reduzir ventilação e volume e instalar um absorsor de poluição.

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