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Joshua Simon born , Tel Aviv , is a curator, writer, publisher, cultural critic, poet, filmmaker and public intellectual.

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He currently lives in Philadelphia, PA. Simon is former director and chief curator at MoBY-Museums of Bat Yam, Israel , which made him the youngest museum director in the history of the country.

The debut exhibition, I Slept With Ari Libsker , gained mythical stature as several artists in it went on to become prominent cultural figures in the city and worldwide, namely Roee Rosen , Zoya Cherkassky and Roy Chicky Arad.

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Simon is signed as curator on some seminal exhibitions in the Israeli art scene and internationally. In he curated Sharon, an exhibition which is considered the first to introduced a class reading to the imagery of the Occupation.

In , at the age of 28, Simon curated The Rear - The First Herzliya Biennial for Contemporary Art, [1] which was a multi-venue art event at the Herzliya Museum of Art and in non-art spaces around the coastal city, with new works commissioned from 75 artists. That same year Simon co-curated with Maayan Strauss and Roy Chicky Arad the exhibition Doron, around a key Israeli collector Doron Sabag , and the relation of him being a key donor to museums to his business in human resources and the deteriorating workers rights in the local labor market.

It has been argued that the fact that Sabag is on the board of directors of the Tel Aviv Museum of Art, blocked Simon from being seriously considered for the position of chief curator at the Tel Aviv Museum of Art a decade later.

Simon headed the theory studies at the Postgraduate program, Hamidrasha School of Art, Beit Berl College , which he helped to set up During his tenure at MoBY - Musesums of Bat Yam, Simon initiated an international programming with group and solo-shows which traveled around the world.

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The book Neomaterialism , examines the meaning of materialism today, as materiality has been supposedly defeated by financial and digital operations. Since the so-called dematerialization of currencies and art practices in the late s and early , we have witnessed several shifts the book claims: the focus of labor has moved from production to consumption, the commodity has become the historical subject, and symbols now behave like materials brands etc.

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Neomaterialism explores the meaning of the world of commodities, and reintroduces various notions of dialectical materialism into the conversation on the subjectivity and vitalism of things.

At the height of the influence of Object Oriented Ontology and speculative realism in contemporary art circles, the book provided a much needed critique of these trends of re-fetishization and de-contextualization.

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Putting debt at the center of the contemporary experience, the book explores our material culture following the crisis and the attempts to secure the art market. Simon put forward several concept in the book, such as the unreadymade, [4] sentimental value, and the promise of the dividual as a means for a vocabulary in this new economy of meaning. Reflecting on the general intellect as labor and the subjugation of an overqualified generation to the neo-feudal order of debt finance — with a particular focus on dispossession and rent economy, post-appropriation display strategies and negation, the barricade and capital's technocratic fascisms— Neomaterialism merges traditions of epic communism with the communism that is already here.

Neomaterialism has been taught in several art programs around the world, and generated several reading groups in Europe, the UK and the US.

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In his book Joshua Simon describes and analyzes the growing weight of the technical, economic, material basis of our society. The author's sensibility for today's Zeitgeist is at the same time entertaining and precise.

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Credit card purchases and mortgage settlements may feel abstract at first. But debt brings its material truth home to you: you do not own that new computer, TV, car or flat; they own you. The book had numerous print runs.

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Initially planned to operate for six months, the gallery re-opened after a few months in Haifa under the directorship of Natalie Levin, and operated there for two years.

Since the late s, Simon has been working closely with poet and writer Roy Chicky Arad on a number of initiatives in Tel Aviv. Together they founded The University of Shenkin and The Free Academy for which Simon opened the Art Pavilion in his apartment , two platforms of nomadic study that were hosted by art schools and art festivals, theatres and schools.

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Out of these initiatives came out a travelling poetry reading program that Simon and Arad initiated, which in turn morphed into Guerilla Culture — a platform of poets and activists who organized poetry demonstrations and publications throughout the s. Parallel to these projects in poetry, since the Simon has been writing and directing short films as a member of the group of filmmakers Baboon, together with Tom Shoval, Daniel Adar, Michael Hanegbi, Adam Sanderson and Oren Shay.

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Simon is the author of the poetry book National Citizens. In the first issue of Maayan he published a list called "The Prince", exploring his life and views on the world from A to Z. Since then he wrote essays for the magazine and translated for it songs by Woody Guthrie and Pete Seeger among others.

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Originally, Maarvon was intended as an extended supplement to Maayan Magazine dedicated to cinema and film, but eventually it grew to become an independent film magazine. The magazine also included a column by artist and filmmaker Roee Rosen issues While expanding the writing on contemporary cinema in Hebrew, the magazine made it its goal to look carefully into Israeli film history and present, with essays on sub-genres and rediscovered figures, funding conditions and theoretical blind spots, films by female filmmakers, overview of themes and styles.

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In recent issues the magazine has been focusing more and more on the shift from montage to the digital. It has dedicated special issues to filmmakers such as Jean Luc Godard , Alexander Kluge , Hito Steyerl , Harun Farocki and others, as they have portrayed the shift from visualising the totality of the social through montage to an exploration of the totality of capital in the digital.

Simon also contributed to the magazine essays on Israeli cinema, on finance and psychosis, and on contemporary romantic comedies of the s and Bromance movies, among other subjects.

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In the media magazine Firma a supplement of Globes Financial News , Simon has published articles from on various issues. Simon contributed to the culture section of the daily newspaper Globes with art reviews and interviews and was the newspaper's art critic and contributor to the paper's Op-Eds.

The column, "Close to Home," was key to define the changes the city has undergone in its leadership's attempt to position it as a Global City.

In his column, Simon observed urban developments and gentrification trends, gave voice to right to the city movements and expanded on the intertwined political and architectural meaning of public sphere.

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From Wikipedia, the free encyclopedia. This article is about the Israeli art curator. For the Singaporean radio presenter, see Joshua Simon radio presenter.

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Haaretz Daily. Retrieved August 9, Retrieved August 8, Retrieved August 11, Sternberg Press.

Frieze Magazine. Retrieved August 10, Domus International. Platform for Art, Culture and the Public Domain.

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January 31, Retrieved August 6, Mousse Magazine. Text zur Kunst. Retrieved August 12, Categories : Israeli film directors Israeli curators Israeli journalists Living people births.

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