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By: Fern Sidman And David Ben Hooren
The Nova Music Festival Exhibition is an in-depth remembrance of the brutal October 7th attack as it brings the events of that tragic day and the “Tribe of Nova” festival in southern Israel to New York City. The installation, aptly named “October 7th 06:29 am–The Moment Music Stood Still” recreates an event dedicated to peace and love that was brutally cut short by Hamas’s attack on Israel from Gaza on a day that will never be forgotten. This groundbreaking installation is open to the public and located at 35 Wall Street in lower Manhattan. Presented as a way to empower visitors to responsibly explore the events of October 7 and its aftermath, The Nova Exhibition transforms a 50,000 square foot venue, introducing New Yorkers to one of the largest historical installations ever presented.
The Nova Music Festival founders, including Omri Sassi, Yoni Feingold, Ofir Amir and Yahil Rimoni gathered once again to conceive a wide & in-depth remembrance that was created, directed and written by Reut Feingold. They partnered with those in the United States including prominent record industry executive Scooter Braun, as well as Joe Teplow, Josh Kadden and many more supporters, to ensure that this important project became a reality. The exhibition premiered in Tel Aviv for 10 weeks to thousands who witnessed and remembered the lives lost.
Together, they have created a sacred space echoing the weight of the victims’ and survivors’ memories, surrounded by remains salvaged from the festival grounds—scorched cars, bullet-riddled bathroom stalls, and personal belongings all left behind.
Visitors are invited to join a plea for the safe return of the 130 hostages who are still held in captivity by Hamas terrorists. Nova survivors of the brutal attack will be attending, to bear as witnesses to the tragedy they experienced that day.
Beyond the brutality and evil that occurred on October 7, the exhibition captures the enduring spirit of the Nova Tribe with the installation of a healing tent. This special structure is a lighthouse declaring “We will dance again.” This vow is a powerful affirmation of resilience and defiance in the face of terror, a collective commitment to reclaim joy and celebration despite the shadows cast by tragedy.
The artifacts on display are not mere objects; they are relics of a day marred by violence and chaos, each item telling its own poignant story. Among the gathered pieces are empty liquor bottles, remnants of revelry turned to ruin; camping tents, once cozy retreats, now silent witnesses to terror; bullet-pocked portable toilets, stark reminders of the battlefield the festival grounds became; and charred cars, their frames twisted in testament to the fury of the attack. Personal items such as sneakers, jewelry, T-shirts, and more dot the exhibition space, each a fragment of a life interrupted.
Adding a deeply personal dimension to the exhibition are the survivors of the Nova Festival, who are present to share their harrowing testimonies and eyewitness accounts. Their presence brings a human face to the tragedy, bridging the gap between the past horrors and the present memories, making the past atrocities palpable and immediate for visitors.
Scooter Braun spoke of the vital importance of the exhibition in a heartfelt statement: “October 7th is a day tragically etched into our history, but music must remain a safe place,” he said. His words resonate with the underlying mission of the exhibition—to honor those lost, while also highlighting the ongoing plight of the remaining hostages still held under dire conditions in Gaza. “Bringing the Nova Music Festival to New York City honors those who were taken from us too soon; while reminding us of the progress we still need to make to bring the hostages home,” Braun continued. His call to action is clear: the music community must not forget the victims, and it must advocate for the safety and release of the innocent.
Braun, whose grandparents survived the Holocaust, was profoundly moved during his visit to the Nova Music Festival Exhibition in Tel Aviv. Recognizing the profound impact of the exhibition, Braun felt a compelling need to bring this powerful showcase to the United States. His motivation was twofold: to amplify the voices of survivors, who had inspired him with their resilience, and to address his growing frustration with the lack of attention the tragedy had received within the industry he had been part of for two decades.
Braun expressed a fervent desire to refocus the conversation around the events, stressing that the core issue transcended political boundaries. “These kids just wanted peace… I want to give them a voice and have the community see that this isn’t about politics,” Braun told Kirsten Fleming, an op-ed contributor at the New York Post, emphasizing that the essence of the conflict should be seen through the lens of humanity and the universal language of music, not through the divisive perspectives often portrayed.
His frustration is highlighted by the contrast in the global response to other attacks involving the music community. Speaking to Fleming, Braun recalled the overwhelming solidarity and quick action following the 2017 suicide bombing at an Ariana Grande concert in Manchester, England where the music world united in grief and defiance. As was indicated in the Post report, major artists such as Chris Martin, Katy Perry, Robbie Williams, and Justin Bieber rallied around the cause, culminating in a benefit concert that not only raised funds but also demonstrated the industry’s collective resilience and commitment to combating terrorism.
Braun drew parallels between the ideologies motivating the attackers in Manchester and those behind the Nova Music Festival tragedy, shining a spotlight on a consistency in the extremist beliefs that led to both atrocities, the Post report affirmed. His comments reflect a deep-seated anger about the selective outrage and support within the music industry, pointing out the disparities in how these events were addressed and remembered.
Through his efforts to bring the Nova Music Festival Exhibition to a broader audience in the United States, Braun is not just seeking justice or recognition for the victims; he is challenging the music industry and the wider community to acknowledge and respond to violence against music lovers worldwide. By doing so, Braun hopes to ensure that music remains a safe space for expression and enjoyment, free from the shadows of violence and fear. This initiative represents not only a tribute to the victims but also a call to action to uphold the sanctity of music as a universal bond that transcends cultural and political divides.
The exhibition also draws a poignant comparison with the nearby 9/11 Memorial Museum. Organizers note the similarities in how both sites serve as solemn repositories of objects that encapsulate moments of national and personal tragedy. The Nova exhibition, like the 9/11 Memorial, becomes a place where the public can engage with the tangible evidence of terror to better understand the enormity of the events and the depth of the grief.
For Yarin Ilovich, a DJ who witnessed unimaginable horror, this exhibition serves a crucial purpose: ensuring that the truth of that tragic day is never forgotten. “For me, it is most important that they know what really happened there,” Ilovich emphasized, according to a report on NY1.com.
It was 6:29 a.m. when Yarin’s partner, Nimrod, abruptly instructed him to stop the music. Confusion turned to horror as it became clear that this was no ordinary emergency. “Shut down? Yes, it’s a code red,” Nimrod said, signaling the gravity of the situation, as was indicated in the NY1.com report. Almost immediately, the festive atmosphere was ripped apart by gunfire and the terrifying whistle of rockets overhead.’
Scores of Hamas terrorists who had infiltrated Israel had launched a surprise attack on the unsuspecting crowd. The festival, typically a haven of music and celebration, transformed into a chaotic battlefield within moments, according to the NY1.com report. Festival goers found themselves in a life-threatening situation, with Hamas terrorists shooting indiscriminately as people scrambled for safety.
The panic was palpable as people ran in all directions, seeking refuge from the relentless attack. The exits became congested, further complicating the attendees’ desperate attempts to escape, as per the NY1.com report. Roads were blockaded, and jeeps filled with gunmen fired at the fleeing cars, adding to the mayhem and terror.
Yarin found himself ducking for cover under a police vehicle, a temporary shelter that became his hideout for the next four hours. Amidst the sound of gunfire, he lay there, grappling with the immediacy of the threat. “You need to be the most cautious because the aim is on you. If someone sees you, they will shoot you,” he explained, highlighting the peril he faced even while hidden.
The aftermath of the attack was a grim scene. The festival grounds, once filled with the vibrant energy of music lovers, were now a haunting tableau of abandoned belongings and devastation. Tents were upturned, sleeping bags and sacred scriptures scattered amidst the debris. The NY1.com report also affirmed that cell phones, frozen at the exact moment the attack began, lay amongst forgotten hats, shirts, and shoes. The area bore the scars of violence with portable toilets riddled with bullet holes and cars charred beyond recognition.
The October 7th attack, a meticulously planned invasion by Hamas, not only disrupted a celebration of music and culture but also claimed the lives of about 370 civilians in an instance of brutal violence that has left a permanent scar on the collective memory of the nation. The exhibition itself has become a memorial space, with the walls poignantly covered with the faces of those who perished.
Josh Kaden, the organizer of the exhibition, captures the emotional weight of the display: “I think we’ve lost a sense of humanity behind this massacre, and the Israeli people and the festival people,” he told NY1.com. This sentiment reflects a profound loss, not just of lives but of the innocence and unity that festivals such as Nova are meant to foster. Visitors to the exhibition are confronted with a mirror image of themselves in the victims, a reflection intended to foster a deep sense of empathy and connection.
The repercussions of the Hamas invasion were catastrophic, extending far beyond the festival grounds. Across Israel, the attacks resulted in 1,200 deaths and the abduction of 250 people, with 44 from the Nova festival itself, the NY1.com report said. Of those kidnapped, approximately 130 remain unaccounted for, their fates a lingering question that adds to the collective grief and unresolved trauma of the nation.
“They will never forget, and it will remain with them all their lives. The feeling after this event, it will last forever,” said Ilovich, capturing the enduring impact of such profound loss and terror. This sentiment resonates throughout the exhibition, which not only serves as a space of mourning but also as one of healing.
Yoni Feingold, one of the founders of the exhibit, shared with The Art Newspaper the intent behind the project: “We aimed for the project to be the closest we could bring it to the 9/11 Memorial, because that’s exactly the connection we want people to make.” This statement calls attention to a deliberate and thoughtful approach to presenting the aftermath of the October 7 tragedy, emphasizing collective memory and national resilience in the face of terror.
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Reut Feingold, the exhibit’s creator, director, and writer, sought to transport visitors back to the festival’s joyous atmosphere before the invasion. Survivor Natalie Sanandaji and Nova Foundation Chairman Reef Peretz stand in the exhibit’s “healing room,” where the words “we will dance again” offer a beacon of hope amidst the darkness.
In a previously published report, Reut Feingold emphasized, “It’s not an exhibition about Nova. It is Nova — we want them to feel — to feel the journey, the light in their hearts before” the attack.
Exhibition co-founder Ofir Amir, still bearing the physical scars of the attack, expressed the exhibition’s purpose: to honor the 370 souls lost to the violence orchestrated by Hamas. “This wasn’t a terror attack. This was something much bigger – it’s biblical,” Amir remarked.
The exhibition also comes at a time when concerns about safety and security are paramount, particularly against the backdrop of a national rise in anti-Semitic crimes. Attendees visiting the exhibition can expect rigorous security measures, akin to those at other significant historical sites. These measures include screenings and the necessity of scheduling visits through pre-ticketed entry times, ensuring that every guest’s experience is as safe as possible. This approach not only protects the visitors but also preserves the sanctity of the memories being honored at the site.
Further deepening its commitment to healing and support, the exhibition has pledged that donations received will benefit the Nova Healing Journey. This vital organization focuses on providing mental health treatment to the victims and families affected by the events of October 7. By channeling funds into such crucial support services, the exhibition plays an active role in the ongoing recovery and healing process, addressing the often prolonged and painful aftermath of such traumatic events.
Set to remain on view through May 23, the exhibition offers a window into the grief and resilience of those affected by the October 7 attacks. It serves as a poignant reminder of the vulnerabilities that communities face during times of crisis and the enduring strength that emerges from remembering and supporting one another. Through its thoughtful curation and connection to the iconic 9/11 Memorial, the Nova Music Festival Exhibition not only commemorates those who suffered but also educates and inspires visitors towards empathy and action in a world still grappling with violence and intolerance. This exhibition is not just a place to reflect on past horrors but a beacon calling for a better, more compassionate future.
The Nova Music Festival Exhibition is more than just a recounting of a dark day; it is a crucial part of the healing process, a place where grief is shared and resilience is fortified. It stands as a testament to the enduring spirit of a community determined to remember, heal, and eventually, dance again.
“The Nova Music Festival Exhibition: October 7th 06:29am — The Moment Music Stood Still,” is open Saturday through Thursday 11a.m. to 8pm, Fridays 11a.m. to 4.40p.m. at 35 Wall Street until May 25. Tickets are $1 with an option to donate more to mental health treatment for survivors and the bereaved.
