gallery adventures

Gallery Adventures #3

A few weeks back i passed the Helena Rubinstein pavilion and i was shocked to see a scaffold on its roof.

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Building sites are part of the city scape, and Tel Aviv without building sites wouldn't be Tel Aviv, but adding additional floors to this beautiful pavilion built in the 50ies...really?
And w.t.f.....the thing is collapsing...oh, wait...
Shai Ratner's "Monument" is intending to make viewers feel exactly that. So simple but also so smart and complex. Today i got to see the exhibition inside the pavilion and together with Ohad's friday evening meal, it was definitely the highlight of this day. "Workspace" is an exhibition based around the theme of the work space.
I was really impressed by the pieces of Roy Mordechay balancing between carpentry and art, influenced by his relationship with his father who is a carpenter. I felt close to Roy's work, even though my father doesn't own a carpentry and didn't loose a finger in the workshop. I feel myself designer and carpenter at the same time, and i like the poetry that Roy shows between the two, the down to earth side and the floating abstract one. Roy's work is like listening to a conversation between those worlds. The wooden model of Roy's father's Subaru car, that stands as a central piece in the room is a piece of perfect craftsmanship, a masterpiece of carpentry and yet an object completely free of any kind of functionality. It reminded me a bit of Richard Artschwager...

Reut Fester's work also has a deep connection to her family and to the store that her family owns. This store, which is also home to her studio, is omnipresent in her work. I really liked the video "Sagi", that documents her brother's wish to become an artist himself and ends by showing him as a living readymade. In the entrance of the exhibition, Reut built a small store, "Knoller - Helena Rubinstein Branch" where she is selling little pieces and ready mades.

Meir Tati's piece "Sharashka" is filling the whole upper floor of the pavilion and reconstructs a labor camp inspired by a russian gulag. The walls are filled with paintings that remind of graffiti art and on a big screen, Tati shows himself wearing a yellow mask, wandering around the premises of the russian camp in the snow. I felt a disturbing closeness and at the same time distance when walking through the labyrinth of rooms of sharashka. The description of the work says: "The choice of the Gulag as a workspace by an Israeli artist may seem somewhat puzzling. Nevertheless, pursuing a history which is distant in terms of both time and space may, in fact, be liberating.Engagement with the story of the other by borrowing a human catastrophe "not his own"enables Meir Tati to address broad subjects from disillusioned, more principled and less involved perspective: socialism, totalitarian regimes, tyranny, genocide, and the unbearable discrepancy between politics and a humanitarian-social leadership. All these project on  Jewish-historical events and on local scenarios taking place in the current era."

The exhibition is absolutely worth a visit. You can see it till Saturday 31 October 2015.


Gallery adventures #2

Last week i went to see the exhibition Story Time - seven video installations in the Helena Rubenstein Pavillon of the Tel Aviv Museum of Art. The exhibition featured works from Eija-Liisa Ahtila, Yael Bartana, Simon Fujiwara, Camille Henrot, Thalia Hoffman, Hajnal Németh, Saskia Olde Wolbers, all artists that are expanding the boundaries of storytelling.

I was really impressed and fascinated by “Inferno” the work of Yael Bartana, a israeli video artist living in Berlin and Tel Aviv.

The Petzel Gallery that showed “Inferno” last month in New York describes the work with the following words: “(…) Inferno centers on a replica of Solomon’s Temple currently being constructed by a Neo-Pentecostal Church in São Paulo, Brazil. In just 18 minutes Inferno implodes traditional concepts of place, time and belief. Bartana combines real events with a “pre-imagining” that is sure to inspire a flood of questions and spark debate around topics such as creation, ritual, memorialization and commercialization. With its rich pageantry, stylized costuming and references to epic Hollywood blockbusters, Inferno has been referred to as a “visual feast.(…)”

Definitely an artist that I will follow in the future. Look out for her work!

Gallery adventures #1

I am excited to share some of my art and design discoveries with you in Gallery adventures.

This week: Some pieces of Tal Amitai-Lavi's current exhibition Light Construction at the Chelouche Gallery Tel Aviv.



The solo exhibition of Tal is really worth a visit. Her art is fascinating, acurate and laborious.

I was particularly impressed by the 3 works showing scenes of the impact caused by Hurricane Katarina. The drawings are entirely made of black sewing thread glued on clear perspex sheets.

Introducing her work, Tal Amitai-Lavi cites a passage from Italo Calvino’s Book Invisible Cities describing the city of Thekla:

"Those who arrive at Thekla can see little of the city, beyond the plank fences, the sackcloth screens, the scaffoldings, the metal armatures, the wooden catwalks hanging from ropes or supported by sawhorses, the ladders, the trestles. If you ask ‘Why is Thekla’s construction taking such a long time?’ the inhabitants continue hoisting sacks, lowering leaded strings, moving long brushes up and down, as they answer ‘So that it’s destruction cannot begin.’ And if asked whether they fear that, once the scaffoldings are removed, the city may begin to crumble and fall to pieces, they add hastily, in a whisper, “Not only the city…”