Yanai Kellner
For We Are Well Able To Overcome It
Yanai Kellner is a sculptor with bricolage expertise – improvising with the materials he happens upon. A sculpture of a kneeling human, breathing through a respirator, and a self-portrait sculptor are maintaining a covert dialogue between them, as well as with classical traditions. A large digital painting provides an expansive interpretive framework for the past, present and future simultaneously. The visuals express a longing to overcome death through sexual, historical and mythical symbolism. The exhibition challenges modernism, the sources of sculpture as well as the fantasy of postponing the inevitable end.
Curator: Efi Gen
‘Anthology’ features small-scale works that Kornblit has created over the past decade – most of the works convey an apocalyptic atmosphere in an almost monochromatic color palette – revealing layers of moods, thoughts and emotional storms preserved in the drawers of his studio.
Curator:
Dalia Danon
Shahar Kornblit
Anthology
Shahar Kornblit is a multidisciplinary artist who deals with the representation of the transient. In his works he ranges from personal introspection to the investigation of the remnants of past cultures, and behaviors that raise questions about the character of humankind. ‘Anthology’ features small-scale works that Kornblit has created over the past decade – most of the works convey an apocalyptic atmosphere in an almost monochromatic color palette – revealing layers of moods, thoughts and emotional storms preserved in the drawers of his studio.
Curator: Dalia Danon
‘Anthology’ features small-scale works that Kornblit has created over the past decade – most of the works convey an apocalyptic atmosphere in an almost monochromatic color palette – revealing layers of moods, thoughts and emotional storms preserved in the drawers of his studio.
Curator:
Dalia Danon
Tova Lotan
Slice Room
Slice room is an installation designed for two display spaces, connecting between the “house” and the “garment” as two containment spaces for the body. Ten works that are syntaxes of architectural plans alongside pieces of an unraveled jacket – temporary structures. Among them are objects, collages, and paintings, and in the center is a large floor work, made of tarpaulin and paint, perhaps a tent or a leather shell. In this exhibition there is a transition from the artist’s previous interest in the architectural plan as a written dream about a home, to a presenting the process of its disintegration.
Curator: Ori Drummer
The flower paintings are created on a table in the studio or at home, as a meditative action, connecting her with her great love. The flowers come to the substrate alongside other work done in other formats, intense, almost abstract, urban, with grids and many layers of color.
As a child, a member of Kibbutz Hatzor, she used to walk with her grandfather in the kibbutz’s sunflower fields. On each trip she was allowed to pick one sunflower. Decades later, the memory of the sunflower was burned on the paper, as if the sunflower had been burned and melted onto it. The series of sunflowers is unusual in the flower painting inventory. A separate, different and poetic section.
The works are painted on parchment paper. The choice of a substrate of paper with transparency and a presence that almost disappears, allows a sunflower to glow, but also poses a problem: how will the color of the oil be ‘perceived’? What happens to paper when it meets a less thick and more liquid material? Will it shrink? Will it respond to the page?
Hava Gillon
Landscape Murmur
Layers of small and large occurrences change the reality of our living space – a complex, conflicting and violent space in which life has been moved, torn apart, or halted. People who were here, passed through and left a slight murmur in the landscape before disappearing. The place owns a hidden, forgotten memory, which Hava Gillon attempts to reveal. The large framework for the work was made of dismantled industrial cylinders on which she has drawn in charcoal. The images that stem from past photographs, historical as well as contemporary snapshots. Next to them is an installation made of painted industrial cylinders, which the ewer may move, similar to the way one would move a Tibetan prayer scroll
The flower paintings are created on a table in the studio or at home, as a meditative action, connecting her with her great love. The flowers come to the substrate alongside other work done in other formats, intense, almost abstract, urban, with grids and many layers of color.
As a child, a member of Kibbutz Hatzor, she used to walk with her grandfather in the kibbutz’s sunflower fields. On each trip she was allowed to pick one sunflower. Decades later, the memory of the sunflower was burned on the paper, as if the sunflower had been burned and melted onto it. The series of sunflowers is unusual in the flower painting inventory. A separate, different and poetic section.
The works are painted on parchment paper. The choice of a substrate of paper with transparency and a presence that almost disappears, allows a sunflower to glow, but also poses a problem: how will the color of the oil be ‘perceived’? What happens to paper when it meets a less thick and more liquid material? Will it shrink? Will it respond to the page?
Etti Chechover
Non Finito | Painted Portraits
‘Gallery Wall’ contains groups of paintings composed of dozens of portraits painted since 2008 on napkins, inner cereal wrappers, planks and other scraps. Most of the work was not painted on canvas. This is a contemporary, seemingly everyday encounter containing dozens of years of painting, pictorial skill and immense respect for the great masters.
The portraits express a lengthy dialogue of the painter with great masters, artists who lived in Europe and especially in the Netherlands, where she lived and exhibited for many years. Etti looks for a long while at a painted portrait and then ‘summons it’ from within herself, while producing a dialogue with the character that allows her to get to the ‘here and now’. Some of the characters present a melancholy expression of suffering, opposed to others who indicate supreme or religious pleasure. Some characters retain a glazed look, without betraying any emotion, and some of the portraits are almost completely faded.
Shahar Sarig & Dganit Elyakim
Perpetuum Mobile | Video Movie Night
Two young men, off-duty soldiers or perhaps teenagers, are climbing the big dune. The duo ‘conquers’ the dune again and again in different manners, and the climb transforms from realistic to absurd. Perpetuum Mobile, the eternal movement of the Israeli myth sends the climbers on a Sisyphean quest.
The flower paintings are created on a table in the studio or at home, as a meditative action, connecting her with her great love. The flowers come to the substrate alongside other work done in other formats, intense, almost abstract, urban, with grids and many layers of color.
As a child, a member of Kibbutz Hatzor, she used to walk with her grandfather in the kibbutz’s sunflower fields. On each trip she was allowed to pick one sunflower. Decades later, the memory of the sunflower was burned on the paper, as if the sunflower had been burned and melted onto it. The series of sunflowers is unusual in the flower painting inventory. A separate, different and poetic section.
The works are painted on parchment paper. The choice of a substrate of paper with transparency and a presence that almost disappears, allows a sunflower to glow, but also poses a problem: how will the color of the oil be ‘perceived’? What happens to paper when it meets a less thick and more liquid material? Will it shrink? Will it respond to the page?
The flower paintings are created on a table in the studio or at home, as a meditative action, connecting her with her great love. The flowers come to the substrate alongside other work done in other formats, intense, almost abstract, urban, with grids and many layers of color.
As a child, a member of Kibbutz Hatzor, she used to walk with her grandfather in the kibbutz’s sunflower fields. On each trip she was allowed to pick one sunflower. Decades later, the memory of the sunflower was burned on the paper, as if the sunflower had been burned and melted onto it. The series of sunflowers is unusual in the flower painting inventory. A separate, different and poetic section.
The works are painted on parchment paper. The choice of a substrate of paper with transparency and a presence that almost disappears, allows a sunflower to glow, but also poses a problem: how will the color of the oil be ‘perceived’? What happens to paper when it meets a less thick and more liquid material? Will it shrink? Will it respond to the page?
דן בירנבוים
רישום
על גבי קיר במבואת הגלריה, מציג האמן והאדריכל דן בירנבוים רישומים נבחרים מתוך עבודות אחרונות. עבודתו הרישומית עסקה בעיקר בתיאור נוף, ישראלי. נופים אשר התעלמו בדרך כלל מנוכחות אנושית. הפעם, נדמה שהאמן מביט אל תוכו. מתוך התנועה המיומנת של מכחול יבש וצבע שחור על נייר, הוא מצליח להעביר אותנו דרך ציור עין, גם אל מה שהעין רואה (העין כמייצגת את המבט, שולחת בעקיפין גם אל דיון פילוסופי עמוק על המבט) [1]. אנחנו חשים את התנועה המתעקלת של היד ורואים את גלגל העין, אישון, דמות שנקלטה במבט. האדמה עליה ניצבים שלושה ברושים (מוטיב ביצירתו וסמל ישראלי) התעגלה באופן בוטח, עד שנדמה שכך יש לציירה. דמות נקלטת בעין, משוכפלת לדמויות רבות ואנחנו מתבוננים ברישום קהל רב של יחידים הנדמים כגופים אורגנים על צלחת פטרי במעבדה. הרישום נכנע לתנועה עגולה, טבעית, כמעט שלמה, שהופכת לבסיס, למקום ממנו נצרבים הדימויים,העין. רישומיו של דן מאופיינים בתחושה דואלית אצל הצופה . תנועת המכחול לצד הקפאת הרגע ונדמה שאנחנו נמצאים על סיפו של דבר מה שיש לבחון אותו שוב. רגע חשוב. הבחירה בטכניקה שהיא כמעט וקליגרפית, יוצרת רגע ציורי, יחידי, מרתק. אלו מתעגלים יחדיו לכדי סממנים חדשים ונוספים ביצירה עשירה, רבת שנים ומרתקת של אמן ישראלי שמצליח לזקק עבודתו כקליגרף יפני, ועם זאת לייצר תחושה מקומית השייכת לכאן ועכשיו.
[1] “הנראה והבלתי נראה” (1964) -מוריס מרלו-פונטי העמיד את הגוף במרכז החוויה התפיסתית של היותנו בעולם. לדעתו, ראייה היא חוויה גופנית, בדרך של דואליות והיפוך: גופי הרואה הוא גם הגוף הנראה על ידי האחר. חוויית היסוד של היותי בעולם היא זו של סובייקט צופה שהוא גם נצפה. גם לאקאן ( 1964, סמינר 11) התייחס להתבוננות: המביט הוא חלק מתמונה רחבה יותר, המבליעה בה את המביט בהיותה כוללת את הצופה שהוא תמיד גם נצפה, ותמיד נמצא גם בשדה המבט של האחר.
Fall Exhibitions
20.11.2021 – 01.02.2021
Yanai Kellner
For We Are Well Able To Overcome It
Yanai Kellner is a sculptor with bricolage expertise – improvising with the materials he happens upon. A sculpture of a kneeling human, breathing through a respirator, and a self-portrait sculptor are maintaining a covert dialogue between them, as well as with classical traditions. A large digital painting provides an expansive interpretive framework for the past, present and future simultaneously. The visuals express a longing to overcome death through sexual, historical and mythical symbolism. The exhibition challenges modernism, the sources of sculpture as well as the fantasy of postponing the inevitable end.
Curator: Efi Gen
Shahar Kornblit
Anthology
Shahar Kornblit is a multidisciplinary artist who deals with the representation of the transient. In his works he ranges from personal introspection to the investigation of the remnants of past cultures, and behaviors that raise questions about the character of humankind. ‘Anthology’ features small-scale works that Kornblit has created over the past decade – most of the works convey an apocalyptic atmosphere in an almost monochromatic color palette – revealing layers of moods, thoughts and emotional storms preserved in the drawers of his studio.
Curator: Dalia Danon
Tova Lotan
Slice Room
Slice room is an installation designed for two display spaces, connecting between the “house” and the “garment” as two containment spaces for the body. Ten works that are syntaxes of architectural plans alongside pieces of an unraveled jacket – temporary structures. Among them are objects, collages, and paintings, and in the center is a large floor work, made of tarpaulin and paint, perhaps a tent or a leather shell. In this exhibition there is a transition from the artist’s previous interest in the architectural plan as a written dream about a home, to a presenting the process of its disintegration.
Curator: Ori Drummer
Hava Gillon
Landscape Murmur
Layers of small and large occurrences change the reality of our living space – a complex, conflicting and violent space in which life has been moved, torn apart, or halted. People who were here, passed through and left a slight murmur in the landscape before disappearing. The place owns a hidden, forgotten memory, which Hava Gillon attempts to reveal. The large framework for the work was made of dismantled industrial cylinders on which she has drawn in charcoal. The images that stem from past photographs, historical as well as contemporary snapshots. Next to them is an installation made of painted industrial cylinders, which the viewer may move, similar to the way one would move a Tibetan prayer scroll.
Etti Chechover
Non Finito | Painted Portraits
‘Gallery Wall’ contains groups of paintings composed of dozens of portraits painted since 2008 on napkins, inner cereal wrappers, planks and other scraps. Most of the work was not painted on canvas. This is a contemporary, seemingly everyday encounter containing dozens of years of painting, pictorial skill and immense respect for the great masters. The portraits express a lengthy dialogue of the painter with great masters, artists who lived in Europe and especially in the Netherlands, where she lived and exhibited for many years. Etti looks for a long while at a painted portrait and then ‘summons it’ from within herself, while producing a dialogue with the character that allows her to get to the ‘here and now’. Some of the characters present a melancholy expression of suffering, opposed to others who indicate supreme or religious pleasure. Some characters retain a glazed look, without betraying any emotion, and some of the portraits are almost completely faded.
The paintings belong to the ‘Non-Finito’ series, a cluster of seemingly unfinished paintings. The choice of simple, everyday materials, immensely contrasts the classic support for painting, and indicates the timing of their formation – here and now. Etti seemingly allows herself to take the platform lightly, moving from the white canvas to novel, available alternatives. In this way, another connection is created between past and present. It is a painting reminiscent of past subjects and painting techniques and yet it is all here and now. Chechover acts as if she’s on a journey of observation, in an attempt to capture the expression of the individual from an image. Among the paintings shines one cartoon figure that does not belong to the portraits painted from famous paintings. An open-ended question echoes: Has anything changed? The background as well as the serious expression stand out in their distinctiveness and present possibilities for a new pictorial discourse.
Shahar Sarig & Dganit Elyakim
