ArtSlant - Recently added en-us 40 Zhang Enli - Museum of Contemporary Art (MOCA Taipei) - October 3rd - November 8th <p style="text-align: justify;">Zhang Enli was born in Jilin, China in 1965. He received his BFA from the College of Arts, Wuxi University of Light Industry in 1989, and has had exhibitions in museums and art galleries in the UK, the US, Italy, Switzerland, India, Korea, Hong Kong and China. He currently lives and works in Shanghai. For him, painting is a way to express life. He always starts from the most tangible things in his daily life; whether it is a bucket, a cupboard, or an action of an individual, it might capture his attention and ignite his enthusiasm in a similar way. In the transition from lines to planes and between different planes, his unique painting technique fully conducts an intriguing dialogue between media and appearances while continuously exploring the dynamics between &ldquo;representation&rdquo; and &ldquo;presentation.&rdquo;</p> <p style="text-align: justify;">In this exhibition, Zhang will create a site-specific work by painting onsite throughout five days since the exhibition opens. The work will begin from the first-floor MOCA Studio gallery space and extend to the canopy at the museum entrance and the ceiling of the museum hallway. In these spaces, the artist is going to paint both eye-catching, concrete images and abstract expressions, and embed elements and objects in these spaces into his work, creating an installation of space painting that seems to exist since the beginning. Through such a dialectic dialogue between &ldquo;existence and nothingness,&rdquo; he invites the audience to partake in a creative activity that connects the topic of existence and the thinking of visual presentation.</p> <p style="text-align: justify;">In addition to the live creation in various spaces of the museum, the exhibition also includes Zhang&rsquo;s works of an angry-youth period from the 1990s and a series of recent works, in which he has moved onto his dedicated study of translating images. In his recent works, Zhang has deliberately avoided political and cultural symbols as his painting elements, diverging from the &rsquo;85 New Wave and discovering a new form of aesthetics and artistic practice for Chinese contemporary art. His painting does not propose any questions to Chinese contemporary society, neither is it searching for a certain answer or trying to reveal a certain outcome. Instead, he returns to painting itself, and meticulously explores the process of artistic creation to seek that instantaneous feeling. Self-Sustained embodies the artist&rsquo;s journey of exploring the meaning of painting; and through the presentation of the works, he intentionally allows the audience to experience the traces of artistic creation that do not seem to exist. As Zhang Enli has said, &ldquo;It would be fine as long as those disappeared traces had once existed!&rdquo;</p> <hr /> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">張恩利,1965年生於吉林,1989年畢業於無錫輕工業大學藝術學院,展覽遍及英國、美國、義大利、瑞士、印度、韓國、香港、大陸等美術館與畫廊,目前生活及工作於上海。對張恩利來說,繪畫本身就是一種生命表現的方式,他的視角是從日常生活最容易觸及的主題出發,不論是一個水桶、一只櫃櫥或是一個人的行為,都同樣可以觸動他的關心與熱情。他以獨特的繪畫手法,在線與面、面與面的相互轉化中,充分展現了媒材與介面對話的魅力,同時也不斷探討著「再現」與「表現」如何互動合作的藝術課題。</p> <p style="text-align: justify;">本次個展,從開展日起,張恩利將進行連續五天的現場繪畫創作,讓作品展示從一樓實驗展場擴延到當代館入口門廊、館內通廊等處的天花板。他在這幾個空間中,或繪製引人注目的具象圖形和抽象畫面、或讓作品結合整個空間中的元素物件,創造出一個看似原來就處於現場的繪畫裝置。藝術家透過這種「實有與虛無」之間的辯證對話,邀請觀者展開一場連結了存在命題與視覺思維的活動。</p> <p style="text-align: justify;">除了在不同空間現場的即興創作行為之外,實驗展場內將同時鋪陳張恩利90年代憤青時期的創作,到近期專心探究轉譯圖像的作品系列。在近作中,張恩利刻意迴避了政治與文化符號作為繪畫的元素,為中國當代藝術領域開創了不同於85新潮的審美趣味與藝術實踐方式。他的繪畫不對中國當代社會提出問題,也無意在畫中尋找某種答案,或呈現某種結果。他選擇回到繪畫本身,細究創作的一個過程,找尋一種瞬間的感覺。「閑置」展是藝術家探討繪畫之自身意義的一段歷程,透過作品的呈現,刻意地讓觀者體驗某種看似不存在的創作痕跡。正如張恩利自己所說的:「那些消失的痕跡,存在過就好!」</p> Mon, 05 Oct 2015 07:54:49 +0000 Colleen Quigley - XVA Gallery Al Fahidi - September 12th - October 21st <p style="text-align: justify;">XVA Gallery is pleased to announce Colleen Quigley&rsquo;s upcoming solo exhibition Searching for Optical Wonder. In this body of work Quigley experiments with techniques using wax, reflective materials, ceramic, collage and laser cut acrylic, to create a visually stimulating experience for the viewer. Quigley&rsquo;s interest lies in sensorial effect and perception of what color is in isolation, in changing light, in surface and texture, and how color appears to us in a context with another color within a given shape. Using Islamic design as a framework in which to structure and cultivate her exploration (with compositions focusing on repetition, continuous variation and juxtaposition of color andpattern), Quigley successfully encourages the viewer to contemplate the materiality of art (the handmade and the machine made), the sensory relationship between the viewer and the art object, and the physical experience in experiencing art.<br /> &nbsp;<br /> Please join the artist and XVA for the opening night, from 6-9pm on the 12th of September in the AlFahidi Historical Neighborhood. Dubai-based composer and conductor Barnaby Priest will open the exhibition with musical performance he has written for harp and flute. His recent work concentrates on exploring asound world that uses a limited diatonic palette. &nbsp;His music is associated with the Nuova Consonanza branch of post-minimalist music.<br /> &nbsp;<br /> <strong>Artist Statement:</strong><br /> &nbsp;<br /> My new body of work combines Islamic patterns and the mediums of encaustic, collage, ceramics, reflective materials and laser cut acrylics to explore ways in which color and light interact upon these various surfaces and create a visual perception that goes beyond looking at the surface.&nbsp;&nbsp; I want the work to establish an immediate relationship with the viewer.<br />&nbsp;</p> <p style="text-align: justify;">The Mashallah Red, Blue, and Yellow Series combine hundreds of hand-printed and glazed, small ceramic hexagonal tiles embedded in milky, translucent encaustic (beeswax and resin) which float up at different depths creating a visual and harmonious sensory perception of color and light.&nbsp;<br /> &nbsp;<br /> The Reflecting Blue, Yellow and Red series are the results of experiments with multiple compositions which combine Islamic design with reflective materials and laser cut acrylic.&nbsp; These compositions focus on repetition and continuous variation and juxtaposition of color and pattern.&nbsp; My interest lies in sensorial effect and perception of what the color is in isolation, in changing light and how color appears to us in a context with another color within a given shape &ndash; its resulting interaction and our sensory perception of it.&nbsp; The use of reflective materials creates a momentary flash as if to announce the arrival or presence of something of note.&nbsp; The pieces are meant to capture the attention of the viewers and then to interact with them as the perception of the reflecting surface changes depending on where the viewers&rsquo; position is in relation to them.&nbsp; The Islamic motifs call attention to the presence and dynamism of Islamic cultural patterns in a multicultural setting.<br /> &nbsp;<br /> The Reflecting Wall is a collection of repeating intricately cut acrylic mirrored Islamic designs in which the viewers become part of the work and reflections create new colors and reflections depending on where the viewer stands.&nbsp;&nbsp; Ultimately I want the viewer to think about the materiality of art (the handmade and themachine made), the sensory relationship between the viewer and art, and theimportance of the physical experience in experiencing art.<br /> &nbsp;<br /> With this body of work, I try to develop a complex yet simple visual vocabulary to explore perception of memory (time and place), the transient nature of color and light, and the materiality of art.<br /> &nbsp;<br /> Colleen Quigley, 2015<br /> &nbsp;<br /> <strong>About Colleen Quigley:</strong><br /> &nbsp;<br /> Colleen Quigley received her BFA in Sculpture from the University of the Arts in Philadelphia, Pa., U.S.A. and MFA from Tokyo National University of Fine Arts and Music, in Tokyo, Japan where she focused on contemporary Japanese printmaking.&nbsp; She also attended the New York Academy of Art Graduate Program in Figurative Studies in Painting. Her work includes painting, sculpture/installation and encaustic. She has exhibited in Italy, Japan, the United States and the U.A.E. Her current research interests include post modern strategies of artmaking in relation to themes of originality, art history, popular culture, and memory.&nbsp; Quigley resides in Dubai in the U.A.E. where she is Assistant Professor in Visual Art at the College of Art and Creative Enterprises on the Dubai campus at ZayedUniversity.</p> Fri, 02 Oct 2015 14:24:19 +0000 Auguste Rodin - Virginia Museum of Fine Arts - November 21st - March 13th, 2016 <p style="text-align: justify;">Organized by the <a href="" target="_blank">Montreal Museum of Fine Arts</a> and the <a href="" target="_blank">Mus&eacute;e Rodin in Paris</a>, this exhibition will feature nearly&nbsp;200 works by the greatest sculptor of the 19<sup>th</sup> and early 20<sup>th</sup> centuries: <a href="" target="_blank">Auguste Rodin</a>. Revealing the evolving output of this genius of sculpture, the exhibition examines his techniques, materials, models and assistants, and explores the extraordinary working process behind some of his best known works. Auguste Rodin completely revitalized the very language of sculpture with his passion for the creative act. Fragile plasters as well as patinated bronzes, marble figures, astonishing ceramics and never-before-exhibited photographs all attest to this creative intensity, with much of the work presented in North America for the first time.</p> Fri, 02 Oct 2015 14:22:20 +0000 Lewis Hine, Dorothea Lange, Walker Evans, Margaret Bourke-White - Virginia Museum of Fine Arts - October 17th - April 10th, 2016 <div class="tab-box tabs-container"> <div id="tab1-1" class="tab tab_content" style="display: block;"> <p style="text-align: justify;">Where do a photographer&rsquo;s impulse to create a documentary image and aesthetics meet? In the early 20th century, American photographer Lewis Hine (1874&ndash;1940) embarked on a decades-long mission to document the abject working conditions of the nation&rsquo;s child laborers with the hope of provoking change. As a result, he created a catalogue of photographs that not only served as provocative catalysts for American labor reform, but were also striking images in which viewers could clearly see the strength, dignity, and hope of the people depicted.</p> <p style="text-align: justify;">In addition to photographs by Hine, The Likeness of Labor presents complementary works from the generation of photographers that came after him. Working during the Great Depression, artists such as Walker Evans, Dorothea Lange, and Margaret Bourke-White, who were influenced by Hine&rsquo;s interest in American laborers and migrants, sought to portray these individuals in the midst of the nation&rsquo;s desperate economic conditions. Though most of the photographs feature anonymous subjects, each is a likeness of a man, woman, or child&rsquo;s persona shaped by hardship.</p> </div> </div> Fri, 02 Oct 2015 14:20:32 +0000 - Virginia Museum of Fine Arts - October 17th - February 22nd, 2016 <p style="text-align: justify;">This exhibition explores nocturnes&ndash;images that evoke the night. Luminous apparitions of the divine, dazzling fireworks, lamplit urban streets, and twilight&rsquo;s soft glow over the natural landscape are all subjects that have intrigued and challenged printmakers across the centuries.</p> <p style="text-align: justify;">Nocturnes by European and American artists reveal the dark hours to be as lively as they are quiet. Nightfall demonstrates how these artists employ a range of printmaking techniques&mdash;mezzotint (a tonal method called the &ldquo;dark manner&rdquo;), etching, engraving, woodcut, and lithography&mdash;to render contrasts between light and shade as well as the atmospheric effects of light emanating from the night sky or electrical sources.</p> <p style="text-align: justify;"><em>Nightfall: Prints of the Dark Hours</em> is largely drawn from the Frank Raysor Collection, a generous promised gift to the museum.</p> Fri, 02 Oct 2015 14:18:20 +0000 - Virginia Museum of Fine Arts - April 11th - October 12th <div class="tab-box tabs-container"> <div id="tab1-1" class="tab tab_content" style="display: block;"> <p style="text-align: justify;">From scientific to symbolic, images of nature have played an integral role in the history of photography. As the impulse to make images of flowers and trees runs deep through the photographic tradition, this exhibition offers diverse perspectives, ranging from sincere attempts to convey the beauty and wonder of the natural world to critical commentaries on the tension between humankind and nature.</p> <p style="text-align: justify;">Whether reverent or cynical, however, none of the works on view offers sweeping vistas. Instead these photographs present intimate studies, sometimes focusing only on an individual plant, making them more akin to portraits than to landscapes. Nearly a third of the photographers whose works are included here have roots in Virginia, bringing their subjects even closer to home.</p> </div> </div> Fri, 02 Oct 2015 14:12:35 +0000 Kawase Hasui - Virginia Museum of Fine Arts - April 18th - October 12th <p style="text-align: justify;">Since 2006, renowned collectors Ren&eacute; Balcer and Carolyn Hsu-Balcer have given VMFA more than 500 works created by Japanese landscape artist Kawase Hasui (1883&ndash;1957). The 12 woodblock prints featured here are drawn from that generous gift. Created from the 1920s through the 1950s, these 12 prints depict seasonal flowers found at numerous sites across Japan, including its ancient capitals, historic landmarks, and rural mountains. Hasui captured cherry blossoms at Arashiyama in Kyoto, wildflowers on the Senjo Plain in Nikko, crabapple blossoms at the Myōhon Temple in Kamakura, and the iris garden at Meiji-jingo shrine in Tokyo.</p> <p style="text-align: justify;">Dahlia, lotus, lily, and azalea are also depicted. These works reveal Hasui&rsquo;s passion for nature, his sketching expertise and proficient use of color, while illustrating the history, mystery, and serenity of Japan. Born in Tokyo, Hasui was trained in traditional Japanese painting, watercolor, and oil painting. In 1910, he began to study woodblock prints with Kaburaki Kiyokata (1878&ndash;1972).</p> <p style="text-align: justify;">Early in his career, Hasui worked primarily as an illustrator for magazines and in advertising. His career path changed in 1918 when his first experimental prints, known as shin-hanga (new prints), were published by Watanabe Shōzaburō (1885&ndash;1962), initiating a collaboration that lasted for the rest of Hasui&rsquo;s life. Curated by Li Jian, E. Rhodes and Leona B. Carpenter Curator of East Asian Art, VMFA.</p> Fri, 02 Oct 2015 14:10:55 +0000 - Virginia Museum of Fine Arts - April 1st - March 1st, 2016 Fri, 02 Oct 2015 14:09:22 +0000 Eastman Johnson - Virginia Museum of Fine Arts - August 4th - February 1st, 2016 <p style="text-align: justify;">A generous loan to VMFA from George&rsquo;s Washington&rsquo;s Mount Vernon, two paintings by Eastman Johnson depict the crumbling structures at the first president&rsquo;s plantation where twenty-six African American slaves still lived and worked in 1857. Owned at that time by the president&rsquo;s great-grandnephew John Augustine Washington, the once-imposing estate on the Potomac River had fallen into great disrepair and Johnson&rsquo;s paintings emphasize this disintegration that, far from the gaze of family and tourists, loomed ominously over their enslaved occupants.</p> Fri, 02 Oct 2015 14:07:52 +0000 - Seattle Asian Art Museum - October 31st - March 13th, 2016 <div class="sam-event-description" style="margin-top: 15px;"> <p style="text-align: justify;">This will be the first major exhibition of Korean contemporary art in Seattle in the recent decade. In collaboration with Ms. Choi Eunju, former chief curator of the National Museum of Modern and Contemporary Art Korea, and the first in-residence visiting curator sponsored by the Andrew W. Mellon Foundation at the Seattle Art Museum, SAM will present six leading-edge Korean contemporary artists&rsquo; representative works in this exhibition.</p> <p style="text-align: justify;">These works range from mix-media installation, video art, to photography, all of which are prominent forms in Korean contemporary art. Each work in its own way addresses an important, often poignant, issue, and yet, as a group, all the works address paradoxes in Korean art and society.</p> </div> <div class="sam-sponsors" style="margin-top: 15px;"> <p style="text-align: justify;">The exhibition is co-organized by the Seattle Art Museum and National Museum of Modern and Contemporary Art, Korea.</p> <p><strong>Generous Support</strong><br /> <img style="margin-top: 5px;" title="Korea Foundation" src="" alt="Korea Foundation" /></p> </div> <p>&nbsp;</p> Fri, 02 Oct 2015 14:04:25 +0000 Ronan & Erwan Bouroullec - Tel-Aviv Museum of Art - October 31st - March 26th, 2016 <div class="txt" style="width: 71%;"> <p style="text-align: justify;">Brothers Ronan (b. 1971) and Erwan (b. 1976) Bouroullec have been working together for over twenty years. Their work ranges from the design of small objects to special arrangements and architecture, from craftsmanship to industrial scale, from drawings to videos and photography. The installation 17 Screens, developed specifically for the gallery space, incorporates interweaving sequences of modular elements made of ceramics, aluminum, glass, wooden sticks and textile, held together by unique developed joints and hanging systems.</p> <p>&nbsp;</p> <p><img src="" alt="" width="230" height="41" /></p> <div class="wrapper"> <h6>CREDITS:</h6> <p class="credits">The exhibition is sponsored by Delek Motors Ltd., Importer and Distributor of BMW; Sidney Simchowitz and the Simchowitz Family; Mutina; and Glas Italia; and supported by the Institut fran&ccedil;ais and the Embassy of France in Israel</p> <hr /> <p class="credits" style="text-align: right;">את הסטודיו שלהם לעיצוב יסדו האחים רונאן (נ' 1971) וארוון (נ' 1976) בורולק (Bouroullec) בפריז ב&ndash;1997, ומאז הם משתפים פעולה עם אומנים, מרכזי מחקר ויצרנים תעשייתיים. מתוך הכרה בתנאי החיים המשתנים, עבודתם נעה בטווח שבין ריהוט, עיצוב פנים ואדריכלות. המיצב<br /> 17 מחיצות, שתוכנן במיוחד לחלל הגלריה, הוא רשת מסועפת של אלמנטים מודולריים המאורגנים בתחביר המפתיע של השפה הבורולקית. בשלב הפיתוח הנוכחי אלה מבנים מקרמיקה, מאלומיניום ומזכוכית הערוכים בחלל לצד יריעות טקסטיל, שיוצרו בטכנולוגיות עכשוויות המְעבּדות טכניקות רקמה מסורתיות.</p> </div> </div> <p style="text-align: right;">&nbsp;</p> Fri, 02 Oct 2015 13:56:12 +0000 Naama Arad - Tel-Aviv Museum of Art - October 30th - February 27th, 2016 <div class="txt" style="width: 71%;"> <p style="text-align: justify;">The works of Naama Arad (b. 1985), recipient of the 2015 Ingeborg Bachmann Scholarship Established by Anselm Kiefer, construct systems of arbitrary order that are based on converting the function of familiar objects. The installation was created specifically for the gallery. In its space, a domestic site comprised of cheap, everyday items, is being set. The viewers are invited to wander in a &ldquo;reality,&rdquo; whose various dimensions exist along a sequence reminiscent of a M&ouml;bius strip.</p> <p style="text-align: justify;">&nbsp;</p> <p><img src="" alt="" width="40" height="45" /></p> <div class="wrapper"> <h6>CREDITS:</h6> <p class="credits">With heartfelt thanks to Ms. Ingrid Flick, without whose support this exhibition and catalogue would not have been possible</p> </div> </div> <hr /> <p style="text-align: right;">עבודותיה של נעמה ערד (נ' 1985), זוכת מלגת אינגבורג בכמן מיסודו של אנסלם קיפר לאמן צעיר לשנת 2015, מַבְנות מערכות של סדר שרירותי בהתבסס על המרת תפקודם של חפצים מוּכּרים. את המיצב הנוכחי יצרה במיוחד לגלריה לרישום והדפס. בחלל הגלריה, המותווה כהדמייתו במחשב, מתכונן אתר ביתי המורכב ממוצרי צריכה זולים ויומיומיים. הצופים מוזמנים לשוטט ב"מציאות" שממדיה השונים אינם מוציאים זה את זה, אלא מתקיימים כמו ברצף של טבעת מוביוס.</p> Fri, 02 Oct 2015 13:53:59 +0000 - Tel-Aviv Museum of Art - October 28th - December 10th <p style="text-align: justify;">Public Movement is a performative research body that investigates and stages public choreographies about art and politics. &ldquo;National Collection&rdquo; is an ongoing performance throughout the Museum galleries, the first of its kind in Israel. It deals with the relations between the State and its cultural institutions, culminating in the Israeli Declaration of Independence at the Tel Aviv Museum in 1948.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">The performance operates on an hourly basis throughout the Museum; please register in advance online or at the Gallery.</p> <p>&nbsp;</p> <p><img src="" alt="" width="400" height="45" /></p> <div class="wrapper"> <h6>CREDITS:</h6> <p class="credits">The exhibition was made possible thanks to the generosity of the Ostrovsky Family Fund; Ministry of Culture and Sport Culture Administration; The Friends of the Tel Aviv Museum of Art in Israel; Israel Lottery Council for Culture &amp; Arts; The Philip and Muriel Berman Foundation; Outset; and Artport</p> </div> <hr /> <p style="text-align: right;">תנועה ציבורית היא גוף מחקר ופעולה הפועל, מאז 2006, בארץ ומחוץ לה. התנועה לומדת ומייצרת כוריאוגרפיות ציבוריות הדנות באמנות ובפוליטיקה. אוסף לאומי היא תערוכה ראשונה מסוגה בישראל שמבוססת על פרפורמנס מתמשך ברחבי המוזיאון, העוסק במערכת היחסים בין מוסד המדינה למוסדות התרבות שלה, ושיאו בטקס ההכרזה על הקמתה של מדינת ישראל שהתקיים במוזיאון תל אביב ב&ndash;1948.<br /> &nbsp;</p> <p style="text-align: right;">חברי התנועה יפעילו את התערוכה מדי שעה בשעה. יש להירשם מראש באתר המוזיאון או בלובי התערוכה במוזיאון</p> <p>&nbsp;</p> Fri, 02 Oct 2015 13:51:44 +0000 Alma Itzhaky - Tel-Aviv Museum of Art - October 21st - January 31st, 2016 <div class="txt"> <p style="text-align: justify;">Alma Itzhaky, who resides and works in south Tel Aviv, collects scenes from the immediate geopolitical space she encounters daily and carries them back to her studio as subjects for her paintings. Bars, shared flats, a meeting at a bench, typically urban streets such as Allenby and Jaffa Road&mdash;all are restaged and depicted from a direct, intimate perspective. Itzhaky, a &ldquo;social painter,&rdquo; has a unique voice that reflects her generation&rsquo;s social and political mood.</p> <p>&nbsp;</p> <p><img src="" alt="" width="80" height="61" /></p> <hr /> <p style="text-align: right;">עלמה יצחקי, המתגוררת ופועלת בדרום תל אביב, בוחנת את המרחב הגיאופוליטי המיָדי שהיא פוגשת ביום&ndash;יום ומלקטת מתוכו סצנות שהיא מביאה לסטודיו ומשמשות מושאים לציוריה. הברים, דירות השותפים, מפגש על ספסל, רחובות עיר מובהקים, כמו אלנבי ודרך יפו &mdash; כל אלו מועמדים מחדש כעל במה ומתוארים מנקודת מבט ישירה ואינטימית. <br /> אפשר לראות ביצחקי "ציירת חברתית" הבולטת בקולה הייחודי המשקף את הלך הרוח החברתי והפוליטי של בני דורה.</p> </div> <p>&nbsp;</p> Fri, 02 Oct 2015 13:49:04 +0000 Ido Bar-El - Tel-Aviv Museum of Art - October 21st - February 20th, 2016 <div class="txt"> <p style="text-align: justify;">Ido Bar-El&rsquo;s work is created with a commitment to painting and to examining its place in the field of contemporary art. His experiments, comprising various materials, surfaces, acts and images, are made with a reference to European, American and Israeli modernism. Applying images, writing and erasure to traffic signs and furniture parts, Bar-El produces objects that act as capsules of visual-sensual delight and of flickering links to the historical and political-personal daily life.</p> <p>&nbsp;</p> <p><img src="" alt="" width="130" height="57" /></p> <hr /> <p style="text-align: right;">צירתו של עדו בר&ndash;אל נעשית מתוך מחויבות לציור ולבחינת קיומו בשדה האמנות העכשווי. לחומרי הציור, חומרי המצע, פעולות הציור והדימויים הרבים מאוד בעבודותיו זיקה מתמדת למורשת המודרניזם האירופי, האמריקני והישראלי. באמצעות דימויים, סימני ציור, כתב ומחיקה על מצע של תמרורים, שלטי רחוב וחלקי רהיטים בר&ndash;אל מפיק אובייקטים הפועלים ככמוסות של עונג חזותי&ndash;חושני ושל הבזקי קישורים להיסטורי וליום&ndash;יום הפוליטי והאישי.</p> </div> <p style="text-align: right;">&nbsp;</p> Fri, 02 Oct 2015 13:44:44 +0000 Shai Zvi Horodi - Tel-Aviv Museum of Art - September 25th - February 3rd, 2016 <p style="text-align: justify;">Moreover he said unto me, Son of man [&hellip;] eat this roll [&hellip;] So I opened my mouth, and he caused me to eat that roll. [&hellip;] Then did I eat it; and it was in my mouth as honey for sweetness. (Ezekiel, 3:1&ndash;3)</p> <p style="text-align: justify;"><br /> The exhibition presents three works from 2015 by Shai Zvi Horodi; two were exhibited at the graduation exhibition of the Faculty of Arts&mdash;Hamidrasha, Beit Berl College last July, and one is a newer, later work.</p> <p style="text-align: justify;"><br /> Three short, silent video works from the artist's performative oeuvre, which documents actions that share an interest in change, breaking boundaries and examining the boundaries of separation between the self and the non-self, the body's stamina and the tolerance of institutions. Each video could be said to document a transformative process of digestion, of metabolism taking place within a system of a changing object, and a locus&mdash;the pharynx&mdash;where the change occurs.</p> <p style="text-align: justify;"><br /> The videos belong to the home-video genre, a kind of video-selfie. The artist shoots them using a stationary camera. Their web reference is evident not only in their character and the low technology of their execution, but also in the knowledge on which the activities described in them is based.<br /> Each video documents a procedure of change in the artist's body, and is accompanied in the exhibition with objects that initiated or caused the work or are its product.</p> <p style="text-align: justify;"><br /> In the video Nine Stolen Items, Horodi disappears into the Dizengoff Center shopping mall as a young man and emerges from it as a woman. The fast gender-change is achieved through items&mdash;clothes, a book, a small pair of scissors, female deodorant and tweezers&mdash;all stolen from shops in the mall. The items are exhibited alongside the video.</p> <p style="text-align: justify;"><br /> In the video Development, Horodi is sitting in a caf&eacute;, ordering coffee and water and, using washing powder and vitamin C which he has brought along, prepares a development fluid that he then puts in his mouth together with a photographic film. According to Horodi, "the body serves as a closed space in a public area and implements the separation, necessary for the camera's work, between exterior and interior." The photograph developed from the film is exhibited alongside the video.</p> <p style="text-align: justify;"><br /> In the later video work, Eating the Raffi Lavie Scholarship, Horodi is seen cutting up the banknotes of the Raffi Lavie Scholarship that he was awarded from Hamidrasha, Beit Berl College upon graduation, mixing them in food and eating the money. Alongside the video, a document attesting to the scholarship is presented, together with one banknote that remained whole. Horodi has noted that the encounter with the award was actually a "surplus of the desire to receive it on the highest symbolical level (like partaking of the sacrament, which is the body of Christ) by transubstantiation. Converting one symbolical meaning of the notes&mdash;money&mdash;through destroying it, in another symbolical meaning, through the digestive system."</p> <p style="text-align: justify;"><br /> An "instant" gender change, endangering himself with theft, with secret bugging, with damaging his digestive system, with turning internal organs into working tools&mdash;all characterize the work of Horodi; these are tactics of emergency, of crossing boundaries and self-sacrifice, where the individual is willing to take physical and social risks in his erotic relationships with the challenges and the systems which he faces.</p> <hr /> <p style="text-align: right;">וַיֹּאמֶר אֵלַי בֶּן־אָדָם[...]: אֱכוֹל אֶת־הַמְּגִלָּה הַזֹּאת [...]. וָאֶפְתַּח, אֶת־פִּי; וַיַּאֲכִילֵנִי, אֵת הַמְּגִלָּה הַזֹּאת; [...] וָאֹכְלָה, וַתְּהִי בְּפִי כִּדְבַשׁ לְמָתוֹק. (יחזקאל ג', 3-1)&nbsp;</p> <p style="text-align: right;">&nbsp;</p> <p style="text-align: right;">שלוש עבודות מ־2015 בתערוכתו של שי צבי הורודי. שתיים מהן הוצגו בתערוכת הגמר של האמן במדרשה לאמנות של מכללת בית ברל בחודש יולי האחרון, והשלישית היא עבודה חדשה, מאוחרת יותר. <br /> שלוש העבודות הן סרטונים ללא קול מתוך מכלול עבודתו הפרפורמטיבית של האמן המתעדת פעולות שמשותף להן האינטרס בשינוי, בחציית גבולות ובבדיקת גבולות של ההפרדה בין אני ללא־אני, סיבולת פיזית של הגוף וסובלנות של ממסדים. אפשר לומר שכל אחד משלושת הסרטים מתעד תהליך טרנספורמטיבי של עיכול, של שינוי חומרים (מטבוליזם) שמתרחש בתוך מערכת שמכילה אובייקט משתנה ומקום &ndash; בית בליעה &ndash; שבו מתרחש תהליך השינוי.</p> <p style="text-align: right;"><br /> הסרטים שייכים לסוגת סרטי הווידאו הביתיים, מעין סלפי בווידאו. האמן עצמו מצלם אותם במצלמה נייחת. זיקתם לרשת ניכרת לא רק באופיים ובטכנולוגיה הנמוכה של ביצועם אלא גם בידע שהפעולות המתוארות בהם נסמך עליו. <br /> כל אחד מהסרטים מתעד הליך של שינוי בגופו של האמן. בתצוגה עצמה נִלווה לכל סרט אובייקט שהוא המניע או העילה לעבודה או התוצר שלה. <br /> בסרט תשעה פריטים גנובים נבלע הורודי, בדמות בחור, בקניון דיזנגוף סנטר ויוצא ממנו בדמות בחורה. תהליך השינוי המגדרי המהיר מושג באמצעות פריטים &ndash; פריטי לבוש, ספר, מספריים קטנות, דיאודורנט לנשים ופינצטה &ndash; שנגנבו מחנויות הקניון. הפריטים מוצגים לצד הסרט.</p> <p style="text-align: right;"><br /> בסרט פיתוח נראה הורודי יושב בבית קפה, מזמין קפה ומים ובעזרת אבקת כביסה וּויטמין סי שהביא אתו, מכין נוזל פיתוח שהוא מכניס לפיו עם סרט צילום. לדבריו, "הגוף משמש חלל סגור במרחב ציבורי ומממש את ההפרדה, ההכרחית לפעולת המצלמה, בין פנים לחוץ." לצד הסרט מוצג התצלום שהתקבל מסרט הצילום.<br /> בסרט המאוחר יותר, אכילת המלגה על שם רפי לביא, נראה הורודי חותך את שטרות כספי המלגה על שם רפי לביא, שקיבל ממכללת בית ברל עם סיום לימודיו, מערבב אותם במזון ואוכל את הכסף. לצד הסרט מוצגים התעודה המעידה על הפרס ושטר אחד שנשמר בשלמותו. על העבודה הזו אמר הורודי שהמפגש עם הענקת הפרס היה בגדר "עודפות של הרצון לקבל אותו ברמה סימבולית גבוהה (כמו אכילת לחם הקודש שהוא הגוף של ישו) מתוך הפיכתו למוחשי. המרה של מובן סימבולי אחד של השטרות &ndash; כסף &ndash; בהריסתו, במובן סימבולי אחר, דרך מערכת העיכול."</p> <p style="text-align: right;"><br /> שינוי מין "מוכן בן רגע", הסתכנות בגניבה, בהקלטת סתר, בפגיעה במערכת העיכול, בהפיכת איברים פנימיים לכלי עבודה &ndash; כל אלה מאפיינים את פעולותיו של הורודי; אלו הן טקטיקות של מצבי חירום, חציית גבולות והקרבה, שבהן היחיד מוכן ליטול סיכונים גופניים וחברתיים ביחסיו הארוטיים עם האתגרים ועם המערכות שאתם הוא מתמודד</p> Fri, 02 Oct 2015 13:39:18 +0000