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Inversion- The Exhibition (12.6.03)

 

 

Leonid Gosin | Andrey Lev | Zoya Lozinsky | Inna Polonsky | Nataly Volkovich-Kusnetsova


This exhibition, a unified installation on the motif of "Paradise", was created by a group of young Jerusalem artists, presenting a visual application of their reflections on art history, on our times and our reality. The exhibition relates to one of the "eternal themes" those canonical topics borne out throughout art history.
The work of these artists gives a name to a new phenomenon in art, already existent but yet to be designated. I would call the artistic method upon which their creative work is based, "Inversion".
The credo of the presented group is the aesthetic of a new reality, adequate to the reality of a new, fabricated world we have all inhabited or a long time: a world of mass production, of things that imitate, simulate or falsity the natural and original things; of things that are not what they seem, from soybean milk and plastic bone joints to cloned creatures i.e. a world of virtual reality. In this new reality we all live independently of age, sex, religion or race, and without deference to our personal wishes.
The majority of mankind is emigrants from the past. Few are aware thereof, few reflect on the irreversibility of the process. Most of the Emigrants harbor the delusion that it is possible to live in the new world by the laws of the old, or, as a last resort, to return to the latter. But there is no way back. The world is changed and will never be the way it was.

These artists are aware of living in a new environment, accepting this reality as a fact, without positive or negative assessment. They do what artists have always done, seeking the beauty and aesthetics of the reality wherein they live. This does not mean rejecting he past. Just the opposite: they proclaim that the only value mankind possesses is its cultural baggage, accumulated over the ages and belonging to one-and-all without exception.
Their view may stem from their own real experience of moving from one reality into another.

That is this phenomenon, Inversion?

1. At various times, different objects provided the source for the fine arts. Depending on the world view then prevailing, the objects might e a beautiful human body; the vault of Heaven with all its occupants; or Hell, separated from Heaven. There were times when artists opted or visible, sensory perceptible objects like landscapes, scenery, still life etc., or the inner world of man, including the artist's own.
AII these objects were primary. To Inversionists the source consists of artifacts of
contemporary life, secondary objects. Imitating reality: stamped toys, computer reproductions of original artworks or archaeological objects. Even when a prototype is available, they prefer its imitation: the mould is not made from an actual bird's wing, but from one intentionally crocheted by the author. Thus, unlike the ready-made of Dadaism or pop art, a double imitation is created an imitation of imitation.
This is logical, for art is not life, it is its interpretation; and in a world replete with imitations, their art interprets those imitations.

2. The objection can be made that the pop-art ready-made is also an interpretation. But this is actually an Inversion again. The pop-art which appeared at the dawn of the new civilization noted the growing tendency to introduce artificial things and objects into the culture, establishing that tendency for good. Pop-art worked with a large output, mass production of objects in contrast with the former art criteria of the unique and elite.
Living in the next historical phase, Inversionists perform an inverse action, converting the banal, mass or surrogate into a unique work of art.

3. They use the most modern technologies, including computer techniques though not in the usual sense. To the contemporary artist, the computer resembles a pencil, a brush, or a pair of scissors for cutting the collage details, only handier in facilitating the work. The very term "computer graphics" is a term of technology. (cf. "oil painting" or "red - figured vase" etc.). The time may come then one will say "graphics of computer", as people spoke once of "Dryer graphics", but that will be a different story - the story of robots' art.
An Inversionist does not reject the facility of "modern technology". But he uses the computer as a resource for information. Instead of searching his own memory - every artist is familiar with the process - he scans the memory of the computer, which is larger and more reliable.

The Internet represents a giant library, a museum, archives full of that "cultural baggage" whose use is the most essential component of Art - Inversion.
One has only to assign a task - i.e. you have to know what you are looking for - and then pick from the material proffered.
One can also use the computer in preparing a model of a future artwork. But this refers only to a model (i.e "a sketch", in the former terminology). The final work is created entirely by hand.

4. "Entirely by hand" is extremely important. The postmodernist concept of "the author's death" is supplanted by the concept of "the author's return". With a persistence verging on mania, the artists of this new trend choose a labor-intensive, long, handicraft, process of creation - in contrast with the recent trend towards simplification of the physical process of the artist's work. This was the way all the works presented were created: the monotonous reproduction in painting of computer pixels, and the tiresome and mechanical process whereby the collages taken from the computer are transferred to metal, to be followed by a treatment of the brush, of metal casting, etc., and by the above mentioned crocheting of a model.
Even a mould intended to produce copies - is prepared by Inversionists for single use only. On the one hand, this is a return to handicraft as basic music principle. On the other, it is a changed interpretation of a main symbol of the 20th century: time is measured by profit, or, in other words, speed is a positive process (i.e. progress) and sluggishness is negative (i.e. regress). Their efforts may be excessive, for there exist alternatives which facilitate the creative process with the same result.
Furthermore, the public is ignorant of the artist's "kitchen" work, and, in all fairness, does not take it into account when evaluating a work of art. Still, there exists a magic relationship between: the artist's soul, the material, the creator's hand, the artwork, and the spectator's soul.
Of course, the spectator does not think of all that - and should not.
The artists, in their fetish of craftsmanship, strive for a perfect, almost mechanical sterile form. However, even the least noticeable trace of handicraft - an uneven tremulous line, an occasional dent, a wrong stroke or a finger mark - is inevitably noted subconsciously, changing the perception as a whole. Fortunately, man cannot achieve the perfection of a machine. The time it takes to create a work is also related to the mystery of art. The thing made over a long time, swallows it up and differs from a thing made rapidly.

5. Each member of the group works in different techniques and styles. The only common feature is imperative rejection of the long - ascendant aesthetics of Ugliness, in favour of the aesthetics of Beauty.


6. Thus we are at the onset of transition to another system in art, a system suitable to the changing world model. However, like the art of any period, it roots directly into the a foregoing era, with lavish resort to the arsenal of means inherited from the 20th century, from modernism to postmodernism, taking recourse to knowledge, employing associability, cultural pluralism, acceptance of the past polysynaptic images; etc.
The novelty is not quite obvious yet, at least to the public at large. The artists still use elements of the common language, but the basis is already changed. This is one of the main indications of art in transition. This art does not appear from "nowhere", being distinguished from its predecessor by those capable of discerning an embryo of novelty in the ordinary and familiar. The long-awaited profound changes in art taken place, but nobody has noticed them.
Meanwhile, many contemporary artists may be called Inversionists. First, Cindy Sherman with her photograph series "sex pictures" - The image of the "fabricated", coldly artificial body, ...the doll's animation" (Brehm, Margit. The body and its surrogates. In Cindy Sherman (cat), Museum Boymans Van Beuningen, Rotterdam, 1996). Unlike the artist's early works, we see here all the indications of Inversion: the use of standard models (mass consumption), the return to the history of culture and art (such are her Judith and Danae, and the sophistication of work and beauty of the entourage, etc.) Very different artists use Inversion without being aware thereof, as evidenced in art magazines of recent years. Inversion has not been confined to the Fine Arts. Recently it became known that the famous Tarkovsky movie "Solaris" is being shot again. It is extremely significant that it is not a new screening of Lemm's novel, but a remake of the existing film! Not content with noticing this phenomenon, the artists represented here have also analyzed it, because their own creativity has long been evolving in this precise direction. Such situations occurred in the past.
Thus, it was not Leonardo who conceived the idea of the Direct Perspective, which was already in existence. But he was alone in grasping global meaning as ideally fitted to expression of the new conception of the world, and turned it from a technical means into an art system. C'ezanne likewise changed the art of the 20th century with a creative manner drawn from Impressionism, while converting its sign in accordance with the changing world of his day.
A similar process appears to the taking place at this time.

Hedva Shemesh
The Gallery Curator




Leonid Gosin
Untitled.

 

Installation, mixed media. 2002-2003

 

Leonid Gosin

B. in 1972, Vitebsk. 1987-1991 - studies of ceramic design, Experimental Laboratory, Vitebsk. 1991 - repatriated to Israel, lives in Jerusalem. 1992-1995 - army service. 2000 - graduated from "Bezalel" Academy of Art, Ceramic & Glass Design Department.

Solo exhibition

2000 - Forces of Attraction, Haifa Museums, The National Maritime Museum.

Group exhibitions:

1986 -

Youth group exhibitions in Minsk and Vitebsk.

1989 -

Group project of interior design, Chagal Museum, Vitebsk.

2000 -

Bittersweet Chocolate, The Israeli Biennale for Ceramics, Young Artists Exhibition, Eretz Israel Museum, Tel Aviv.

2001 -

1800 C, works of young graduates and teachers of the Ceramic & Glass Design Department at Bezalel, Horace Richter Gallery, Jaffa.

2002 -

White Conditions, Hankin Design Gallery
The Second Biennale for Israely Ceramics, Eretz Israel Museum, work in cooperation with Gary Goldstein.

 

Awards:

1999 -

Prize for ceramic design, Bezalel, Jerusalem.

2000 -

Blumental Prize, Bezalel, Jerusalem.

         




Andrey Lev

 

B. in 1974, Leningrad, Russia. 1991-93 - studied at Leningrad State University, mechanical-mathematical Department. 1993 - repatriated to Israel, lives in Jerusalem. 1999 graduated from "Bezalel" Academy of Arts, the Department of Art.

Group exhibitions :

2001 -

Self Portrait, Co-Art Center Gallery, Jerusalem
Art of Birds, Co-Art Center Gallery, Jerusalem

         




Zoya Lozinsky

 

Spatial Sculpture . Glass, cold casting. 2001-2003

 

Zoya Lozinsky

B. in 1977, USSR. Lives in Jerusalem
2001 - graduated from "Bezalel" Academy of Art, Ceramic & Glass Design Department.

Group exhibitions :

1999 -

CoArt Center Gallery, Jerusalem.

2001 -

2002 - Special Exhibit, Eretz Israel Museum, Tel Aviv.




Inna Polonsky

 

Andrey Lev

Installation . Ceramic, sculpture, oil on wood, polyurethan. 2001-2003

 

Inna Polonsky

B. in 1968, Kiev, Ukraine. 1990 - repatriated to Israel, lives in Jerusalem. 1999 - graduated from "Bezalel" Academy of Arts, Ceramic & Glass Department.

Group exhibitions :

2001 -

Self Portrait, Co-Art Center Gallery, Jerusalem
Art of Birds, Co-Art Center Gallery, Jerusalem

Awards:

1966 -

Prize Keren Sharet, Bezalel, Jerusalem

1997 -

Rosenblum Prize, Bezalel, Bezalel, Jerusalem

2001 -

Prize Rotshild, London

         




Nataly Volkovich-Kusnetsova

 

From the series Garden of Eden. Mixed media. 2002-2003.

Nataly Volkovich-Kusnetsova

B. in 1955, Moscow, Russia. 1985 graduated from The Moscow V.I.Surikov State Art Institute, Painting Department, Moscow, Russia. 1992 - repatriated to Israel, lives in Bney Aish.
Since 1991 member of Artist Union of the USSR.
Since 1994 member of International Association of Art (AIAP) UNESCO.

Solo exhibitions:

2002 -

Comparation, Artist House, Jerusalem, Israel.

2001 -

After Rembrandt and Others, Ashdod museum, Ashdod, Israel.

2000 -

Millenium-plus, G.O.Art Gallery & Gold, Haifa, Israel.

1988 -

Retrospectiva, G.O.Art Gallery & Gold , Haifa, Israel.

1988 -

Period and rhythm, the Jerusalem Theatre, Israel.

1997 - 1998

Angels, drawings exhibition, Ashdod, Israel.

1997 -

Falling up, Artist House, Jerusalem, Israel.

1996, 1995 -

Ephrat Gallery, Tel-Aviv, Israel.

1996 -

Bamberger House, Rensburg, Germany.

1993 -

Light of freedom, Navon Gallery and Art Club, Neve Ilan, Israel.

Group exhibitions:

2000 -

Amanimanta, The Jerusalem Theatre, Jerusalem, Israel.

2000 -

Big Sizes, International Convention Center, Jerusalem, Israel.

2000 -

It seems as if, Yavne Gallery of Art, Israel

1996 -

Women without covering, Beit Ariela Library, Tel-Aviv, Israel.

1995 -

Amalia Arbel Gallery, Tel-Aviv, Israel.

1994 -

New members exhibition, Artists House, Jerusalem, Israel

1994 -

Parallels, Art Focus Project, International Convention Center, Jerusalem, Israel.

1994 -

Negev Museum, Beer Sheva, Israel.

1992, 1990 -

Central Artists House, Moscow, Russia.

1991 -

Moscow regional exhibition, Central Exhibition Hall, Moscow, Russia.

1990 -

Youth of Russia, Central Artists House, Moscow, Russia.

 

Awards:

1994 -

the Shoshana and Mordechai Ish-Shalom Prize for painting.

1996 -

scholarship Ministry of Science, Research and Culture of Land
Schlesvig-Holdstain ( Germany)

   

 

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