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Shelter- The Exhibition (2.10.03)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Four Israeli artists got together with four colleagues from Los Angeles, and from these distant geographical extremities, worked together on an art project.
The aim is to weave cultural and social ties by means of the Internet and electronic mail.
Fortuitous contacts between artists of different nationalities are consolidated into a dialogue that probes the capacity for imbibing different perspectives into a combined picture that is reflected back and forth between the two extremities.
This project breaks with the traditional format where the initiative lies with the curator.

The American artists are:
Cynthia Minet, Barbara Hashomoto, Holly Tempo, Jill d'Agnenica. All four reside in Los Angeles, where they keep up an ongoing artistic dialogue among themselves.

The Israeli artists are:
Farid Abu Shakra (Um el-Fahem), Nehama Golan (Bnei Brak), Yehezkiel Yardeni (Jerusalem), Riki Poch (Tel Aviv). This assortment aims to represent Israeli society and the complexity of its component threads.

The project is entitled SHELTER (Miklat in Hebrew, Malj'a in Arabic).

Each of the artists on display presents the concept of shelter from his/her own unique perspective, coloured by the circumstances of his/her life. In Israel, the "Shelter" concept functions at two levels: during wartime, it represents a protective sanctuary; at more peaceful times, it offers a place for artistic creativity and display (many Israeli artists rent studio space in civil defence shelters). This Israeli complexity enfolds a polarity, representing a confluence of the creative/destructive urges ingrained in humankind.
In Israel, "Shelter" is a physical concept of location; by contrast the lives and experiences of the American artists prompt them to explore the motif on a more theoretical and psychological plane.

The first phase exhibition was held in Los Angeles from March 18 to April 19 2003, at the Brewery Project Gallery.

The exhibition featured a catalogue comprising silk prints each artist fashioned for the project.

The second phase will be held at the New Gallery, "Teddy" Soccer Stadium, Jerusalem, from Oct. 2 to Nov. 29, 2003, likewise with a catalogue.

The third phase will be held at the Limbos Gallery, at a Tel Aviv civil defence shelter, from Oct. 24 to Nov. 29, 2003.

Hedva Shemesh
The Gallery Curator


Farid Abu Shakra

Lives and works in Umm el Fahem

These have laboured
Your agony opens wide its jaws
The fury of your sexual desire
Exceeds the fury of the artillery
Go... smoke a cigarette electrified with grass
And make yourself a cup of coffee with the sugar of tears
And listen to Feirouz who sings from Lebanon
And Feirouz is heard by friend and foe

These have laboured
Find the wallet and pry about inside
Seek the ends of your fingers
For nothing will remain to point to their existence
For there will remain no notice board on which to hang a notice
There will remain no chicken, nor clucking dove
Nor television to screen the latest news


Nechama Golan

 

Lives and works in Bnei Brak

A shelter, a place to take refuge in during wartime, becomes in times of peace a provisional alternative exhibition space, a haven for art that seeks no haven.
Art in the shelter is spread out like camouflage netting, a composition fortified against life and death, surviving war.
The installation "Air Time" - a term from the electronic media is shunted out of context to arouse thoughts and sensations in relation to quantity, quality and air density

 


Jill D'Agnenica

Lives and works in Los Angeles

I am interested in the exquisite lie of the shelter - in particular, what we Americans construct to fool ourselves into a sense of security/shelter (what we all do in order to "get out of bed in the morning").
For some of the earth's human inhabitants, the need for shelter is more physical and immediate (the homeless seeking refuge from the cold, war victims running to a bomb shelter) but for the majority of Americans, our "shelter" needs are more psychological/spiritual - I think we seek out money, love, faith, patriotism, identity, and a dose of denial to shelter ourselves from (also more psychological) "cold", "harmful" or terrifying".

        


Barbara Hashimoto

Lives and works in Los Angeles

Barbara Hashimoto's work for this project acted as edited documents from the artist's exploration of "shelter" through personal memory, journeys back to places where she has lived and family e-mail conversations. Throughout the work, there are references to the transformation of the basic need for shelter into the economics of land lordship and power, and the packaged indoctrination of these ideas through use of images from the MONOPOLY game she frequently played as a child.

    


Cynthia Minet

Lives and works in Los Angeles
"Forts", 2003

In this work, I am looking at what it means to take shelter under the covers, to seek refuge under layers of bedding, to hide. The drawings of drapery allude to the ephemeral hiding places of childhood fort-building, and to adult psychological blocks. The cardboard constructions represent miniature dwellings, and are made like pop-up books to fold flat and travel. The sleeping bag is one unit with the down jacket, a portable shelter that provides a means for hiding when the need may arise. Together, the installation addresses both physical and psychological needs in the quest for refuge, and attempts to draw parallels between the two realms.

        


Yeheskel Yardeni

Lives and works in Jerusalem
SHELTER


Over some years I worked in/used a civil defence shelter in Mussrara, Jerusalem, as a studio/ workplace. That is my acquaintance and experience of the shelter - descending underground.
Dark, enclosed. It was a daily nightmare.
The stench of air closed and sealed, and a hostile environment as local residents entered at night to touch my works.

Shelter.
To me, a symbol of sanctuary became a symbol of tension and an enclosed life.
The municipality paid regular visits, I was forbidden to store my work there.
The control was constant.
I sensed that this was not a place for me to express myself on matters that preoccupy me.

 


Ricki Puch

Lives and works in Tel-Aviv

That gory maternity that is powerless to protect her children to give them a shelter.
They, innocent victims of the powers that control our life's course, draining us of hope and desire.
Abandoning us like an all-enveloping garment, cast upon the ground

    


Holy Tempo

Lives and works in Los Angeles

My approach is to create an over-sized dolly: the Anti-war Macassar. A signifier for extreme culture, the dolly is assigned to protect the social and cultural networks currently under siege. Itself a skeleton of delicate connections that I have created.

 

 

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