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Westland - Exhibition

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


Zvi Tolkovsky
Detail Photographic print, tin-type

 

 

 


Nekoda Singer
Detail of Installation
urban refuse,
painting and texts

 

 


Lidia Zavadsky
Stoneware white glaze
fired 1,250
150x90x160 cm

 

 


Etty Shwartz
Detail from 60 photographs of recycled plastic fence Silver print, each item
15x25 cm

 




Miriam Neiger
Installation: farbric and industrial paint (sketch: water colours)

 


Rayah Redlich
Installation: Metal netting, paint Photograph:
Raffi Magnes

 

 


Efrat Shvili

 

 

 

 


Yigal Tumarkin
Sketch for sculpture, 1998

 


Etty Abergel
Installation:
cardboard, twigs
35 x 175 x 250 cm

 


Ariane Littman-Cohen
Installation:
olive barrels, olive pits and red light bulbs,
Photograph:
Tim Safrenek

 


Zahara Schatz
Detail: plastic welds
45 x 75 cm

 

 

 

 

 

 

 

 

 

 

 


Israel Rabinovitz
Installation: olive wood

 

 



Einat Arif \ Yossi Galanti
Detail:
c-type print 40 x 60 cm

 

 


Yizhak Marecha
Installation:
mixed media

 

Zvi Tolkovsky | Nekoda Singer | Lidia Zavadsky | Etty Shwartz | Miriam Neigr | Rayah Redlich | Efrat Shvili | Yigal Tumarkin | Etty Abergel | Ariane Littman-Cohen | Zahara Schatz | Jack Jano | Israel Rabinovitz | Einat Arif \ Yossi Galanti | Yizhak Marecha


The suburban world, a huge air-conditioned shopping mall overflowing with junk culture, excretes mounds of refuse, both physical and spiritual: a mighty mass of matter and information. A world free of the law of gravity clings to the earth by virtue of extrusions rich in matter that connect the artist to his environment and trigger his creativity. An incessant quest for the unknown uncovers objects forgotten-buried-discarded, which are collected along with self-analysis that arouses the "latent", the senses groping for acquaintance with the alien.

The process - cataloguing, digesting and translating into a different language - is melancholy and revealing. The object's original purpose is meaningful in transformation of memory, with cultural connotations within elements of human nature. Man is aware of the natural life-cycle, and his own role in the Universe: "Dust unto dust, ashes unto ashes." But at the same time, he sets himself at the head as unquestioned ruler, destroying and building, killing and restoring life. His power and greatness are his undoing, camouflaged by a defense mechanism of illusory optimism. The great polluter that put together the nuclear bomb also discovered antibiotics.

The century now ending is memorable for fragments of terror, war, annihilation, reconstruction, in an orgy of a decaying culture erasing mankind's private and social biography. Optimism leans upon ancient myths of death and resurrection: Demeter descending into Hades, Ezekiel's vision of the dry bones, Christian faith in the resurrection of the Saviour. All creation is an act of resurrection. But as mankind ages, along with the universe, the myth is eroded, destroying the basis for hope.

From corruption of the great organism that is Earth, a straight line leads to corruption of human morality. An ecological and spiritual apocalypse that mankind is powerless to stave off. The new deities become here-and-now myths as gods of Hades and patrons of life. The weave of existence is dominated by mighty corporations who have created a new chain of life, taking advantage of a human psyche that is destructive, brutal and obsessed with consumption. The well-poisoners - the lords of war and the dealers in arms, drugs and alcohol - are mighty concerns dominating economic resources, as well as the research funds seeking cures for cancer and AIDS, just as the Nobel peace prize is funded by the royalties from dynamite production. Their trail is in the charred forests, the oilfields whose fumes poison the atmosphere, radio-active waste -all the means for accumulating wealth at the expense of the weak. Likewise the major concerns in this country: banks, chemical works etc., lurking behind the slogan of art in industry.

Has anyone sounded the alarm, to attach warning stickers? Or does the comfort of some firm or other funding their art projects, blind those who refuse to see?

Hedva Shemesh
The Gallery Curator


Zvi Tolkovsky

When it will come and the thinned spirit will be swept out as all things, it will be deprived of its eternity. We all will be judged, big and small, after the delights of our paradise, after the pleasure that is not all, that is not the great Is, that is the Nothing. They will blend us, they will melt us till we all be one, the one and only, the great cosmic One, that will quickly make room for the eternal Zero of God.

Antonin Artaud, The War of Principles


Nekoda Singer

"The Legacy of Robinson Crusoe"

From Bottle No. 5:
I was so astonished with the sight of these things that I entertained no notions of any danger to myself from it for a long while; all my apprehensions were buried in the thoughts of such a pitch of inhuman, hellish brutality, and the horror of the degeneracy of human nature; which, though I had heard of often, yet I had never had so near a view of before; in short, I turned my face from the horrid spectacle; my stomach grew sick, and I was just at the point of fainting, when Nature discharged the disorder from my stomach; and having vomited with an uncommon violence, I was a little relieved...

Daniel Defoe, Robinson Crusoe


Lidia Zavadsky

Hollow Seeds

Before the ultimate rejection of human living space, seeds achieve gigantic proportions but are void of their potential for creating new life.

Lidia Zavadsky

 


Etty Shwartz

An overhead regard at the sawn-up sections of fence discovers an internal phenomenon arising during the manufacture of the plastic, at its point of contact with the air. The air trapped within the material generates bubbles and hollows, highlighting an inner rule: the further inwards one penetrates, the more numerous the bubbles. In the work, these cells of existence are a collation of individual instances joined together as filters of reality at a given moment, into a complete totality. The work attempts to imagine a system regulating, by means of its internal rhythm, the relationship between reality and image, between detail and totality. The black-and-white photography leaves colour (the emotional value) out of the structure of relations between the forms themselves, facilitating a structure depicting charged relations precisely by means of a light-and-shade perception.

Etty Shwartz



Miriam Neigr

The air, may it never run out

Lungs clamoring for the depleted oxygen chart their course between nitrates and toxins. The tiny vesicles in my lungs bear childhood memories of a life of deprivation among the clouds of fumes of Haifa Bay.
My genes still recall other things.
The good air - may it never run out May it never run out

Miriam Neiger, Jerusalem, May12, 1999


Rayah Redlich

Matissian Pink

".in pink - a colour signifying erotic hedonism, self-indulgent and narcissistic .. a tangle of netting and wire - a growth that has sprouted wildly, disproportionately.

Tali Tamir (catalogue of Redlich's exhibition at the Constant Gallery, Ramat Gan)

 



Efrat Shvili

Black-and-white photograph

. frontal views of constructions, houses, apartment buildings, buildings under construction, narrowly centred with no horizon, images that are pale or harshly contrasted by a light, bathed in black shadows.

. abstract constructions, abstract of any context, implanted into no-man's-lands. Made of lines, curves and of volumes with neither weight nor mass, even their scale is sometimes uncertain.

Efrat Shvili


Yigal Tumarkin

Alon Shevut: Etzion Bloc, school and symbol of Jewish settlement and dispossession The rot, as the saying goes, always starts at the top - the rot in a country, a people, a fish. So, on January 31 1981, at the religious settlement of Alon Shevut, I placed a stinking fish (all 600 gm. of it) on a fetish made of a block of wood, a coat of many colours (i.e. a visual pun on the name of one of the settlement movement's leaders), a talith katan (ritual fringed garment worn under clothes), and some barbed wire - in protest against the "Greater Land of Israel" myth and against fanaticism. Maybe it's no mere coincidence that Alon Shevut and Rosh Tzurim stand on Khirbet Zachariya, one of three sites associated with the prophet Zachariya, who was killed by the Jews, abetted by the priests, on a Yom Kippur, because he foretold the destruction of Jerusalem.

Yigal Tumarkin


Etty Abergel

The scent of pines, cyclamen, and my father's prayers arising at dawn shreds of glances reunited scenes of childhood. Cypress and moonlight, and I wait for morning to come.
The dream is a place.
Art is a city.

Etty Abergel


Ariane Littman-Cohen

My collaboration with Kibbutz Beit Hashita was triggered by a strong and persistent desire to work with massive quantities of olives, a desire which amplified as the memory of volunteering at the olive factory suddenly resurfaced. I remembered the burning sun, the smell of the olives, and the persistent pain in all my muscles. Back then, this hard physical work was an actualization of my ambition to be part of the Zionist ethos of working the land...

Correspondence, 1998, dark, womb-like barrels, offering mysterious landscapes of olive-pits, suggest the dialectic of an utopian dream eroded by reality.

Ariane Littman Cohen



Zahara Schatz

"Who believes there are gods . my beloved incessantly swears by them falsely taking their name in vain.

Ovid

 

 


Jack Jano


Israel Rabinovitz

Boundary of being

The simple necessity of attaching your name to the door, charged with the significance of attachment to an ancient tree trunk, a trunk representing the roots of existence in this land. A connection constructed by uprooting the ancient tree.

Hagai Segev (from the catalogue: Boundary of being)


Einat Arif \ Yossi Galanti

Land of Israel , First Places, 1999

Our photographs depict sights, expansive or close. "Ugly" details feature in full splendour, like a monumental pile of boards, or parts of unfinished houses, ungainly and forgotten, enveloped in an ethereal mantle of scaffolding.

 

Einat Arif \ Yossi Galanti


Yizhak Marecha

Gauges

To me, this collection, trash to anyone else, is a foundation for creativity and an additional lease on life. Over the years, I've collected anything that "looks good". "Good" for what? That isn't even clear to me. I am sometimes so powerless over this trait that it seems it isn't I that find the objects, rather, they find me; as though begging: Please, give us another chance to survive, to serve, to influence.

 

Yizhak Marecha

 

 

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