Six Exhibition and Wall Works
The present group of exhibitions includes three solo exhibitions and three wall works. All the works were created in three dimensions and all extend the boundaries of the third dimension. Shlomi Schwarzberg’s exhibition most closely resembles the classical definitions of sculpture. Nadia Adina Rose misleads the viewers through large works that appear massive but are made of soft materials. Hadi Kalil creates constructions that incorporate paintings and objects. Sarit Filer Manoach places photographs in discarded drawers she found and collected. Lihi Shani creates sculptures from inflatable dolls that have been deliberately deflated. Orna Versano Malki screens a video on the sculpted body of the figure appearing in her film. All these artists provide their own interpretations of the connection between two-dimensional and three-dimensional creation using a variety of techniques.
Shlomi Schwarzberg, “The Closing Paths”, exhibition curator: Anat Gatenio
The artist Shlomi Schwarzberg, member of the Ein Hod Artists Village, passed away unexpectedly a year ago, leaving behind series of works, some of which are on display at this exhibition.. After completing his art studies in Amsterdam, Schwarzberg continued focusing on sculpture in the public space and on site-specific installations in Holland, Belgium and later in Israel. Some of these works are depicted in the documentation table of the exhibition. Over the years Schwarzberg’s works have continuously examined universal human themes with political tones. His work included a lexicon of metaphorical images (a tongue, a mirror, a book, a tear, pieces of furniture) through which the artist raised profound questions regarding Western society. As the son of World War Two refugees, Schwarzberg was sensitive to the refugee problem and the indifference of Europe, problems that continue to be relevant. The tongue, for example, is a recurring image of protest in Schwarzberg’s work. It represents polite speech that is empty of content or alternatively speechlessness in the face of political-social events that demand adopting a stand or taking action. The tongue as signifying language can be seen in the letters, texts, and word and language games that are integrated into his works and that touch upon the absurd. In many of his works the dialogue between the visual image and the text intensifies the sense that there is no way out.
Nadia Adina Rose, “Sleeves of the Trees”, exhibition curator: Avital Katz
Nadia Adina Rose, has created an imaginary environmental installation is made entirely out of pieces of readymade works transformed from domestic textile materials into soft and powerful wall hangings characterized by surprising surrealistic combinations with echoes of pop art. These wall sculpted hangings, created through the repeated use of household items such as pillows, sheets and winter blankets, were joined and sewn together by skilled and industrious handiwork and contain memories of childhood landscapes. Rose distances herself from unmistakably figurative images, creating objects that are minimalistic in shape and color and yet charged with cultural symbolism. The tailor-made sleeves of the trees stand like the remnants of burnt nature, welcoming us into a metaphoric environmental space fraught with enigmatic objects that abound in contradiction. The sleeves are marked by subtlety and restraint set against a sharp and clear presence that manages to break through the boundaries of the environmental space. For example, the blanket from which the father object is made are reminiscent of the spread wings of an angel that enable it to fly, while the white sheet material that falls to the floor connects heaven and earth. As exposed images, “Sleeves of the Trees,” like the other objects in the installation, contain hidden frequencies that open up new possibilities for observation. The vacuum that is charged with meaning enriches the concrete work and prompts timeless independent thinking.
Hadi Kalil, “Anchors of Time”, exhibition curator: Nitsan Shuval-Abiri
Hadi Kalil’s sculptural installations incorporate paintings, symbols and objects that together create a network of visual and content-related contexts. Kalil’s works often take the form of extended paintings that incorporate pieces of junk and even sometimes include texts in English and Arabic. Kalil chooses coarse and heavy materials such as iron railings and pieces of various metals, alongside pieces of wood stripped from their previous contexts. These he incorporates into illustrated canvases and surfaces. His strong expressive basis produces a meaningful dialogue with his choice of materials. These combinations, many of which were created only when the sculptures were placed on display, are replete with personal content from the artist’s world and constitute an archive of his growing and changing image. Kalil was born in the Druze village of Isifya. A few years ago he became interested in artistic creation and began studying photography and art at the University of Haifa. As a child he was exposed to Arabic calligraphy through his parents’ occupation in this field. This exposure finds expression in the current installation through the element of the iron book welded to the thick and heavy frame and through the various texts integrated into the work. In contrast, the paintings of the women replicate photos of models and icons from contemporary culture. Recurrent elements of content taken from the internet and social media are integrated throughout the work and express the tensions and contradictions between the world of values upon which the artist was educated and his adult life in the digital environment with its many stimuli.
Lihi Shani, “Mother and Child”, exhibition curator: Nitsan Shuval-Abiri
Lihi Shani first became known for a series in which she imitated classical works of art using inflatable dolls and other toys. In this work she continues using cheap toys, a use that has become her characteristic artistic language. Shani’s work begins at a point that typifies the current age – our perception that products purchased online define our essence and our identity. Incessant mass reproduction and the purchase and sale of products we do not need are inherent to the motive underlying her creative work. Inflatable plastic dolls imported from China constitute a central motif in Shani’s work. For her these dolls represent the mass production of cheap and unnecessary items alongside the human loneliness and isolation in a divided society in which interpersonal relations are faulty – a society that now consumes plastic dolls that provide imaginary relationships.
Shani begins working with these dolls by deflating them and removing all their content. She usurps their original purpose by folding them, compressing them and displaying them in a different context. Thus the artist grants them new meaning and to a certain extent idealizes them. In “Mother and Child” Shani continues interpreting famous and iconic works of art, thus expressing themes of globalization and consumerism.
Orna Versano Malki, “Rebirth”, exhibition curator: Shuly Briskin
The work exhibited by Orna Versano Malki integrates elements from two different media –sculpture and video. The first is based on immobile, fixed and cohesive material while the second moves and fluctuates, shifts and changes. The focus of the work is the sculptured torso of a pregnant woman. Her figure swimming in a pool is projected onto the sculpture, which was constructed by wrapping plaster bandages on the woman’s body and heating them. After the bandages dried, the sculptured mass was detached from the woman’s body through abdominal muscle contractions in a process similar to giving birth and was released into the world as an independent body. The video monitoring the movements of the woman’s body and her fetus is screened onto the plaster sculpture using a rounded lens, thus providing a glimpse of the figure swimming on and under the surface of the water. Every emergence from the water changes the attributes of the water and of the woman immersed in it. The work depicts the tension that precedes birth as well as its dissipation into the serenity of release. In the background the sounds of water reverberating in and outside the pool can be heard.
Sarit Filer Manoach, “The Drawers of Memory”, exhibition curator: Shuly Briskin
Sarit Filer Manoach works in three dimensions to express the stories she heard at home and the sights, voices and memories of her life in Tel Aviv. The artist photographs abandoned sites, emptied of people and their belongings, and collects old drawers that were left behind. These drawers become the sculptural material upon which she places photographic prints depicting corridors leading from darkness to a distant horizon lit with a bright and shining light. The prints were processed with touches of oil paint, sand and glue. These works correspond with the work of French artist Christian Boltanski, who creates real and fabricated archives of past memories. Filer Manoach’s works express a desire to examine and unravel memory and consciousness and to understand neglect, decay and age. The drawers, themselves readymade objects, have become a memorial to the belongings and stories of people who are no more.
The exhibitions will be on display until June 15, 2019