A two performance art event curated by Mica Dvir and Adi Liraz
In both works two artists collaborate in a search, while performing, to define or to undefine their bodies, the spaces around them and the audience, through differences, similarities, memories, boundaries and imagination.
Raffi Lavie, 1987, Acrylic, pencil, collage on plywood,120X120 Courtesy of Givon Art Gallery, Tel Aviv
This exhibition aims at setting up a brief historiography of the body as it is perceived, represented and manifested by Israeli artists from the 1950s until today. On view are works from some of Israel’s most known artists together with a selection of contemporary Israeli artists residing in Berlin. The works of Moshe Kupferman (1926 – 2003) and Lea Nikel (1918 – 2005) are our starting point, chronologically. Like many of their contemporaries they were engaged in an abstract discourse avoiding any direct representation. Kupferman’s paintings are an on-going process of marking and erasing, thus constructing a timespace machine whose generator and scale is the basic move of the painter’s hand. In Nikel’s case the body is transﬁgured into abstract forms. Possible ﬁgures, emotions and inner situations are shaped into colors and spatial relationships.
A two- performance event curated by Mica Dvir and Adi Liraz
Two female artists confront topics such as the industrial revolution(s) and colonialism from a global western perspective. They explore the way these topics are carried in our collective memory and consciousness, from a critical point of view.
In both pieces, the artists examine their practices in collaborations with sound artists.
Israel’s musical and political underground of the 1980s, emerging on the background of the First Lebanon War (1982) and the first Plaestinian Uprising (1987), is the subject of Avi Pitchon’s personal book. Pitchon not only witnessed key events in the development of the local punk scene, he was also involved himself in it – forming the first political punk bands in Israel, as well as initiating groups like “Pacifist Youth”. In his book, Pitchon describes a wide inventory of political acts and groups, bands and scenes, albums and individuals, most of which previously undocumented. His starting point might surprise German readers, as he describes the appearance of German disco band Dschinghis Khan in the Eurovision Song Contest of 1979 (taking place in Jerusalem) as the life-changing event taking him on a path that very quickly arrived at punk.
Art is not mimetic. Art is not ‘about’ stuff. Art has no role. Art does not ‘ask questions’. People might do those things, sometimes even people who are artists. But not their art, even if they think it does, even if that was their intention.
Were one to be dramatic, they would decree art the pre-Tower-of-Babel mother tongue (thus terming it ‘autonomous’ misses its essence as all-encompassing source), and politics not even one letter within it. They would point out an iceberg that, in contemporary discourse, had thus been forced to balance on its tip. A dangerous balance indeed. But for now, let’s pretend that all we’re saying is that art and politics are simply two different languages, a distinction too often forgotten in the aforementioned discourse.
The exhibition of photographs and installations entitled Art Without Borders, curated by Shirley Meshulam, recognizes the principles inherent in reality while employing its wide range of images.
The participating artists include: Alona Harpaz, Daniel Tchetchik, Hannah Shaviv, Amira Kasim Ziyan, Eitan Buganim, Ilia Yefimovich, Sigal Kolton, Orly Feldheim, Israeli and Palestinian newspaper photographers Gil Nechushtan, Mahfouz Abu Turk and the sculptor Osama Zatar. They, like their counterparts, also focus real events and the images they project; in addition to providing personal critical viewpoints. Continue reading →