Efrat Klipstein, As Deep As It Gets 7, 2008, engraving on golden paper, 42X60 cm
Guy Goldstein, Maya Attoun, Ruth Orr, Liav Mizrahi, Tova Lotan, Dana Gillerman, Efrat Klipstein, Ariela Plotkin, Miri Segal, Michal Shamir, Ami Raviv, Tal Frank
Curators: Nira Itzhaki and Michal Shamir
At the center of this show stands the detail, the sole, the part of…, the little Lego brick that connects so flawlessly to the other parts to construct a building or a vehicle or a dinosaur.
We tried to examine what happens to that detail, that part of a whole, this fragment, when it is "abducted" by the artist of it's "shell", it's original body, undergoing a thorough and intimate treatment that distorts, deforms, adds or subtracts, nourishes, enlarge or reconstruct and thus takes the detail to other places.
Placed within the space of the show, the detail is composed afresh to a different body, the body of the show and creates a dialogue with more details that surrounds it. The gamut of details is woven in heterogeneous unseen "threads": vegetative, organic, threads of body, erotic and sensual threads and threads of pain and mystery.
Participants: Ruth Orr, Maya Attoun, Guy Goldstein, Dana Gillerman, Tova Lotan, Liav Mizrahi, Miri Segal, Ariela Plotkin, Tal Frank, Efrat Klipstein, Ami Raviv, Michal Shamir
Liav Mizrahi, Untitled, 2008, sleeping bag, pearl pins, 60X45 cm
Passed the glory of manhood society - the military sleeping bag is left abandoned in the field. The bag – introverts as introversion of the body wrapped in pearls, as introversion of petals (or lips). The pearls turn out to be the Sisyphean labor pins and their stabbing in the bag also stabs the sleeper inside the bag.
Miri Segal, Spring, 2008, digital print 70X100 cm
In the glass fragments shot by Miri Segal we see a segment from the outside that insists on renewing and is reflected on an inside that, if all goes well, insists on staying the same
Efrat Klipstein, As deep as it gets (1-7), 2008, engraving on golden paper
Spore, fungus, a fragmented fern or a detail of inferior marine biology are engraved in thousand drizzly lines on a golden paper, creating a sensitive world of deep see vegetation. The engagement touches the depths of the paper disclosing the hidden under the gold and flourishes inner beauty.
Dana Gillerman, 10 paintings from the series "Portrait", 2008, Aquarelle, A5
The series "Portrait" includes 10 aquarelles of female sexual organs that were made after photographs. Each one of them was taken out of its context, isolated from its surroundings and turned into a stirring romantic image and an object of observation.
Michal Shamir, "Untitled", 2008, scans of dried flowers, 50X50 cm
and "Untitled", Wine gums on vases, lacquer, variable sizes
Michal Shamir exhibits close-ups, details from a series of large scale works that deal with garlands of Nature Mort of the 17th century, dealing with death and beauty, desistence and decay. Correspondingly attached to the wall, confiscated from their original location, broken pieces of vases, blackened, coated by lacquer, as if taken from an anomalistic archeological world.
Ruth Orr, "Untitled", 2005, drawing on cardboard, 70X50 cm
A group of pseudo wooden boards, like residue on the workshop's floor, gentle peripheral details in a sea of noise and action, were built by Ruth Orr. The subtle graphic lines, parallel to each other, wrap the simple cardboard and give it a look of a panel, a straight leftover of wood distanced from its wooden original source by smoothed procession.
Maya Attoun, "Gut Feeling", 2007, linen rope, synthetic rope, 40X50X180 cm
and "Weeds", 2007, paint on wall, variable measures.
Maya Attoun works with images derived of a world of organic and artificial biological systems. She dismantles them to pieces and reconstructs the details in a manner that affects the coherency of the original systems, a connection that disrupt their identity and function.
Ami Raviv, "Untitled", 2008, PVC on wood, 55X45 cm
The black organs hanged on the wall are translations of images burnt in the memory of Ami Raviv, from hospitals, gym and bicycle tracks. These personal images slowly grow out of their source and become new enigmatic and interesting objects.
Guy Goldstein, "Personal Details", plaster casting and plastic container, 80X26X22 cm
Guy Goldstein molds into the negative of electric utensils, into the wraps of the foamed plastic (Kalkar). The empty, protecting, underlying space becomes evident, useless, functionless, insignificant. pocket items with no defined purpose. Some place between representations of the established capitalistic world to completely meaningless white beautiful objects.
Tova Lotan, "A neck in palm", 2000, 20X30 cm
Tova Lotan presents close-ups of hand palms holding an extremely sharp broken piece of a mirror in which her throat reflects. The work exists in the space between the hand and the throat but deals with the inner space. The hand that holds the throat suggests a world reflected in itself.
Ariela Plotkin, "Doing Me Good", sound work, 3:22 min.
In her new sound work repeats Ariela Plotkin on the same simple sentence over and over again. Seemingly banal and yet essential and thrilling "doing me good I only want to love…", a detail from a life complete. The highly personal tune, heard in the earphones, evolves into a bitter sweet mantra
Tal Frank, "Small bag", 2008, mixed technique of polyester, 18X17X9 cm
A small, black, plastic bag. Garbage? Flies? Hevra Kaddisha? A reduction of a garbage bag full of water? Air? and on the other hand empty and completely sealed. A small marginal mysterious detail hanged on a thread….