Time Machine

This is Christoph Keller's first solo exhibition in Israel. Keller, born 1967 in Freiburg, Germany, works and lives in Berlin. Keller is one of Germany's most interesting and unique photographers and video artists.
In Time Machine Christoph Keller is presenting a series of time and space related works using the media of photography, live video, video art and a mirror-object. The show relates artwork from the recent years with first time shown objects.
The exhibition is centered on the notions of time and the machinic. Time as the constituting element of space – and the machinic, as an expression for the paradigm of the continuous flow of time that dominates perception in film and photography.
Using different points of view, Christoph Keller explores the Lorentz transformation, that suggests that time can be translated into space and wise versa, the influence of the theory of relativity on the object, and Heisenberg's ideas in quantum physics that claims the viewer influences the physical process, and the joint influences between time and space.

 

RUNDUM-BILDER: Ongoing series of photographs using slit-scan technique in self built cameras. Exploration of urban time profiles. The Rundum-Photographs is very long images representing a sequence of time rather than they are spatial. Only movement is being depicted. Instead of being “at a certain place at a certain time”, the observer of panoramic reproductions finds himself in motion. Time builds the horizontal axis. It is only when speed of the camera begins to match that of the object that the panoramic reproductions begin to liken the photographic.
 

CONTINOUUS-PREESNT: Video-mirror in which the viewer sees him/herself slow motion. At the beginning of each 30second-sequence the mirror image is shown almost simultaneously, but then slowly the counter-image fades into the past.
 

INVERSE OBJECT NO.I: A slowly turning mirror-object with a perfect symmetrical structure. Every gaze of the viewer, who remains static in the center, is reflected back by its mirror prisms
RUNDUM-FILM: A video showing Rundum-Filmstrips that are used in a 35mm film-projector. The images are displayed only for split seconds. A voice talks about sizes of distances and time in the different layers of the projection.

 

Christoph Keller has exhibited in such places as PS1 in New York, KUNST-WERKE in Berlin, ZKM KARLSRUHE, MUSEUM NOBEL in Stockholm, Museum of Modern Art in Saltsburg, SPRENGEL MUSEUM in Hanover. In 2002 Keller participated at the group exhibition PARADISE at the Herzlya Museum of Art. In these days Christoph Keller is participating at the exhibition SCIENCE AND FICTION that opened recently at the National Museum in Tokyo.
 

Training House

The exhibition includes an installation in the gallery space and a video work (Tekken).
The installation deals with the gallery space by transforming it into blunt substitute surroundings aesthetically wise as well as iconologically: the walls of the gallery was painted bright, oily red and on the floor a syntactical grass carpet was spread. Onto the grass invade a wall installation that is bound by the walls of a large greenhouse. The work is a dismantled and reconstructed image, of the artists siting, each with her leg put in cast, resting on a bench. From each side of the siting image of the artists a speaker plays the song Lighthouse, by the master of 50's Israeli music, the late Shoshana Damari.
 

The video work Tekken draws from the popular “Mash-up” culture. This is a combination, or a collage, of historical films that documented the life of the citizens in the early years of the state of Israel, scenes from Hollywood movies from he same period, digital computer games, animation and image from the history of art.

 

The works in the exhibition Training House deal with relations between the natural and the artificial, the privacy of the house and the public front, the national identity and the enlightened cosmopolitan model. It deals with the fixation in which we live in, and the conflict between the attraction to the kitsch and the synthetic from one side and the gender – determined national subjective identity from the other side.
 

Thus Far Shall You Come

Chelouche gallery is pleased to announce the opening of a new solo exhibition by the artist Uri Gershuni: ‘Thus Far Shall You Come’, and to introduce a new artist residency in old Jaffa, where Israeli artists (Jews and Arabs), as well as international artists, will work side-by-side. In this retrospective exhibition Uri Gershuni exhibits a […]

Voices

“Voices”

 

Nurit Yarden shows us voices without a sound.

 

Through Photographed images and words (onomatopoeias), she deals with the silence of the visual image.

The photograph is a fragment, a piece out of a whole which we cannot see, the world remains present but invisible. In this exhibition we are offered the possibility of an additional presence which is inherent in the photograph: sounds.

All the images in these works contain human sounds and voices. The voices are an elusive entity which is included and excluded. We hear simultaneously the voices and their absence.

 

Text by Noa Melamed
 

The Spectacle of Lea Nikel

The Spectacle of Lea Nikel

 

Curator: Nira Itzhaki

Ongoing until: 16.03.13

 

The exhibition “The Spectacle of Lea Nikel” spreads over Chelouche Gallery's three floors and consists of around 50 works by Lea Nikel (1918-2005); acrylic on canvas and on paper, from the years 1953-2005.

 

In my eyes, Lea Nikel was a bold and brilliant jazz artist. For her exhibition I chose works where her magnificent jazzy motifs and Nikel's well known “improvisations” appear in their most refined and purest form. For Lea Nikel “Painting is like music, like words… another sentence in the poem”.

 

“I want to surprise myself” said Nikel, and indeed, just as the greatest jazz artists she reinvented new color “chords” of carefully structured disorder. Yigal Zalmona wrote about Nikel's paintings that the primal quality of each and every one of them lies in its being ultimately a “spectacle”: not only a picture, not only an image, not only a visual statement, not only an expression of inner feelings, but rather a spectacular display- a striking outburst, ex nihilo, of a new world, visual in the purest sense.

 

“We are concerned with a spectacle of refined beauty, one that originates from the artist's habit of working a tight rope; beauty that is spawned by color combinations ostensibly impossible in any other arrayment, by brave, 'dangerous', absurd compositions.”

 


Lea Nikel was born in Ukraine in 1918, immigrated to Palestine when she was two years old. She grew up in Tel Aviv, studied with Gliksberg, Steimatsky and Streichman. To continue her studies she travelled to Paris where she lived and worked between 1950-1961, a determinant decade in the history of postwar European art. Nikel was involved in the artistic and social life and in the cosmopolitan atmosphere of Paris.

 

Since the 60's she lived intermittently in Israel, New York, France and in the last years of the decade in Rome. Between 1973 and 1977 Nikel worked in New York, living at the Chelsea Hotel, a well-known hotel and studio with a reputable position in the history of New York art. From there she returned to Jaffa. Later on she built her home with her spouse Sam Leiman in Moshav Kidron.

 

Nikel is one of the distinctive representatives of the second generation of the abstract painters that were also known as the “Abstract Expressionists”. Her paintings are characterized by colorfulness, vitality and spontaneity. The main elements in her work are color and materiality and they have formed her unique personal stamp. Nikel uses many varied techniques: paintbrush, scraping, carving, finger painting, dripping and collage.

 

Nikel is the winner of Israel Prize for painting in 1995. She was awarded many important prizes such as: Dizengoff Prize on behalf of the Tel Aviv Municipality, Gamzu Prize from the Tel Aviv Museum, an honorary doctorate from the Weizmann Institute of Science, Rehovot, a medal from UNESCO for her activity as well as the Chevalier of Arts and Letters Award by the French Minister of Culture.

 

She held many solo and group exhibitions in galleries and museums all over Israel and in the major cities around the world: Retrospective in the Tel Aviv Museum, in the Israel Museum Jerusalem, the Haifa Museum, galleries and museums in Paris, in The Netherlands, New York, London, Japan and more. She represented Israel in the Johannesburg Biennale, South Africa, in the 32nd Biennale in Venice in 1964 and in the Biennale in Chile.

 

Lea Nikel passed away on September 2005.

 

During the exhibition An interactive lecture “Vision the Sound” by Dr. Ori Lashman, took place in the gallery, 28.02.2013

 

The Ground on Which I Stand

 The Ground on Which I Stand
Nir Alon | Gazmend Ejupi
Curator: Michele Robecchi
24.03.11 – 07.05.11

'It is difficult to disassociate one part of my life from another. I have strived to live it all seamless … art and life together, inseparable and indistinguishable. The ideas I discovered and embraced in my youth when my idealism was full blown I have not abandoned in middle age when idealism is something less the blooming, but wisdom is starting to bud. The ideas of self-determination, self-respect and self-defense that governed my life in the ’60s I find just as valid and self-urging today.’
Augustine Wilson, The Ground on Which I Stand, 1996

‘The Ground on Which I Stand’ is an exhibition investigating the impossibility of separating art and life and how their relationship is fundamental in shaping our vision of society. The title is based on a speech given by the great American playwright August Wilson (1945-2005) on the occasion of the Theatre Communications National Conference in New York in 1996. A key part of Wilson’s statement was about the difficulties he was having in separating his concerns with theatre from his concerns of his life as an African-American.

The two artists exhibiting in ‘The Ground on Which I Stand’, Nir Alon and Gazmend Ejupi, share with Wilson an interest in theatrical forms of representation as well as a constant research of an identity. Both have a hard time defining the concept of home (Alon was born in Israel from a Kosovar mother, and lives in Germany; Ejupi was born in Kosovo, and lives in London) and live a cultural and geographical duality that, if on the one hand it had enriched their lives, on the other hand it had the unexpected side effect of relegating their private world to a secondary role. This issue is not confined to their career only, but it is extended to their life too, with the multi-faceted aspects of their background pigeonholing them in a cliquish position where their personal views are often overlooked in favor of their political ones.

This hybrid identity generated a sense of perennial displacement, which is reflected in their practice. Alon’s sculptures are the result of a dialogue between the artist and the place in which he is invited to show. Made of materials collected on site, such as books and pieces of furniture, they challenge the notion of the artist’s research as an area detached from the viewer, inviting to interaction and sharing while showcasing aspects of the culture in which the work is exhibited and their relationship with the artist.

Gazmend Ejupi’s video installations are somehow complementary to Alon’s practice. They are moments in time and space, snapshots of the artist’s memory focused on daily life episodes like a power black out at his parents’ flat or a couple of friends sitting in a narrow space engaged in conversation. These reports of the mood of the city where he was born are filtered through a close/distant perspective, indirectly examining the environmental and social changes which naturally define transition periods in life. By capturing unwillingly weaknesses and strengths of people as individuals and the society as a whole, Ejupi’s videos deal mostly with his personal story. Shot within one single frame, they are like moving paintings, revealing the artist’s predilection for one of the most traditional art forms while conceptually transcending the readymade-documentary style they initially were part of.

In Alon and Ejupi’s work there is no sanctification of the ordinary, nor any form of narrative. Brought together by the choice of investigating their own identity, and the desire of doing so by dealing with daily objects and situations, they adopt different representational modes, which go from spatial openness to claustrophobia. Human presence and geographical provenience, two themes central in both artists’ practice, are here mostly noticeable for their intangible presence.
 

Issues like diversity, nostalgia and absence are addressed in a way that deliberately undermines cultural and geographical belonging. The fine but relevant separating lines between personal and collective, territorial and affectionate, are explored at its full, inviting the audience to take a step that goes beyond the perception dictated by these notions and getting a better understanding of the ground on which we stand.

Text by Michele Robecchi

 

The Light Fantastic Toe

Tom Pnini, The Light Fantastic Toe, 2015, solo exhibition at Chelouche Gallery, Tel Aviv, installation view (1)

Tom Pnini's solo exhibition “The Light Fantastic Toe” features two video works alongside treated photographs of recent years. At the center of the exhibition stands his new video project The Light Fantastic Toe (2015), presenting the events leading up to a stereoscopic portrait of a family during the American Civil War, taken just before the patriarch leaves to join the Union Army. Alongside this project, Pnini presents a series of watercolor treated stereoscopic photographs of natural landscapes, and the animation video work Dust Bowl, based on an iconic photograph of one of the worst man-made ecological disasters in American history.

 

Pnini's series of stereoscopic images consists of printed photographs depicting mountain ranges in America, taken from the Library of Congress. A stereoscopic photograph is comprised of two nearly identical images taken with a camera with two lenses placed apart from each other at the same distance as human eyes. The two images unite under a stereoscope viewer, and a magical illusion of depth is created. Pnini “takes over” these sceneries and provides them with his own settings of starry nights, using watercolors. Every treated photograph appears in the exhibition twice – once in its original size fit for a stereoscope viewer to create the illusion of depth, and secondly in large format, extracting the two images from the stereoscope, and striping them from their original function.

 

The video The Light Fantastic Toe begins with what appears to be a split screen; however it is actually a doubled set creating the illusion of a stereoscopic image. Pnini duplicates the actual scene in real life: two pairs of identical twins play the same roles in two identical sets, which themselves are replicas of a 1860's New York apartment. Similarly to his manipulated landscape photographs, each filmed set has been colored separately, emulating the hand coloring technics of the 19th century. The portrait is no longer of one family, but is in fact of two families – identical and different. At the final moment of photography a gunshot is heard instead of the sound of the flash, suggesting a possible future; each family poses in front of a similar path and destiny, the prospect of war. The camera click captures an image for eternity, and so it records the possibility of death.

 

In his animation video Dust Bowl, Pnini tampers with an iconic photograph documenting a terrible dust storm – one of the Dust Bowl storms of the 1930's in America, which led to a massive migration and intensified the economic impact of the Great Depression in the region. In the foreground stands a small house and couple – a man and woman almost unnoticeable as the sand slowly covers the frame. Suddenly a gunshot flashes through the image. At this moment a sound of a camera flash is completely covering the sound of the gunshot; this violent act is left almost unseen as we focus our gaze to the storm. At the exhibition, Pnini interweaves collective narratives with fabricated personal stories, precisely at the critical moment of photography when the latters are dissolved into history.  

 

Exhibition text – Hebrew

 

Gallery Talk: Friday 07.08.2015 at 12 noon

 

Tom Pnini in conversation with Meital Raz | Time Out Tel Aviv, 06.08.2015

 

Smadar Sheffi on Tom Pnini's solo exhibition “The Light Fantastic Toe” | The Window 01.09.2015 

 

The Other Side

The Other Side, Exhibition view

A group exhibition With the artists:

Asim Abu Shaqra

Guy Avital
Arnon Ben David

Nir Evron

Miki Kratsman

Tomer Sapir

Michal Shamir

Dana Yoeli

 

Curator: Nira Itzhaki

 

15.6.17- 15.7.17 

 

 

 

 

THE SOUL

Shahar Yahalom, Alovera, 2016, Oil on paper, 65x60 cm

 

THE SOUL

 

A group exhibition with the artists:
Assaf Rahat | Michal Rubens | Shahar Yahalom | Yoav Efrati.

 

Opening: Thursday, 9.2.17, 8pm

 

 

 

 

 

STRIP

 

 “If only my eye were round and complete”

From the tes of Mordechai Geldman

 

Rahat’s genre creates an impression of a strong affinity to the processes of the unconscious described in Freud’s pioneering formulations in The Interpretation of Dreams. The combining of the works into a “strip” gives them a flow that is characteristic of daydreams and dreams that mix anxiety-driven representations of inner “persecutors”, constant changes in the experiencing of the self and of others, and spiritual or religious symbols. Almost all the images of the self in Strip tend toward the amorphous and look like amoebas that have taken on some humanoid form for a moment. This form is sometimes animal-like or monster-like and not infrequently androgynous, and is reminiscent of sea creatures from secret depths that have not yet been explored – from the depths of the unconscious. Almost all the creatures in Strip have inflamed skin and repulsive skin growths that attest to cruel and painful experiences in contact with the world.  The atmosphere prevailing in Strip is intimate, agonizingly so because of how it displays the stripping of the psyche down to the deepest layers of the unconscious. The viewer is like someone witnessing a video film that documents the occurrences in the depths of the artist’s psyche. But Strip can also be seem as a diaristic sketchbook spread out in a space and showing the subjective psychic time of the countless transformations that frequently occur in the psyche’s depths. A personal sketchbook also allows draft paintings that preserve the denuded, the private, which is not beautified as dictated by one artistic doctrine or another.

Summer’s Colors

Gideon Gechtman, Obituary Notice, 2006, neon light on formica-coated plywood, silkscreen (red)

Zigi Ben-Haim, Aya Ben Ron, Gal Weinstein, Gideon Gechtman, Christoph Keller

 

The exhibition Summer's Colors is divided in to two exhibition spaces. The first exhibition space shows the works of Aya Ben Ron, Gal Weinstein, Gideon Gechtman and Christoph Keller. The second exhibition space displays a collection from Zigi Ben- Haim's recent works.

 

Zigi Ben-Haim (1945, lives and works in New Yok), creates a new world that exits somewhere between abstraction and representation. his iconography, which appears consistently through his work, references our current state of environmental affairs: global warming, the squandering of non-renewable natural resources etc. Ben- Haim's bold imagery and assertive colors suggest that we must be vigilant in remembering our relationship between the world of nature and man-made world. Ben-Haim created a new visual language, a disparate grouping of elements that represent the building blocks of life: leaves, bricks, ants, writings, fire, water, etc.
Zigi Ben-Haim is an internationally acclaimed artist. His works can be found in the collection of museums such as the Guggenheim, the Jewish Museum, New York, the Israel Museum, the Tel Aviv Museums and in numerous public and private collections.

 

Gideon Gechtman (1942, lives and works in Israel), was awarded in 2006 for life-long achievements on behalf of the Ministry of Education, Culture and Sports. In this exhibition Gechtman exhibits the work, Obituary Notice, from 2006, based on previous works. In 1975 Gechtman published in the newspapers an obituary notice on his name, a piece which was acknowledged as one of the highlights in conceptual Israeli art of the seventy's. Since than Gechtman's works characterize with subjects such as, death, Immortalization and memory. Through out the years Gechtman's personal discussions on Immortalization became a general and immortal symbol.
These days the Art Gallery in Rishon L'ezion is holding Gechtman's exhibition, Dead-Line.

 

Gal Weinstein (1970, lives and works in Tel Aviv), represented Israel at the São Paulo Biennial in 2002, in “The New Hebrews” exhibition at the Martin Gropius Bau, and in many other international shows. Today, Weinstein is working on a large art project which will be shown in October 2007 in a new museum in Spain.
In this exhibition, Weinstein is exhibiting four new works of large fingerprints, made of PVC.

 

Aya Ben Ron (1967, lives and works in Tel Aviv), is a multi-disciplinary artist. Her works combine video, print, sculpture and painting. Ben Ron has exhibited extensively in Israel and abroad, at the São Paulo International Biennial, Brazil, 2006, Arco 07, Madrid, and currently at the Exhibition Schmerz, at the Hamburger Bahnhof Museum, Berlin.
In this exhibition Ben Ron exhibits a series of color prints from her latest work Margalith which includes a video work and etchings. The color prints series deals with the image of a women-flower. The viewer is witnessing the process of shriveling that the women-flower is going through. The image of the crippled, broken women-flower expresses the feeling of separation and lack of roots which Ben Ron, among other issues, deals in her work Margalith.

 

Christoph Keller (1967works and lives in Berlin), is one of Germany's most interesting and unique photographers and video artists. In the exhibition shown works from an ongoing series of photographs using slit-scan technique in self built cameras. Exploration of urban time profiles. The Rundum-Photographs is very long images representing a sequence of time rather than they are spatial. Only movement is being depicted. Instead of being “at a certain place at a certain time”, the observer of panoramic reproductions finds himself in motion. Time builds the horizontal axis. It is only when speed of the camera begins to match that of the object that the panoramic reproductions begin to liken the photographic.
 

Terra Incognita

Tomer Sapir, Terra Incognita, 2012, Chelouche Gallery, Installation view (1)

Tomer Sapir | Terra Incognita
15.03.12 – 05.05.12

Curator: Avi Lubin

In his exhibition “Terra Incognita” Tomer Sapir features quasi-organic configurations which constantly evolve, blurring the boundaries between the bustling present and the prehistorical past. Relics and fossils of creatures from an invented prehistoric era awaken into an implausible present. Despite the fossils' static quality, something bubbles under the surface. The viewer transpires in a suspended present, between a catastrophe that may have already occurred (the skeleton of an upside-down carcass, traces of an epidemic, a natural catastrophe or a manmade disaster) and an imminent danger (seductive traps, cocoons about to hatch at any minute, a bulb taking shape within the upturned skeleton, possibly a toxin possibly a parasite).

Sapir continues a process which was set in motion in his ongoing project “Research for the Full Crypto-Taxidermical Index,” elaborating his engagement with cryptids, animals for which there is no scientific proof and which are not identified in the official zoological index. He presents the objects in a manner which challenges the ability to differentiate between a journey into a fictive arena, a visit to a natural history museum, and a visit to an art gallery.

Terra incognita (unknown land) is a Latin term used by cartographers to demarcate areas of land yet unmapped or undocumented. These territories were marked in medieval maps of the world by painterly depictions of mythological beasts, at times with the added inscription: “HC SVNT DRACONES” (Here be Dragons).

The world introduced by Sapir is underlain by a duality between the use or imitation of nature (the findings of a researcher, gathered leftovers or findings, traces of what once was) and what is quintessentially man-made (sculptural works, use of synthetic materials). It is precisely this dichotomy, however, which makes for a space and time where Sapir's sculptures/creatures may exist, a gray area which sustains a tension between history, mythology, and fiction.

Tomer Sapir (born 1977, lives and works in Tel Aviv) is a prominent and promising artist from the younger generation in the contemporary Israeli art scene. His diverse and broad corpus of works is refreshing and absorbing. In his current exhibition Sapir continues a process which was set in motion in his ongoing project “Research for the Full Crypto-Taxidermical Index,” elaborating his engagement with cryptids (animals for which there is no scientific proof and which are not identified in the official zoological index).
Sapir holds a Bachelor of Design (B. Des), Industrial Design department, Bezalel Academy of Art and Design, Jerusalem and Master in Fine Arts (M.F.A) (cum laude), Bezalel Academy of Art and Design, Tel Aviv. Sapir's work has been exhibited in numerous museums and galleries in Israel and abroad, such as Tel Aviv Museum of Art, The Israel Museum in Jerusalem, Haifa Museum of Art, and took part in many other international shows in Berlin, New York, Milan, Paris, Glasgow, Marseille, Hamburg and Copenhagen.

Photography: Elad sarig

Exhibition Text | Hebrew

 

Symposium at Salon Chelouche after Terra Incognita, 20.04.12

Thangkas

Days, Time XV, 1997, oil on canvas, 115X90 cm

The exhibition includes 500 pieces of small paintings on paper and large paintings on canvas composed of nights (black and white) and days (colors) creating a composition of TIME, in terms of months, years and infinite.
 

The exhibition is a unique experience, very intense in color and spirituality.
Lynda Sandhaus documents Time systematically and continuously (occupation she started from the early 80″) trying to create a visual proposition to the flow of life, painting every day, building a visual diary of the passing of time, as a ritual.
The diary doesn't document the extraordinary but the flow of consciousness and memory, with no particular importance to specific dates but to the continuity of time which can be decomposed and rebuild ad infinitum.
 

The concept of Time presented in this exhibition is not similar to the western concept, which divides time in measured parts.
 

The intense occupation with Time, in fact, dissolves it and brings it to the infinite and to the awareness that the part is in the whole and the whole is in the part, and that spirituality and eternity resides in the Now.
 

The purpose of the painting is double, in and outside, personal and universal.
The painting as a source of Spirituality can heal and inspires for a greater awareness, the painter as much as the viewer, denying the ego, in union with the cosmos.
THANGKAS is a Buddhist term for a painting on paper, created only by spiritual people and through which both the artist and the viewer can attain a higher level of spirituality.
The exhibition will be a space inspiring peace and meditation, in which one might get more spiritual and harmonious.
 

Lynda Sandhaus was born in Tunis, in 1949. She immigrated to Israel in 1967 and graduated from the Academy of Art ''Bezalel”, in Jerusalem. From 1988 to 1992 she lived and worked in New York. Since 1992 till today she works and lives in Israel.
She had many one woman and group shows, in Israel (Chelouche Gallery, Artifact Gallery, Gordon Gallery, Gimel Gallery, Museum of Israeli Art Ramat Gan) as well as abroad (Bertha Urdang Gallery, New York, Patricia Heesy Gallery, New York, Bronfman Center for the Arts, Montreal, Canada.)
Her works are in many corporate collections, IBM New York, Washington and Maryland, U.S.A and Phoenix Insurance Company in Israel.
 

The Annual Conference on the Prevention and Care of Pressure Ulcers

Yael Yudkovik, Untitled (1a), 2017-2019, mixed media, 75x47x47 cm

 Bandages and Kaffyies
On the works of Yael Yudkovik | by Tali Tamir

Pressure ulcers are caused by the repeated or sustained application of force to an area of the skin. The application of force may occur in various fashions: protracted pressure or pushing on the same spot; extended, repeated friction or chafing; constant or repeated stretching. The ulcers are common in people with movement disabilities who experience difficulty in changing their position.

The Annual Conference on the Prevention and Care of Pressure Ulcers – an installation by Yael Yudkovik at the Chelouche Gallery in Tel Aviv – assembles representations of women, as well as treated objects, proverbs, aphorisms, and treated objects marked by Arabic-Palestinian traits. Yael Yudkovik defines this odd collection using medical terminology, which can also be interpreted as a psychological-political text: continuous pressure, constant application of force, or persistent pressing on a spot, chafing, friction, interior or exterior strain, movement restriction, and inability to effect change. Medical science recognizes the connection between sustained pressure and lack of maneuverability and the development of wounds and ulcers. The Israeli political reading disregards any causal connection between the constant pressure the Palestinian population is subjected to – and physical or mental pathology. But the pathology of the protracted oppression tunnels and bubbles up through the “normalization” – not only of the Palestinian society but also on the Israeli side. The well-being of both societies collapses in the face of the never-ending occupation. The more it is concealed and denied, the worse are the pressure ulcers it causes. In the absence of preventive treatment, only emergency care remains to stop the advancing decay.

 

Political art is received with suspicion in the Israeli culture field, more so when the art addresses the Israeli-Palestinian conflict. Yael Yudkovik is navigating an art minefield when she clearly declares the point of origin of these works: her joining the Israeli-Palestinian Bereaved Families Forum, following Operation Protective Edge, as well as the Narrative Project, which published both sides' stories of loss and bereavement. Yudkovik, a native of Kibbutz Kfar Giladi in the north of Israel, was born into loss: her father was killed when she was still in her mother's womb. Loss flows in her veins. “I was born into loss, nurtured on bereavement,'” she writes. “While still a baby, I was brought in my mother's arms or on my grandfather's shoulders to the military plot in the cemetery at Tel Hai. I took my first steps at the foot of the Roaring Lion statue. Growing up a bit, I'd hop and skip among the graves with my older sister and brother. I've always had the desire to lie on the grave and put my head on the headstone, as if it were my bed.”

 

The interweaving of childhood and death, of parenthood and bereavement, is a central motif in Yudkovik's current work, but what makes these works unique is her refusal to collapse into the bosom of melancholy. Yudkovik bounds playfully between object and text and photograph, creating surprising connections, enlisting humor and parody, and sometimes chutzpa, dodging the polite pathos of memorial services: she has laid a microphone with a twisting cord on a vertical headstone, as an empty echo of some rhetorical speech, its sounds lost and its words forgotten. Or perhaps she is trying to give voice to the dead…

 

The women of the Conference congregate, set on wheels, platforms, and ramps, assembled of a variety of objects. Their macabre hybridity has a common motif: a kaffyeh, patterned in traditional designs, which circulates through the figures in various forms and locations. The kaffyeh envelops, bandages, hangs from and lies over things, popping up in every corner. An article of clothing, Arab and masculine, which Yudkovik has brought into the feminine territory of the Conference. As a native of Kfar Giladi, she identifies the kaffyeh also with the Kibbutz elders, past members of Hashomer Organization, who used to wear a kaffyeh and ride horses, to simulate the Arab, the native, and to elevate their manly profile. But there's also a kaffyeh in the installation that wraps around a kind of growth, speared on walkers, one that clings to the surface of luggage carts, a model of a kaffyeh made from layers of dark and light-colored sand, used as a pair of legs supporting an opaque vertical wall covered by red soil. Kaffyehs with mottled patterns shroud a series of skateboards of different sizes (large, medium, and small, like a group of kids playing in the neighborhood), arranged in rows echoing Haim Guri's famous poem: Behold, here lie our bodies in a long, long row / Our faces have been changed. Death peers from our eyes. / We do not breathe. Yudkovik describes a wild, dynamic outdoors childhood, frozen into deathly order. In “the Trouble with Dreams,” she pushes the use of the kaffyeh to the edge of abstraction: a black-and-white kaffyeh stretches as a background for mesh boxes, a black fabric hung above is covered in Arabic script. Everything blends into an abstract oriental design, creating a pyramidal structure that rises to display a sign, a flag, or a slogan; it is all temporary and feeble, but effective. The kaffyeh in Yudkovik's work functions as an imprinted identity, stamped unto the skin and yet nomadic.

 

Arabic typography is tied to the textual aspect of the works. Yudkovik writes sentences and epigrams, uses original Arab proverbs, and has even translated a Yiddish one. The sayings, written on a blackboard supported on black legs, is addressed to the women: “Trust Allah, but don't forget to tie the camel,” one admonishes, and the other advises: “Gauge the river before you throw yourself into its waters.” Another quote tells a macabre story of illogic: “The deaf woman heard the mute one saying that the blind one saw the lame one running.” The participants all display scars and mutations, also absorbing in ironic references to Israeli art: one such mention is the jar-woman, decorated with circular shapes arranged diagonally, connoting the Tel Aviv iconic sculpture by Menashe Kadishman. Another is a matriushka, always having a child in her belly and never hollow. Another's abdomen is a black inflated ball, her head an upside-down jar with a colorful mouth, with her middle finger raised unapologetically.

 

Yudkovik often uses reflections of objects in mirrors, or shows the images' back sides. The 'other' is always there, in the rear, at the side, visible only when the field of vision expands and curves. This flexible genealogy is represented, for example, in the joining of sculpture, kaffyeh, stone, and a photograph of a stone: a carved-wood sculpture of an African woman, her head wrapped in a Palestinian Kaffyeh, a framed photograph of a head-shaped stone resting lengthwise below it, and another stone, reminiscent of Brancusi's Muse, lying sideways on its head. An eclectic sequence emerges, riffing between material and image, alive and dead, bandaged and hale, and East and West. They all came, any way they could, faltering, on walkers and on wheels, to the Annual Conference on the Prevention and Care of Pressure Ulcers.

 

Tali Tamir, July 2019

From: Yael Yudkovik’s solo exhibition at the Chelouche Gallery, The Annual Conference on the Prevention and Care of Pressure Ulcers, 

*Catalog availble for purchase at the gallery 

Secured Area

Photographs from this exhibition were presented:
The Sao Paulo Biennale, September 2006
The Museum of Modern Art in Santiago, Chile, 2007
“Dateline: Israel” exhibition at the Jewish Museum of New York, August 2007

 

Secured Area – A place that is built to provide protection from missiles and air raids – A law that was legislated after the first Gulf War.

There are two series of photographs in this exhibition. Both series were taken in the previous two years and show homogeneous images, which demarcate a mental territory.

 

The black and white series deals with- concrete shelters, road barriers and images of the separation wall. Those photographs were taken with “Holga” camera, a plastic toy camera. By using this type of a camera, Miki Kratsman attempted to reduce the importance and pathos that images of concrete shelters and barriers usually carry. The low optic quality of the photographs creates a presence for the photo at the expense of the object, thereby destabilizing the object’s status.

The Israeli Separation Wall is a network of obstacles and fortifications meant to separate the Palestinians living in Judea, Samaria and the Gaza Strip from the Israeli population, providing a sense of protection that public shelters used to provide. The whole country will become a Secured Area.
 

Instead of running to hide in shelters when sirens are heard, we’ll be living in one.

The colored series of photographs was taken while wandering through small development towns in the north of Israel during the Second Lebanon War, and the streets of forsaken development towns in the south, Ofakim and Yerucham. – A mosaic of images expressing distance.

a street, a shelter, a portrait, the inside of a house,
the periphery, waiting, a housing complex, the heat of noon

 

The outlying development towns were built in order to populate areas, far from the crowded center of Israel. Most of the people that were sent to settle in those faraway development projects, came from disadvantaged background and were not given much choice. The plan was that with government help, those towns would grow to become, large cities.
 

ShadeDays

 Text : Irena Gordon

 

ShadeDays is an exhibition of apocalyptic memory materialized. Tal Shoshan is creating an ancient landscape that resembles an aqua-swamp space, densely populated with objects that appear to grow from the ground or to be born from one another; some long, their ends touching the ceiling, connecting earth to sky, but simultaneously creating a seemingly looking jail-booth that closes-in on the visitor. Other objects are short, in a sort of growth or hewing process, as if stopped while growing, and are now becoming nature’s ghosts, marks in a disaster area. The space invites the visitors and pulls them, like in a horror film, to move inside it, to come close to the sculptural structures, and to observe the infinite revealed and concealed details that constitute them. Is it the thing in itself or only its shadow – that the artist follows and draws in materiel?

 

Shoshan (b. 1969), a sculptress, performance artist and sketcher, is mapping spaces by creating scenes of relics, of unraveling, of signs. By working with textile materials and different textile practices, together with a unique use of industrial materials, she produces a language of soft sculpture which presents dark environments, both organic and artificial. In each new project, Shoshan situates a journey, or a chapter in a journey, that takes place in space and in the body. The journey always occurs through sculpture that has, at the same time, a light-sketchy and a massive-substantive character to it. The space works on a vertical line, but also clearly marks a horizontal, perspective line, that is sometimes open and sometimes closed, like the present one; a sculpture-space that is a vegetative-animal body which spreads everywhere, but is about to converge into itself at any moment; an object or objects that are extra-feminine but also intra-feminine, mysterious and enchanting just as they are ordinary, simple and completely exposed.

 

The whole installation is made with Shoshan’s own processing of industrial materials and ready-mades. Here, as before, she uses different kinds of plastics and nylons and melts them in high temperature, with an industrial burner. Shoshan creates a sculptural structure and into it melts the plastic material. The heating twists and influences the surface. This way, an intensive bright texture is obtained, which hints to a synthetic material with organic origins, thus resembling materials such as petroleum, tar, etc. In some instances, she creates veneers with glossy plastic-like texture, using acrylic paints, with which she coats the finished structures.

 

Her starting point towards materiality in this project is common party equipment, such as different kinds of sparkling confetti and helium balloons. These constitute raw-material from which she installs new surfaces. In this way the plastic paper crumbs or the aluminum paper crumbs called “confetti”, were mixed with paints and glues and were brushed on a textile material. After it dried, the confetti became part of the surface’s texture, and was easier to work with as a soft textile sheet, from which Shoshan
created shapes and structures using cutting and stitching techniques. The radiant helium balloons were randomly stitched as a “sandwich” between cloth, sponge and silk paper, thus becoming a new surface on their own, when it is possible to remove the upper layer of the paper in a wet pilling process, and to discover the radiant color underneath.

 

The textile allows Shoshan to create a space of multitude and creation, of ambivalence between the body of works to the body of the viewer, between distinct shapes to fluid shapes. Through the space’s flexibility and strength, its being created and embroidered but also unraveled and disintegrating, Shoshan marks states of instability and destabilizing exposure, and forms objects that move from the realistic to the fantastic and the surreal. Together they map spaces of allegorical strolling that are on the verge of existence – traumatic, anxious and sensual. “Midway in the journey of our life I came to myself in a dark wood” writes Dante Alighieri in the beginning of the Divine Comedy, before his allegorical journey to hell, purgatory and finally heaven, when addressing both the dark reality of his time and his inner, emotional and mental state.
The black color is the primal experience of ShadeDays. It is to be found in every chapter of Shoshan’s journeys, but here it floods everything and leaves no empty space. It is the black of smoky fire remains, of swamps, of linear, tangled compressed illustrations, the black of shades. Shoshan is making the tension between the light and the shade, which is at the heart of the artistic act and the human personality, be present. There is the old familiar anecdote by Pliny the Elder, which deals with the essence of the act of painting and the origin of art, and tells the story of Dibutades’ daughter, who drew her lover’s shadow just before he left to war; Whereas Carl Jung talked about the shadow experience as representing our other, dark side, which is inseparable from our mentality as a whole.

 

As you go dipper into the black wood its elements are exposed, a collage made of materials and images, in which, at first sight, the objects seem imaginary, fantastic and even abstract – lines and shapes that create themselves and are being created out of themselves, parts of images and drawings in space that create entanglements. The black receives traces of other colors, blues, reds and yellows. Slowly-slowly we recognize familiar birthday signs – balloons, birthday crown, neckless, pennants, cards; fragments of plants and animals – fish bones, birds, spider webs; human fragments – a foot, palms, tongue; parts of texts and words, scattered letters losing their meaning; plastic, synthetic, non-degradable, toxic materials, combining organic suggestions such as papers and strings.

 

The mud covering the eyes in the previous part of the journey (i.e. the exhibition Mud Covered Eyes), is now total. The mingling and the blurring of the natural and the artificial are much bigger: the artificial becomes natural and the natural is almost completely assimilated, leaving faint, but nonetheless threatening, marks. The party is not a party, and the concern with femininity is now a worrying parenthood: how does one celebrate a birthday in a chaotic, unstable world, filled with disaster scenarios. But it is also a current, encompassing mental space. Each plant and each object in the exhibition is actually a person, a living being that was being pressured until it grew into something else, but is still left with signs of its previous self. Whoever enters this dark wood is seemingly entering himself by force, chewing in the oral cavity, trying to taste, but the black teeth disintegrate.

The Great Siesta

 

Chelouche Gallery cordially invites you to the opening of Shai Yehezkelli’s solo exhibition “The Great Siesta” on Thursday 31.10.19 at 20:00

The solo exhibition “The Great Siesta” by artist Shai Yehezkelli exhibits a new body of work of paintings strolling along the line of dream and reality: it’s confusing moment of encounter, the moment of awakening, and an examination of the concept of repression as a sort of deep sleep or eyes-shutting.

The name of the exhibition is a take-off on a translation of the German expression Schlafstunde, commonly used in Israel. Yehezkelli found that surprisingly enough, the expression is unfamiliar in Germany, but instead wondered its way to Israel together with the Jews that left Europe after the war. The expression relates to the artist’s continuous exploration of the figure of the Wandering Jew, as well as questions of the political subconscious and realization. Yehezkelli is continuing his attempts to flatten or diminish the pictorial surface, an act which detaches the image from its original surroundings and sends it to wander along the canvas.

* The exhibition is accompanied by the text “I am there” by Lior Ofir

Shai Yehezkelli (born 1979, Israel) has exhibited in museums and galleries around the world, his solo exhibitions include: “Maarava”, Mindy Solomon Gallery, Miami (2019); “Nothing Went Wrong to Write Home About”, 2025 eV, Hamburg (2018); 'In Praise of Avalanche', Tel Aviv Museum of Art, curated by Anat Danon Sivan (2016), “Space C”, Haifa museum of Art curated by Einav Ziv (2012), and more.

Yehezkelli holds an MFA from the Bezalel Academy of Arts and Design, Tel Aviv (2010), and a BFA with Highest Honor (”Summa Cum Laude”) from Bezalel Academy of Art and Design, Jerusalem (2006). He was awarded The Rappaport Prize for young Israeli artist (2015), the Bank Leumi Prize for Outstanding Academic Achievements (2006), the Arieli History & Theory Department Prize for excellent achievements, Bezalel academy (2006) and more.