David Perlov, Amit Goren, Yhehoshua Glotman, Nurit Yarden, Dana Zonshaine
Curator : Nira Itzhaki
“Diaries” is a group exhibition dealing with the diary style that exists between the private / intimate space and the public space. The exhibition includes photography and film.
The exhibition presents the trivial, the existing. A photographed / filmed diary, personal, emotional, documenting and commemorating the “banal”, the everyday reality. Into the private and personal stories penetrate events from the Israeli reality. A connection and juxtaposition between the personal talk and the political talk, and the examination of the personal environment. This exhibition offers a very sought after option in Israeli creation today, given the breakdown of boarders between private and public. The exhibition also deals with the concept of time, the time that past and the time that’s left, photographing the present that stretches to the past. The “home” also occupies an important place in the documentation process and is presented as a loaded concept, a place for life to be built and to be ruined.
David Perlov will exhibit what is considered to be a stone mark of Israeli cinema: “Diary”- 6 episodes, and “Updated Diary”- 3 episodes, a total of 9 hours. Perlov started filming “Diary” in the fall of 1973, at the time of the “Kipur” war, from the window of his apartment on the 14th story, in Even Gvirol Street, in Tel Aviv. The film ends in the year of 1983, with the invasion to Lebanon and the counter demonstrations. Between these dramatic events, Perlov documents the everyday life: the street, the home, the movement of people outside his apartment window, visits by friends and his twin daughters growing up. “Updated Diary” was filmed between the years 1990 and 1999. The three episodes (“Protected Childhood”, “Virtual Everyday Life”, and “Back to Brazil”) connect to the previous episodes of “Diary” and deal with similar family and nationalistic issues (the life of his grandchildren, the murder of prime minister Rabin and the rise of Nethanyahu to power).
Perlov, a well honored director, received in ’94 the “Israel Prize” for life achievement, and this specific work was related to even beforehand as the most important piece in the history of Israeli cinema.
Amit Goren will present the 85 minutes film “Another Land”, winner of “The Wollgin Prize for documentary Film” in the Jerusalem festival of 1998. The film moves between two extreme situations that are defined through “the house”. Security and tranquility on the one hand, and decay on the other, both in the personal- private field as well as in the public- national filed. The film describes a period of five dramatic years, both in the particular and the national area, 1993-1998.
Amit Goren is known today as one of the top creators of Israeli documentary film, and has won many film festivals’ awards, both in Israel and abroad.
Yhehoshua Glotman will present the work “Boarder Line”- a series of photographs of the Israeli northern boarder, integrated with text of a conversation between Glotman and fortune teller that psychologically analyses his personality by way of reading the palm of his hand. In “Boarder Line” Glutman chooses to deal with his threatened and anxious “self”, and tests the boarders of his own private perseverance in the face of the mental difficulty created by the Israeli reality. The lack of intimacy and the difficulty of expressing emotions and distress in its actual intensity signals a boarder line escape zones from a reality that pierces the sole in it, and crucifies him on restless occasions and conflicts.
Nurit Yarden will present a continuance of her latest exhibition “Visual Dairies”, holding recent materials. In this works intertwined a documentation of her everyday life, a documentation of the ever- changing city of Tel Aviv (the Meir Garden, the seashore sidewalk), photographs and written mementos from her childhood, and news materials that break into our life, such as terror attacks, war and flags. The central axis and the spinal cord of the works is three walking route- to Jaffa alongside the seashore sidewalk, as a girl walking to the Cinemateck movie hall, and to psychological counseling. Above and below each route the rest of the photographs are exhibited.
Dana Zonshaine photographs “Dana Rises, Dana Sleeps”, August 2000. Zonshaine photographs herself every day, when she rises in the morning and again before she goes to sleep at night. Just like the famous Israeli children song “Dana Kama, Dana Nama”, from which the title is drawn, and which means exactly that, Dana does not give herself relief, she rises and sleeps, sleeps and rises. In the bottom of the photographs Zonshaine writes sentences that describe the routine of her everyday life, such as: “I worked in the morning and in the evening”, “Birthday party to Yael from school”, “I bought an incredible skirt”, “My stomach has gone down”, “I made chicken and beans soup for winter”, “I was with mom and dad” and “Having a barbecue in Park HaYarkon”. Into the routine of life penetrate events from reality: “When we were at the kiosk we saw that there were a terror attack in Hedera”, “There was a terror attack in Jerusalem”, “There wasn’t any work”, “There was another terror attack in which six people were killed / murdered”. In Zonshaine’s work co- exist numerous layers of passages. Passages from attentiveness to slumber, from the inside out and from the private / intimate to the public.
Zonshaine’s work includes around 300 photographs from the passing year (January- September 2002).
