Dana Gillerman, Galia Yahav, Smadar Levi, Uri Proust, Michal Shamir
Some time ago, the gallery artist Michal Shamir approached the three artists: Dana Gilerman, Smadar Levi and Galia Yahav and the musician and director Uri Proust, and invited them to create a joint project with her at the gallery.
The name of the exhibition “Parallel Lines won’t meet in their lifetime” is taken from a work by Galia Yahav, a ready-made that is actually a piece of paper torn from a child’s math notebook, in an obscure elementary school somewhere. The childish saying: “won’t meet in their lifetime”, planted deep in the heart of the mathematical theorem, in the heart of the axiom, us also in the heart of the artistic work. The exhibition deals with inserting the living dimension, the breathing, personal, bleeding dimension, into the world of abstract lines.
Into the universe of expending lines without beginning, middle or end, and without cessation, penetrate elements of transience, of materialism, last, anxiety and more. Through this act the poetic, almost tragic quality of the junction- that- won’t- happen- in- their- lifetime, is discovered, one that generations of students will go on memorizing and proving.
Between these two parallel lines, in the space and tension created, proceed the works in the exhibition.
Dana Gilerman presents a video version reflected on a screen, to Courbet’s renowned “Origin of the World”. In this version the woman is slowly bleeding, staining the sheet, and the painting. Galia Yahav presents a work created out of surfaces made out of dried apricot covering a small statue of a woman, transforming it into patchwork, into peeling incrustation. Smadar Levi presents three beds- partially tanning beds, partially ambulance stretcher- in a waiting position to the vacationer or injured. Michal Shamir presents a three-dimensional close- up to Jesus’ stigmata wound, dug into a wall and refusing to hill, and made out completely from gummy candy. Uri Proust presents video art functioning as a ghost refusing to recover.
The exhibition deals with the gaps between the intellect and the senses, the interval between body and painful memory, in the classical procedures of art history and their impotence to help us. It also deals with a body, controlled and domesticated by the technology of illness and pain.
