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| From: 18/3/2010 To: 8/5/2010 |
Once
Michal Arieli Efrat Gal
Michal Rothschild
Curator: Yael Amit
18/03/10-08/05/10
Opening: Thursday 18/03/10 at 20:00 |
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| From: 28/1/2010 To: 6/3/2010 |
Sasha, Oil on canvas, 160/120, 2009. |
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| From: 3/12/2009 To: 2/1/2010 |
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Untitled, Oil on canvas, 200/200 cm, 2009
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| From: 3/9/2009 To: 10/9/2017 |
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Carmel Ilan creates a rich world of new textures and colors by cutting and folding old paper. |
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| From: 1/6/2009 To: 1/9/2009 |
Rawart gallery is showing a group exhibition of the gallerie's artists-
Carmel Ilan, Manuel Ohlendrf, Eran Wolkowski, Gadi Dagun, Iddo Markus and Avi yair. |
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| From: 5/8/2008 To: 11/7/2008 |
Country Sides
Roads in the works of Eran Wolkowski are like any other road. They are anonymous and lack identity. It is the same gray/black strip everywhere. Only the scenery on the sides of the road connects them to a place and a time. The roads are in Israel. In fact, more in the Land of Israel than the State of Israel. But there is no political statement in the works, which the difference may necessitate, except a call to the viewer to reach his own conclusions. Eran Wolkowksi does not preach nor does he seek to prove something; he lets the scenery speak for itself, free of nostalgia and politics. Nonetheless, there is something unsettled about the scenery, an imaginary calm. A restlessness that originates in a hidden dissonance that blends the longing and despair inherent in the biography of the artist.
Eran Wolkowski was born in Kibbutz Be’erot Yitzhak that was evacuated during the 1948 War from its original place on the border with the Gaza Strip, and was relocated to the center of the country. These are sharp and precise landscapes that are not covered by the softening layer that is normally created by gaps formed with the passing of time and the yearning. The roads are current and dominant. In the margins unfurl the groves, the dunes and the fields that are sometimes obstructed by an object, like a tractor, a structure, or an electricity pole. The road is in the forefront, lit brightly, and in the distance stand out the details as décor. They appear like toys, realistic but not real.
Roads are dynamic. Their starting point is known but their end, not always. Eran Wolkowski is drawn to the familiar sides of the roads, not only in the geographic sense but also as a concept that is loaded with meanings, integral to the place and the experiences that shape those of his generation. He opts to loiter by the side of the road, where he observes his country, while trying to remain uninvolved. Eran Wolkowski sees an abandoned building in the fields, a tractor working the fields in the background, a column of cypress trees he remembers from an annual school trip, a heavy truck crossing a junction. There is something comforting in the routine on the side of the road. It does not change. The familiar scenery, which is nonetheless surprising in the way it is laid out and the way it emerges from the past, in a sort of defiant anachronism. The artist is delayed there, not necessarily because of nostalgia but because he is amazed and reconciled with the passing of time, with the change.
He got on his way in 1976. Having completed his studies at Bezalel he stayed in Jerusalem and focused on drawing. His first abstract works deal with the structure, the shape, and the texture. Gradually his subjects move toward the real and the intimate, immediate nature. In parallel to his artistic activity, he joined the local weekly newspaper Kol Ha’ir as its graphic editor and as an
illustrator, and then moved on to the daily newspaper, Hadashot. Later, he joined another daily, Haaretz, as the graphic editor and illustrator, moving to Tel Aviv in 1991.
Throughout the 80s and the early 90s he focused on urban sights. The subjects are random and trivial. Streets, parked cars lined up, backyards, rooftops filled with solar heaters and junk. Nonetheless, in his work there is still the commitment to artistic tradition and the artistic statement. The color is runny, transparent, and sometimes murky. The setting and the means are full of purpose and the atmosphere is lyrical, almost melancholic. The dominant element in these works is the view from the house outward. A view that is reminiscent of the intimate aquarelles of Yosef Zaritzky (looking out from the rooftop flat on Mapu Street) and of Yehezkel Streichman (scenes from the window of an apartment studio).
The relationship with the gallery Marie Fauzi (managed by Eitan Hillel) in Tel Aviv, accelerated the change. It was then possible to see in his works the first biographical content, mixing with the collective biography of his generation. He presented a series entitled Susita (a type of locally produced automobile), a recollection from his youth, and the series Cows and Cowsheds, in memory of days passed in the fields and in agricultural work, milking cows at the kibbutz. In parallel, themes reflecting heroes of his childhood, like Alexander Zaid on horseback, or John Wayne, also began to emerge in his work.
Life in Tel Aviv and his work at Haaretz changed the pace of his life. The dynamic and immediate environment of a daily newspaper, his exposure to the news, to the discourse, the big questions, gradually found expression in his work. His marriage and the birth of his children brought an end to the era of introversion and his life filled with motion. The family goes on road trips, outings on Saturday, picnics, visits “home” and the kibbutz. The texts that the children bring home from school make their own contribution. Wolkowski finds himself returning to the landscape and the innocence he had known as a child. In response, the focus on the individual – a product of the "mold" – gives way to a blending with the broader national historic experience, while in the background of his work echo sounds and rising voices of social and political debate. All these accompany him as he embarks on the roads with a simple reflex camera.
Photographs entice the viewer. So do the drawings that are based on photographs. They draw in the viewer and present him with what appears to be an accurate and convincing picture of “reality.” Eran Wolkowski does not surrender to the advantages of photography. He even enshrines and emphasizes the distortion and the drama that the seductive lens creates. As an artist who is aware of the development of the medium, he challenges photography. He is not interested in achieving technical perfection. His aim is different: he returns the photograph to the painting. He embarks on his way, stops on the side and takes a picture. Later, in the studio, he takes over the object, expropriates it from the
photograph with the use of tools and materials that photography supposedly makes redundant.
The photograph cannot be defeated, but Eran Wolkowski robs it of the efficient and corrupt tools. He takes the mundane view from the photograph, the facility of the medium, the frozen image, and the conditioning of the viewer which photography has cultivated over time. The "Drawing of the Photograph" befriends the viewer in a sly way. The viewer is aware of his fuzzy familiarity with it, but its origin is not evident to him. In his works the viewer is taken on a journey of scenery that seems familiar to him. Only on second glance does he realize the meaning of this familiarity and its connotation.
Yossi Klein
Translation: Michalis Firillas |
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| From: 27/3/2008 To: 10/5/2008 |
Tami Amit
Waiting for…
Since the origins of photography, one of its major issues has been credibility. Manipulation, montage, not to mention an inability to boast infallible objectivity, we’re well aware that this quality didn’t last long. Incidentally, the liquidation of photographic credibility isn’t a tragedy: it opens up other perspectives, and its historical consequence will be the triumph of “subjective photography” – even prior to postmodernity. Accordingly, as we know, the photographer no longer restores the visible, he or she reconstructs it.
Tami Amit, born in 1972 in Israel, has given us several series of staged photos: Alice in Wonderland, Nudes, Room service and Petrified Forest to name only the most memorable. Their style is specific and undeniably calls attention to their production. In terms of aesthetics, we can note the highly polished images, specific framing, pure and intentionally saturated colors and high picture definition; as for her themes, stories and tales told in visual fragments rather than in their totality. All together, the result is a body of work with an unusual content which is at once both familiar and strange, where “something is always escaping”, as Gilles Deleuze would have said; in this case, meaning, the raison d’etre, the very motive underpinning the images.
It’s significant that this portfolio falls under the general title Motion Pictures. The term refers to the art of composing film credit sequences. Credits are the inflection given to the story which the film is about to tell. Not a summary or a constructed condensation, but rather a herald or ‘foreshadowing’. Like credits, Tami Amit’s photography has a heralding quality: each image in her series summons another. The difference, however, is that unlike the movement spurred by credits (which set the narrative dialectic underway), here we aren’t referred to anything certain or tangible. Room service: a half-naked young woman lying on a sofa appears to be waiting for someone – but who? Hospital: another young woman, a fake blonde, seems overwhelmed with the deep and shameful pain of existence – but that’s all we know. Western: bodies enlaced in a desert, a young woman leaning over the remains of a dead man – but why? what score has been settled? a crime of passion, perhaps? Plus these numerous characters – generally women – who are ready for action yet in a state of waiting, unable to set things in
motion as if the starting signal – the clapperboard – hadn’t yet been given and, we have a feeling, never will.
Tami Amit’s photography explores time as well as image and, in concert, certain modern myths – notably cinematographic (the lone woman, the empty room, the crime scene, etc). Using series, though they be incomplete and filled with narrative holes, plays into this as a rhythmic element: the gaze is inscribed in a story. The treatment in sequences adds to the interest kindled by the images, which retain their electric charge of mystery and strangeness: the time of action takes shape. The spareness of the story is governed by what’s not said – well, it is said that we won’t know everything, that the ins and outs of everything brewing here will always be beyond us. But this unspokenness arouses curiosity while projecting us into a hypothetical future, in this case that of the imagination. Intrigue is a strategy that pays off, and is inconceivable without a present that calls for a solution which can only come later, which requires investigation and patience.
Where does this highly particular art of Tami Amit’s come from?
Duane Michals, Sandy Skoglund, Boyd Webb or even Tracey Moffat provide its main methodological markers – or even the famous photo by Sophie Calle entitled Dream Wedding where we see a bride all alone in an empty terminal at Roissy airport, waiting for an event that, quite obviously, is never going to happen. These references also cultivate the sense of mystery, narrative reticence and eloquent silence in the form of oxymoron. To be specific, references for which the photographic staging, far from denoting the concrete impossibility to grasp reality per se, is actually the bridge which forges the path to a world of unequalled richness, because ruled by the imagination. Dominique Baqué: “If we look back at the staged photo, the critical and polemical stakes appear more clearly: against objectivist dogmatism, demanding the right to subjectivity, indeed, but even more to transformation, to the transmutation of reality into “possible worlds”; against pure recording, the organization of a reality where it’s no longer a question of restoring the essence – which, incidentally, is improbable – but of showing a contrario how it can become the medium of phantasmagoria molded on the marvellous, the magical or the fantastic. [Photographie Plasticienne, l’Extrême Contemporain, (Fine-art Photography, the Contemporary Extreme) Regard, 2004].
Paul Ardenne
Tami Amit "Motion Pictures" |
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| From: 5/3/2007 To: 6/2/2007 |
James unsworth at raw art
Taking after the likes of Hogarth and Gillray, James Unsworth uses the medium of print making to act as social critic for our times. His violent, sexual, greedy characters seem to explode from a dark tale of horror and allegorical moral.
Unsworth reacts to the everyday popular images from television and magazines. He creates his versions of the carnivalesque underlying our post modern lives. Often he draws from Christian symbols and compositions, as well as masterpieces of caricature and illustration.
The juxtaposition of tradition and classical art and the visual culture and images of today’s living reveal once again that human nature is predetermined and unchanging. Crime ridden, sinful, gossip stricken, and sexually at a dead end.
The image of the body is being beaten in the quest to demystify our inner demons and the sexual inhibitions that bound them.
His fine ink lines, drawn in a meditative manner, contradict his subjects and themes. Powerful, highly detailed works that although their obvious grotesque nature, have a childish curiosity to them.
In his monster-like portraits of the human condition, james unsworth treats his subject matter with a sense of humour, asking not to preach, but educate through entertainment and stimulation.
For his first solo show outside the UK, Unsowrth is showing 8 ink pen drawings, in his distinctive style. The drawing will be accompanied by a wall paper of his own design.
Curated by Gilly Karjevsky.
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| From: 22/3/2007 To: 28/4/2007 |
The guards of Israel (a three phase comics)
Truth be told, it’s not that funny any more.
Once, in the past, we could still grin, make a little joke and swallow this medicine, let it slide, round corners, turn a semi-blind eye, and go on living.
Today humor has become luxury, an executive game for the nouveau riche who are building their apartments, uniform in size an ugliness, bequeathing a future which will become a very grim present to us all. It is not exactly clear when (and how), but all posts have been abandoned. Eyes have been shut. Israel keepers fell asleep. The havoc is seeping in undeterred. No one is stopping it. Nobody is asking questions. No one opens its bag and rummages through its insides.
Once, if I am not mistaken, I do recall that we had opinions. We would also express them, believing we can change, convince, affect. I am almost sure our bodies’ posture was different too. The back was straighter, the chest a bit more open, the legs sturdier. Maybe even the eyes’ gaze would enfold something. It observed, discerned, not merely stared.
The small, yet extremely sharp, pin burst it all, the balloon, the bubble, the system of defense. Ideas collapsed. Persuasions dissipated. Nobody really cares. Really, nobody really cares.
Once in a while someone tries to cry out, to raise a voice, to express an opinion. Their barks become a frightened kitten’s wailing, absorbed by the surrounding deadly silence. Shhh… be still. Do not be loud, you might wake up.
With no other recourse, we roll our eyes to the heavens, clasping our palms and praying that the seers of visions will deliver an heir for us, exact a leader upon us, that somebody will assume responsibility at last and lead the blind and dormant to a better place, that someday we shall awaken and find that not only we were, we also dreamed a dream, a nightmare.
But truth be told, sweetened happy endings only happen in the movies. External solutions are but an invention of script writers. The truth is that just as the magnificent lovely Lotus grows amidst the stench of black swamps, responsibility for individual blossom lies solely with us.
For after all, the way is never really lost. Sometimes it just strays aside, hiding as best it can, waiting for each of us to find it and resume our stride along it.
Itay Mautner
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| From: 15/2/2007 To: 18/3/2007 |
| "Island" / Yair Perez |
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| From: 12/7/2006 To: 15/7/2006 |
…"My work is the attempt to capture movement and energy in an imaginary space. The flow of energy that surrounds me, which I feel around, between and in objects or people I try to convert into color, light, shapes and structures…my “figurations” are never abstractions of anything existing in nature… They might refer to things we can experience in nature but in the first place they have an autonomous reality of their own – pure painting vehicles, made out of motion shown through color…My ambition is not simply to illustrate movement and energy… for me it is all about the translation of the personal theme into the matter that is essential for painting: color and shape…
A painting is finished when I have the feeling that it’s character got clear and the color phenomenon it creates got strong enough so that it comes towards me as an equal opposite"...
Manuel Ohlendorf
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| From: 26/10/2006 To: 11/6/2006 |
| "Paintings and Paper Cutouts"/ Donna Brown |
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| From: 14/9/2006 To: 20/10/2006 |
"Pillaban" / Ami Faytchevitz
14/9/2006 - 20/10/2006 |
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| From: 29/7/2006 To: 29/7/2006 |
| "Views 2005-2006" / Shirley Adar |
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| From: 4/5/2006 To: 4/7/2006 |
"SLOW DANCE MARATHON" – TEL AVIV - 48 HOURS / 2006
This Slow Dance Marathon is one of a series of similar marathon performances, that Panayiotou holds at various urban public spaces throughout the world.
The Tel Aviv marathon took place between the 5th and the 7th of April 2006 at the foot of the flag poles at Rabin Square in Tel Aviv.
During the marathon, 96 couples are paired up, by Panayiotou, to slow dance on stage, to the sounds of some romantic slow music, for 48 consecutive hours. The dance partners, who do not know each other, are switched hourly. The participants are mostly art, theater, or design students at Tel Aviv institutes. About a week before the performance, several meetings between the artist and those students took place, in which he presented his work to them and ask them to volunteer for the project.
This marathon is an ongoing project that takes place, time and again, in the same manner, at various places around the world. The marathons only differ in location and participants.
These marathons, as depicted, revolve around the personal or intimate way in which the individual relates to his surroundings and to himself. With its simple structure that comprises a continual hug, the marathon touches a wide range of human sensitivities, with no distinction between social classes, ages, cultural backgrounds or any other personal characteristics. Through the slow silent motion of the two partners who are strangers, the artist portrays the human need for bondage and touch, and other human aspects such as loneliness and personal space.
The choice of Rabin Square for the marathon is meant to stress the square’s cultural nature, as it has recently become a place for demonstrations and memorials, befitting a central Tel Aviv square.
Holding the Slow Dance Marathon in Rabin Square emphasizes the square’s democratic and civil nature, and the possibility of interpersonal and intimate encounters in that public space, along side its familiar role in the Israeli public’s mind, as a place of political statements and of a prime minister’s assassination.
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| From: 23/3/2006 To: 4/6/2006 |
"Moi, Elles - Relation photographique au feminin" / Amit Berlowitz
"La fusion de "Je-Tu" que produisent ces lieux complexes, riches et beaux qui est selon moi l'expression même de la Féminité, l'Humain et le Féminin".
Amit Berlowitz
J'ai connu Amit il y a deux ans, je crois. C'était Shiméon qui l'avait invité chez moi le soir où j'avais organisé un dinner dans mon atelier de la rue de l'Hôtel de Ville. Je me rappelle de son sourire et de son air de Parisienne plutôt que d'une Israélienne qui porte l'empreinte de l'armée.
Eve, Rosita, Claire, Edit…
Amit nous montre les instants au cours desquels on pourrait dire qu'elle se photographie et entretient une correspondance avec elle-même et avec une partie de sa féminité ( même si on ne la voit pas physiquement sur les photos ), elle ajoute des éléments féminins dans sa vie en photographiant ces femmes-jeunes filles, femmes-fillettes qu'elle rencontre par hasard dans un café, dans le couloir d'un studio ou à la rédaction d'un journal. Pendant ses rencontres chez elles, Amit Berlowitz partage avec elles leur existence, leur vie, leur univers différent du sien, et cet acte de photographier devient ce moment qui est le leurs, le leurs à toute les deux. Ces instants leur ont permis de transcender leur propre existence, en partageant leur monde intime et personnel, en se détachant d'elle-même et vivant cette expérience des moments quotidiens, banals et humains de la vie : s'habiller, fumer une cigarette, regarder dans le vague ou juste essayer une robe.
Text and Curation by: Joseph Dadoune
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| From: 2/2/2006 To: 3/10/2006 |
"View "
View: "A sight, inspection, a scene or vista, field of vision, interpretation, position, a look".
This is the first group exhibition of Raw Art Gallery.
The exhibition examines the action of viewing and the perspective reflected from it.
Eight artists observe the urban view around them and bring to it eight perspectives of the reality and decor surrounding us all.
The various pieces hanging on the gallery’s walls open windows into the artists’ world. The view from these windows is flamboyant, curious, questioning, examines the boundaries of the medium, revealing a handbreadth here, hiding one there. It also reminding the viewer, that the both artist and the action of art, form a window through which one can observe life experience and content.
This very act of viewing transforms the observer into a participating, integral part of the artistic entity, there for vary between observers, between the different time frames and different individuals.
The visual observation is the technique, the dialect and dictum.
The works in the exhibition attempt to transform a portion of reality into something unreal, imaginary, in an effort to disengage from the immediate, described imagery. This disengagement between imagery and context carries it into artistic exile and bestows a refugee status which allows a critical, exploratory, responsive and bubbling stand.
The view is imprinted by the artistic medium, part and parcel of both the artist and the observation.
The objective or “real” view frame, resides in the gap between the pieces as well as that between perspective and characterization.
Curator: Nir Harmat
Adam Sher, b. 1969, painting. Eitan Vitkon, b. 1967, photography. Daniel Tchetchik, b. 1975, photography. Hanan Shlonsky, b. 1961, painting. Yair Perez, b. 1978, painting and mixed media. Maia Zer, b. 1962, painting. Adi Weizmann Aharoni, b. 1974, mixed media and installation. Shirley Adar, b. 1974, painting.
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| From: 12/8/2005 To: 1/6/2006 |
Adam Sher
“City Spots”
In the series of works titled "City Spots", Adam Sher presents the outcome of wondering around a big city, and visual conclusions of observation in an urban setting. Sher gives into this wandering and the surprises that it brings along the way, and by doing so answers the adventurous impulse known to us from the backpackers' trips in the wild. But Sher doesn't need to travel far. He finds it sufficient just walking around a busy street and admiring the scene, which evokes in him a need to document and map out the urban "landscape." Accordingly, the works Sher chose to present are very personal, marking his own city limits and its subjective qualities.
Sher's artwork is like a connecting channel that reunites man and nature. However, Sher's surprising definition of nature, of the landscape, has been updated here to encompass the relationship between man and the mother city. In Sher's urban portraits, the face of the city has taken the place of the man's face. The human characters have been replaced by billboards with torn apart posters, refrigerators bursting with produce, shopping windows and neon lights, which tell the story of man and city. Sher's grasp of the urban reality disregards the squalor, filth and the mental fatigue that accompanies it, and makes room for a "new aesthetics" according to Sher, an aesthetics deserving of an artistic angle. Within the eclectic content hidden in the city's streets, Sher finds a formal logic and magnifies it while using color and texture laden with pathos.
Even the precision of Sher's artistic language, which is based on structural divisions of the frame (first in photography and then is painting), helps to capture the environment depicted in the paintings as an urban, street-like icon. This polished adaptation of his to the so called trivial landscape, one that doesn't occupy us in daily life, is the source of Sher's sensitivity. It's as if his art asks us to show more empathy towards our surroundings, enjoy in the scenery coming at us from every corner, and embrace them.
Adam Sher (36) is a graduate of the Vital Center of Design in drawing and graphic design. In the past few years Sher has participated in various exhibitions and art events. He is also a founding member of the "Saloona Group" of artists-activists who view art as a platform for various social objectives. Sher, who perceives the daily environment as an inseparable part of his artwork, places it in the forefront when choosing his exhibition spaces that express the direct dialogue he has with those spaces within the daily reality such as commercial centers, entertainment spots, various institutions, etc.
Text: Yael Omer
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| From: 21/10/2005 To: 23/11/2005 |
" Street Fighter " / Yair Perez
The exhibition ‘Street Fighter’ presents a view on existence in an urban landscape.
The imagery used in the works shifts between human and animal. This imagery creates a hybrid which uses animal instincts to survive the war of existence in a new habitat. In fact, this animal represents evolutionary reduction, in which urban people, the “perfect” Homo sapiens, are introduced to the wild nature of the city and themselves.
The process brought through these works tries to introduce a perspective on “instant evolution”: evolutionary changes that happen during the course of one life. The mental and physical change is forced on a person against his will and brings to bear the obligation of adaptation to every situation.
There is a return to the essence of the body and the use of it as a tool. This is the first and the last tool at human’s service . A human mass, containing the instinct to live, becomes a scene of action: the cross-breeding of a body with its environment.
Most of the images in the exhibition are male, like the artist’s first person reading of his immediate reality. Animal imagery removes the masks and exposes the human instinct in all its nakedness; the works strive for an understanding of authentic, primal nature, by which a human will return to the animal stage that is imprinted inside of him, when he will be forced to survive, at any place or any time.
The placement of the gallery, in scruffy south Tel Aviv, makes the imagery more loaded. The gallery is used as a shelter from the noisy outside, nevertheless, in a challenging manner, it forces the viewer to face what he was trying to hide from.
There is no question of justice. There is a fascinated observation of the human animal; at one moment it seems far and unreachable, and at another, the possibility of its arrival appears terrifyingly close.
The drawings wander through territories in which good and bad exist within their own boundaries. The tragedy of existence is occurring without witnesses, even with their presence.
The animal brought up in the exhibition ‘Street Fighter’ is an animal that is imprisoned in each one of us, up until it bursts out against its will, when it is really needed.
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| From: 9/1/2005 To: 10/10/2005 |
" Above and Below Home "
As a continuance to the previous work, "Fading Grounds", this work describes the endless search for Home, A solemn place of acceptance, peace and redemption that eludes us time and again through the ever-changing reality that is our existence, we search, trying to adapt. The variables are not constant and therefore the search for fulfillment is in need of a living response, evoking a never-ending confrontation between our light and the dark.
In the micro images, the light is frozen on the surface by a relatively (relative to the previous work) fast exposure of the camera. This technique gives the light an electric quality, and symbolizes our enlightened energy. These light blankets which are created, are integrated in the compositions with dark forms, seeking to produce a visual dialogue as well as a metaphoric one between the enlightened and perplexed.
This work is a journey, aimed at illustrating the inner struggle for balance. One which strives to
disclose the aspiration, the childish yearning, for our solemn place called Home.
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