Curatorial project at Givon Gallery, July 2023
The exhibition deals, through different disciplines, with the floor as a material, as a subject, and as a concrete place. The engagement with the floor is, among other things, an act of resistance to the gallery space. Givon Art Gallery itself is not a standard modernist exhibition space, but rather two Tel Aviv apartments that have been converted into a gallery. It too expresses opposition to the definitions of a gallery. Regarding the specific weight of space and its effect on the artist's work, Micha Ullman once said that "the walls remember". In this context, dealing with the floor frees the works from the burden of memory in relation to the role of the wall, at the same time confronting the charges inherent in the ground, the soil, and the home.
Artsa, a group exhibition curated by Lior Tamim, brings together artists from several generations. The most senior, Micha Ullman (b. 1939) represents the Nephilim generation of Israeli art. Alongside him are Gil Marco Shani (b. 1968), Pavel Wolberg (b. 1966), Eitan Ben Moshe (b. 1971), Yaara Zach (b. 1984), Lihi Nidiz (b. 1990) and Mor Afgin (b. 1990).
The Cougher (Yona's shoe), painted aluminum shoes size 43, two speakers, wires and amplifier, 2023
#6, photogram, unique silver gelatin prints mounted on aluminum, fishing wire, 120x34 cm, 2022
#5 (triangle), photogram, unique silver gelatin print, wood and glass
195x70x2 cm, print size 17x17x23 cm, 2022
#1 (sea), unique silver gelatin print, burnt wood, plexiglass
, 100x45x8 cm, 2022
#4, photogram, unique silver gelatin print, fishing wire, brass screws, plexiglass, and plywood, 54X34x8 cm, 2022
Silver-beam, 25x25x300 cm, silver reflective mylar film, aluminum pins and plywood, three subwoofers, amplifier, 2021
Loophole, site-specific sound installation, Givon Art Gallery, May 2021
This solo exhibition opened at Tel Aviv’s Givon Gallery in May of this year. It features three new bodies of work that perform together as a site-specific sound installation. While each body of work produces its own soundtrack, they join together to create an orchestrated 50-min sound composition that is played in a loop.
On the bright ground floor of the gallery, three silver-coated bronze transistors play a multi-channel sound piece. The soundtrack consists of nature sounds which culminate in a short segment based on the disruption of Harry Belafonte's Banana Boat Song.
A kind of deaf discourse is created between the transistors searching for each other in space until they join together in the cry that they "want to go home." The original song is built in the form of call and response and is known as a Jamaican slave song that was sung during long days of hard labor.
The transistors’ structure is based on a Faraday cage: a metal enclosure used to block electric and electromagnetic fields. In that way, a tool originally produced as a frequency receptor turns into an isolated cage.
Each transistor weighs 5 kg. The weight of the material stands in contrast to the natural function of the transistor as a lightweight object meant to be carried around easily. The silver pigment is created by an electrical process (electroplating) that “tattoos” a silver coat on the bronze surface. The “rich” look of the material, which will change over time, appears to give the object an added value.
The antennas of the transistors perforate the ceiling of the first floor and burst into the second floor of the gallery, physically emphasizing the attempt to absorb information and undermining the architecture of the display space.
The darkened top floor is controlled by The Oracle, a prophet with a computerized voice that produces random sentences via LED signs. Each sign has a signature color and each is located in a different area of the space. Only one vantage point in the gallery reveals the Oracle’s message in its entirety. The sound of the Oracle emanates from speakers mounted on the ceiling.
Another meditative soundtrack is emanating from three wall-mounted silver works. The works seem to emerge from the darkness of the room. This soundtrack is connected to a computer that plays a random sound creation in 5 different scenes. The sound accompanies the Oracle and produces segments that at times sound melodious. The composition changes frequently, transitioning, for example, from piano to a synthetic ambient sound, to undefined background noise. The work functions as a kind of shattering glacier, which is built and destroyed simultaneously.
Silverworks/Composition for III, 2020
#5, Silverworks,170x170 cm, silver reflective mylar film, aluminum pins and plywood, two subwoofers, amplifier, 2020
Sahki Sahki group show project, Jaffa beach house, 2020 (photo by Beller)
detail from Two transistor radios, Blaupunkt BP-1000, sound installation 1/3 + 1AP, 2020 (photo by Beller)
Detail from #2, Silverworks, site-specific work, 2020 , (photo by Beller)
#2, Silverworks, site-specific work,170x170 cm, space blanket,
aluminum pins and plywood, 2020 (photo by Beller)
#8, Liquid works, inkjet print on Museo silver rag paper, 148x172 cm, 1/4 + 1AP
(photo by Beller)
Installation view (photo by Beller)
Installation view (photo by Beller)
Oracle, sound installation, 2019, Givon Art Forum, Curator Noemi Givon
Raspberry Pi, led panel, mp3 player, speakers, computer
The Oracle is an autonomous being, an electric prophet describing the world eternally. A speaking computer powered by an algorithm that pairs adjectives and nouns at random. Each combination is a one-time description that will never be repeated. The Oracle is accompanied by a 12-note flute arrangement, generated in real-time by an algorithm.
Sandstorm, 2019, the 7th biennial for drawing, Jerusalem
Site-specific sound installation
Fog machine, light, 3 rounded mirrors, 4 speakers, 1 subwoofer, mp3 player, mixer, amplifier