Art makes us happy- 25 years to noga gallery

Art Make us Happy / 25 years to noga gallery

Opening: 14/06/2019   Closing: 09/08/2019

Ori Gersht, Blow Up, Untitled 12, 2007, 100x100cm
Jossef Krispel, Fabricated, 2016, Acrylic and Oil spray on Canvas, 120x100cm
Amikam Toren, Simple Fractions (III), 1975, glass; araldite, shelf, framed drawing; print 36x40.5cm, Glass 22x7x7 cm
Hilla Toony Navok, A Hose, 2013, Mixed Media, 320x220x120cm
Naomi Leshem, Untitled #2, 2003, Archival Pigment Print, 80x80cm
Keren Cytter, Untitled, 2019, Drawing, 30x30cm
Matan Ben Tolila, Swimmer #1, 2019, Oil on canvas, 160x100cm
Mosh Kashi, Ash Flora, 2016, Oil on canvas, 35x50cm
Orly Maiberg, Untitled, Mixed Media on raw canvas, 80x120, 2018
Shahar Yahalom, Ghost, 2018, Glass, 36x32x21cm

Noga Gallery marks 25 years of fascinating and challenging activity with the 22 gallery’s artists.

The core of Noga Gallery’s activity and essence has always been presenting Israeli artists, with a focus on emerging women artists, and promoting them in Israel and abroad, as well as exposing the local audience to international artists. The mission of presenting groundbreaking artists whose art combines a range of techniques and controversial themes has been a guiding light for us throughout the years. From the early days of the gallery there was an emphasis on creating an emotional and intellectual aesthetic experience, one that stimulates and undermines issues and sharpens our perception of the world. The gallery maintains a diverse and substantial exhibition program and supports emerging artists as well as artists in the more advanced stages of their career.

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Noga Contemporary Art Gallery opened in 1994 on 34 Dizengoff Street, Tel Aviv, after a two-and-a-half-year activity from a private house in Herzliya. It was founded by Nechami Gottlib, and with the move to Tel Aviv, Adina Alshech joined the gallery’s management. In 2002 it moved to its current location on 60 Ahad Ha’am street.

The inaugural show in 1994 was accompanied by a special exhibition of 12 billboards on the façade of Habima Theatre and a catalogue. The exhibition was divided into two installments and featured works by the artists Smadar Eliasaf, Tamara Messel, Irit Hemo, Rivka Potchebutzky, Belu Simion Fainaru, Orly Maiberg, Hadar Maor Dgani, Nurit Avidov, Morel Derfler, Michal Heiman, Tito Leguisamo, and Max Friedman.

In its early years, the gallery presented solo shows by Irit Hemo, Tal Mazliach, Galit Eilat and Max Friedman, Smadar Eliasaf, Joshua Neustein, David Ginaton, Marilu Levin, Michal Heiman, Hila Lulu Lin, Nir Hod, Yehudit Sasportas, Miriam Cabessa, Larry Abramson, Orly Maiberg, Mosh Kashi and others. For many of these artists this was their first solo show.

The gallery was ahead of its time and held exhibitions that pushed the envelope, such as Max Friedman and Galit Eilat’s installation that simulated a bordello in the gallery, the work of Hila Lulu Lin who presented a giant nude photograph, Nicole Eisenman’s installation that included a large mural, the works of Talia Keinan that combine drawing and video, Keren Cytter’s provocative films, as well as the display of photography and video works, which was rather rare in the early 1990s and the display of distinctly noncommercial bodies of work. We were the first to exhibit the students of Israel Hershberg’s Jerusalem Studio School in Israel, among them Aram Gershuni, David Nipo, Eldad Farber, and more. This pluralism, which nowadays sounds natural, did not exist in the artistic climate of those years.

The gallery organized and produced a large benefit event whose proceeds were dedicated to Meira Shemesh z”l who needed a heart transplant, but by the time a heart was found it was too late.

The international artist Ori Gersht had his first solo exhibition at Noga Gallery, from which his career catapulted to worldwide recognition.

In 2000 the gallery was invited by the British Council to curate a show of young British artists. The exhibition, curated by Nechami Gottlib, was on view concurrently at Herzliya Museum of Contemporary Art while Noga Gallery featured works by Sam Taylor-Wood, Sarah Lucas, Sarah Jones, Gillian Wearing, and Mat Collishaw – some of the leading artists of the YBA group.

With the move to the space on Ahad Ha’am Street we opened a special projects room, which allowed artists who are not in the gallery’s roster to present unique projects and installations for over a decade.  Another expansion was made possible by using the gallery’s display window facing the street for performances and various installations.

The gallery’s artists have had solo exhibitions and participated in group shows in leading Israeli and international museums and art events, such as the Venice Biennale, Tate Modern and Tate Britain in London, the Guggenheim and the Whitney Museum in New York, Pompidou Center in Paris, Hamburger Banhof in Berlin and more. Their works are included in leading museum, public, and private collections in Israel and around the world. Many have won awards from museums as well as the ministry of culture and sports.

The international artists who exhibited at the gallery include Nicole Eisenman, a San Francisco based artists group, a group of Cuban artists, Felipe Cezar, Gillian Wearing, Sarah Lucas, Kara Walker, Shahzia Sikander, Kader Attia. The artists Nicole Eisenman and Kader Attia, who were invited to show at the gallery in the early stages of their careers, have since gone on to gain wide acclaim, win prestigious awards, and show their works at the world’s leading museums.

The gallery participated and continues to participate in the world’s leading art fairs such as Art Basel, Art Basel Miami, FIAC Paris, Art Forum Berlin, the Armory Show in New York and more.

And on a personal note, art makes us happy, it makes us think, and challenges us.

We came to art with love and with love we will go on.

crown

Mosh Kashi / CROWN

Opening: 14/02/2019   Closing: 30/03/2019

Gallery Talk: 15/03/2019

Crown, installation view, Noga Gallery, 2019
Crown, installation view, Noga Gallery, 2019
Crown, installation view, Noga Gallery, 2019
Crown, installation view, Noga Gallery, 2019
Crown, installation view, Noga Gallery, 2019
Crown, 2019, Oil on canvas, 180x220cm
Blue Sepctrum #2, 2019, Oil on canvas, 70x50cm
Crowns #1, 2019, Oil on canvas, 110x112cm
Purple Glowing #1, 2019, Oil on canvas, 200x220cm
Yellow Glowing, 2019, Oil on canvas, 70x50cm

“When I was a child, I used to catch the fish in the river with my hands. I was fascinated by their movement, their speed, how they sparkled, their colors. That was exactly what I wanted to catch in my hands.”

(Constantin Brancusi, “Conversations with Brancusi”, p. 46)

In his new cycle of works, Mosh Kashi expands his pictorial research and explores painting techniques and outlooks in surprising and dynamic large-scale works. The exhibition comprises several series of paintings, each invites the viewer to look from a different point of reference. This time, nature serves as a catalyst for an exploration of cosmic phenomena, while the studio acts as the connecting link in the transformation that they go through before they reach the painted canvas.

The central series in the exhibition is Light Particles. This series serves as an index of Mosh Kashi’s earlier painting processes, which consisted mainly of isolating objects from nature around him and placing them at the center of the canvas, keeping to a minimal color palette, and creating a world that has no place or time. Whereas in this series the gaze turns to look at the celestial sphere, examining the speed and frequency of celestial bodies through pictorial subjects whose visible characteristics are energy and movement, refracted light, and sudden bursts that glimpse fleetingly, following their own routine and structure.

At the same time, a series of panoramic paintings that explore mass and weight through a colorful relationship in paintings of light and darkness complements the sharpness of the Light Particles series. The painting’s appearance is dictated by the misty image, the slow, almost imperceptible heavy movement of the mass of light and darkness.

The third series of works focuses on dense construction of a colorful range as an expression of painting abstraction. The presence of color in this series manifests itself with flashes of color waves, capturing layers of bright light and total darkness, as if they were the essence of the blue sky spectrum.

Each series in the new cycle of paintings is executed in a different method that indicates the totality of phenomena in the universe. At the same time, it also illuminates the possibility that the pictorial tactic in this instance distills natural phenomena and gives them an independent entity, one that is separate from the cosmic space, an action that conjures up the studio as a parallel universe governed by its own orders.

Reality outside the studio and the illusion of painting in the studio underscore the differences between them but at the same time also allow the cosmic moment to take shape through painting as an imaginary existence of a visual formulation.