Video Art Manual

Keren Cytter / Video Art Manual

Opening: 25/10/2012   Closing: 07/12/2012

Video Art Manual, Installation view, Noga Gallery of Contemporary Art, 2012
Video Art Manual, Installation view, Noga Gallery of Contemporary Art, 2012
Video Art Manual, Installation view, Noga Gallery of Contemporary Art, 2012
Video Art Manual, Installation view, Noga Gallery of Contemporary Art, 2012
Video Art Manual, Installation view, Noga Gallery of Contemporary Art, 2012
Video Art Manual, Still from video, 2011
Video Art Manual, Still from video, 2011
Vengeance, Still from video, 2011
Vengeance, Still from video, 2011
Vengeance, Still from video, 2011

Noga Gallery is pleased to announce our third solo show with the internationally renowned artist Keren Cytter (*1977). In her exhibition Video Art Manual, Cytter presents her latest films: a premiere of three episodes from a multi-part series titled Vengeance (2012), and a film titled Video Art Manual (2011)

 

The exhibition’s title is taken from one of Cytter’s works Video Art Manual. In the film Cytter offers a historical analysis of video art and its development the last forty years, focusing on the conditions of how contemporary video art is produced, installed and consumed. The 15-minute work is a sardonic — and perceptive — take on video art and film, as well as their tropes, the same conventions the artist winkingly uses in her own films.

 

In the 3 episodes of the work in progress film titled Vengeance, Keren Cytter, who recently moved to New York, comes to terms with her own currently changing life situation. In particular, she takes up the US TV-format of the “daily soap” and processes classic themes of drama in personal relationships: love, envy, betrayal, and vengeance.

 

In contrast to older Cytter works such as The Date Series (2004), these new video episodes are less existential in nature and seem almost comical. What is also new about the exhibited films is their elaborate production. While previous works were often characterized by an intimate interior, Cytter stages these new episodes in the rich settings of Staten Island and New Jersey. The scenes were filmed at 15 different places, including restaurants, hotels, parks, apartments, and streets. A total of 50 actors, most of them professionals, fulfill their social functions with blank faces. They provide a projection space for the beliefs and stereotypes of each viewer.

 

Cytter takes up the concept of “friendenemies”, which has become popular in American soaps: two women, previously friends, get caught up in a perfidious contest in their daily office life, turning them into bitter rivals. In this conflict, both women are like puppets; driven only by the pressure of competition and the obsession with perfection. Not only the characters seem interchangeable, the story also stays intentionally superficial to grant the viewer a low-threshold access into the events. As opposed to previous Cytter films, the trivial dialogs of the series are not supplied with subtitles. The artist reviews impressions and clichés of the US American society, which have become part of our collective memory – not least by daily soaps such as Dallas or The Denver Clan. Cytter examines cut and dried patterns deeply rooted in pop-cultural visual memory and analyzes the influence of mass media on behavior patterns and prejudices in contemporary society.

 

The text about Vengeance was written by Natalie Keppler (translated from German)

 

Keren Cytter was born in Tel Aviv in 1977. She studied at The Avni Institute in Tel Aviv and received her degree from de Ateliers in Amsterdam. Cytter’s work has been featured in solo exhibitions at the Stedelijk Museum, Amsterdam; Hammer Museum, Los Angeles; Moderna Museet, Stockholm;Tate Modern, London; Witte de With Center for Contemporary Art, Rotterdam; Museum Moderner Kunst Stiftung Ludwig, Vienna; KW Institute for Contemporary Art, Berlin and Kunsthalle Zürich. Her work was included in the 53rd Venice Biennial; Found in Translation, Solomon R. Guggenheim Museum; 8th Gwangju Biennale; Manifesta 7, Trentino; and Talking Pictures and K21 Kunstammlung Nordhein-Westfalen, Düsseldorf. Cytter currently lives and works in New York.

ED

Shahar Yahalom / ED

Opening: 23/08/2012   Closing: 19/10/2012

Ed, Installation view, Noga Gallery of Contemporary Art, 2012
Ed, Installation view, Noga Gallery of Contemporary Art, 2012
Ed, Installation view, Noga Gallery of Contemporary Art, 2012
Ed, Installation view, Noga Gallery of Contemporary Art, 2012
Ed, Installation view, Noga Gallery of Contemporary Art, 2012
20x28
Untitled, colored pencil on paper, 20x28.5cm, 2012
21x30002
Untitled, pencil on paper,16.5x23cm, 2012
Untitled, ink on paper, 2012

In the exhibition: Tree incubator (Live statue), drawings, video work, and tattoo machine drawings on silicon.

 

Following the opening night of her exhibition Shahar Yahalom will leave for New-York, for MFA studies at Columbia University. Yahalom is the winner of the Young Artist Award of the ministry of Culture and Sports for 2012. Among other venues she has exhibited: final nominees for the Gottesdiener award exhibition at the Tel Aviv Museum at 2011. On 2009 she exhibited at the Herzliya Biennial and Art TLV.Biennial.

 

“…Following past exemplary shows in which Shahar Yahalom masterfully created objects and installations that corresponded with the contemporary art discourse, in her present exhibition she examines the borders of the high road of the art discourse in which she conducted herself so naturally. The exhibition ED raises the possibility of the turn towards perversion. This possibility is found in canonic aesthetic doctrines that see in the artist one to whom the law, the example or school do not constitute a barrier, but rather a leverage.

 

… Beyond the description of the artist’s action of drawing, the word “drawing” in Hebrew applies to different forms of drawing, such as literary notes, supply lists, or any other type of list in which something is written, jotted down, leaving a mark. In Hebrew the name of Shahar Yahalom’s current exhibition ED encapsulates within it at least two meanings of “Drawing”. On the one hand it is vapor, which is at once visible yet will soon dissipate. Similarly to the random scribbling of the grocery list that will soon be forgotten after it will be replaced with the groceries themselves. Yet it also keeps the meaning as a witness that will remember and remind of the occurrences.”

 

-Taken from the ED exhibition text “Five Remarks on Drawing” by Efrat Biberman.

 

A conversation between Nechami Gotlib and Shahar Yahalom

 

Question: What brought you to create an incubator for a tree?

Answer: The incubator originated as a thought of an object, a collage of ready-made objects. One of the images used as a source for the work is a photograph of the first space shuttle to land on the moon, Apollo 11. The space shuttlecraft seemed to me as a collection of junk pieces, and it wasn’t clear how such a thing managed to reach the moon. The fantasy that guided me was taking a Sycamore tree, whose origin is in North America, there is a difference in its behavior in Israel and at its natural habitat abroad, so I wanted to build it a space or “space craft” – a space constructed from many elements. The tree is physically too weak to sustain the fantasy, the incubator suffocates it rather then allowing it to live. There is use of every bit of air in the space, there is no one consolidation point. Near the tree sculpture/ incubator there is a Styrofoam sculpture that creates a sort of glacier and snow or ice flakes. Above the tree, there is a lamp that is a source of energy.

 

Question: The use of “ready made” in your works is new. In the previous works there was always a wish to “invent” something.

Answer: That’s right, in this exhibition there isn’t an expression of freedom in the sculptural work. In this case I didn’t want to invent, but rather to combine things, create objects that are not sculpted.

 

Question:  Why not sculpt?

Answer: In my previous works, and especially in the work “Raspberry Land” that was exhibited in the Tel Aviv Museum, the sculpting was very physical, erupting, grand and full of passion, abounding in creation, not taking into consideration anything besides itself. This exhibition is the complete opposite; it brings out a will to think from the other side of the ball. It’s a struggle not to sculpt. There is use of living and breathing material as the tree and the air that creates the interactions on its own – A living sculpture.

 

Question: And the video work “Window Over Dead Body”?

Answer: The video is a window, a diversion, the escape of a glance. This was taken in a dissection room (the room in which autopsies by medical students take place), the gaze of the living upon the dead. The gaze is constantly attracted to the light sources, the window, the light, the outdoors. The gaze is diverted to the conditions rather then the object.

 

Question: The work “Map” is a drawing done by using a tattoo machine on silicon surface, what brought you to this type of work?

Answer: The drawing is impressed upon the material, penetrates it, enters through it. It does not exist merely upon the surface.

Bathing Season

Group Exhibition / Bathing Season

Opening: 02/07/2012   Closing: 10/08/2012

Orit Raff, Untitled, lambda print, 127x152cm, 2006
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06
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Eti Jacobi, Untitled 13, acrylic on canvas, 100x100 cm, 2011
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Bathing Season

 

Participating Artists:

Lea Avital

Eti Jacobi

Orit Raff

Shirley Shor

Shahar Yahalom

Natalia Zourabova

Alexandra Zuckerman

 

At the end of the bathing season “there is a suffocating smell from afar”. Does Tamuz (marking the beginning of the bathing season) hold a different promise? It seems that the works in the exhibition display a bit of both. An aura of pastorality and situations full of delight, pleasure and much beauty lingers over the pieces. Some works are accompanied by a breath of fresh air, of freedom and rejuvenation, yet at times also contain troublesome and threatening situations, hinting at danger.

Sea of Galilee

Orly Maiberg / Sea of Galilee

Opening: 10/05/2012   Closing: 22/06/2012

Sea of Galilee, Exhibition view, Noga Gallery of Contemporary Art, 2012
Sea of Galilee, Exhibition view, Noga Gallery of Contemporary Art, 2012
Sea of Galilee, Exhibition view, Noga Gallery of Contemporary Art, 2012
Sea of Galilee, Exhibition view, Noga Gallery of Contemporary Art, 2012
Sea of Galilee, Exhibition view, Noga Gallery of Contemporary Art, 2012
Untitled 4, oil on canvas, diptych, 2x140x100cm , 2012
Untitled 21, oil on canvas, 140x140cm, 2012
Untitled 15, oil on canvas, 150x150cm, 2012
Untitled 6, oil on canvas, 100x100cm, 2012
Untitled 3, oil on canvas, 140x180 cm, 2012

In her new exhibition, Sea of Galilee, Orly Maiberg returns to the sea.  But the sea is not the same sea.  It is not the expressionist, devouring sea, nor the gentle twilight sea of Tel Aviv-Jaffa, so familiar to us from her earlier exhibitions.  This is the Sea of Galilee with its religious, cultural and national symbolism as well as a mecca for sports, holidays, fun.

 

What begins as the popular sporting event of swimming across as a means of instilling in us a feeling of common national goals –- so precisely described by the Marxist historian Eric Hobsbaum –- suddenly changes.  It turns into defeat, persecution, escape, exile, into a search for a safe haven

 

The swimmers who begin their trek as sport become nothing but nameless survivors in its midst. They are crowded on rafts, elbowing one another on makeshift boats, trying to escape to an unknown future.  Their identity – if they have one – is given to them in the form of their number in the competition, whose rules have changed and now it is nothing but a trap.  The shores of the Sea of Galilee are not the shore that is visible on the horizon, nor the shore that is left behind, but a parallel shore – undesired one.

 

We leave them thus, abandoned to their fate, men and women with their roots in water, a mass, moving from here to there, from there to here.

 

– Ilana Bernstein

Misunderstood

Group Exhibition / Misunderstood

Opening: 22/03/2012   Closing: 03/05/2012

Hennessy Youngman, Misunderstood, Exhibition view, Noga Gallery of Contemporary Art, 2012
Wolfe von Lenkiewicz, Misunderstood, Exhibition view, Noga Gallery of Contemporary Art, 2012
Misunderstood, Exhibition view, Noga Gallery of Contemporary Art, 2012
Misunderstood, Exhibition view, Noga Gallery of Contemporary Art, 2012
Talia Keinan, Misunderstood, Exhibition view, Noga Gallery of Contemporary Art, 2012

Misunderstood

Curated by: Reply All – Yasmine Datnow and Maïa Morgensztern

Artists: Rina Banerjee, Talia Keinan, Wolfe von Lenkiewicz and Hennessy Youngman

The continuous growth of the technology of information and communication has changed people’s knowledge and understanding of each other; what were once commonly held stereotypes have been fractured by globalised experiences. A proliferation of information creates a reordering of beliefs and

this shift lead to misrepresentation and misunderstandings.

 

Misrepresentations of normality lead to the Uncanny and the displaced references that occur also blur any sense of self. This brings the potential for a new world order. As a shift takes place, identity issues arise. Communication between individuals becomes skewed, which emerge as duplicitous and enable artists to play with their audience through whimsical interactions. All these events encourage self proclaimed taste-makers to constantly challenge notions of taste.

 

As a result people learned behaviors are contest by illusory correlation, (the perception of a relationship between two variables when only a minor or absolutely no relationship actually exists). The various ways in which misinterpretation is visually manifested and where a sense of order can be rebuilt beyond this issue are explored through the work of Rina Banerjee, Talia Keinan, Wolfe von Lenkiewicz and Hennessy Youngman calling into question Taste and its connotations. The audience’s dialogue with the work evokes a reassignment of value by an ever-changing, self-elected class able to diffuse and shuffle information at speed.

 

Brooklyn based artist Rina Banerjee (Born 1963, Kolkota) moved with her family to the UK and then to America. In 1995 she completed an MFA at the Yale University School of Art after abandoning her career as a polymer chemist. She has a love of materials and enjoys theatrically re-staging their inherent meanings in sculptures and drawings, paintings and videos.

Like an alchemist Banerjee draws on her experiences growing up in different places, bringing items that act as cultural signifiers together in curious and enchanting compositions. The works have a magical feel and tell stories; their titles give a mythical introduction to the artist’s thought process. Her watercolor works explore a dream-like world where strange beastly but oddly endearing creatures are suspended in time, surrounded by hybrid flora and fauna. Sometimes a more sinister undercurrent pervades, giving us

a feeling that beneath the glimmer and shine, darker secrets lurk.

 

The work of Talia Keinan (Born 1978, Israel) is in constant flux. Her use of a variety of media refers to the existing realm that lies between reality and fantasy. The space she creates can be viewed as a world of its own, where sound unveils an obscure memory, and projected video on a drawing generates imaginative places. By navigating the space, the viewer initiates a dialogue between objects to create a private and associative experience. The materials are transformed as a personal narrative unfolds, creating an invented and autonomous world. Within her drawings and collages this alternative world remains for us to explore.

Wolfe von Lenkiewicz’s (Born 1966, Britain) chief artistic concern is the appropriation of language and mythology. He boldly experiments with hybrid visual combinations that straddle the murky borders of the shocking and offensive. His art historical intervention demonstrates our complacency towards imagery, namely those iconic works through art history. Our knowledge of them has become so much second nature that we take them for granted. It is not until they are disturbed that we realize how much confidence we place in them. The history of art can be understood as comprising of changes from one mode of visual representation to another. The difference is the highly contemporary and extreme nature of Lenkiewicz’s subject matter. The works demonstrates that no image is sacred and thus the artist is free to disseminate subject matter as he sees fit.

Hennessy Youngman (Born 1985, the Bronx) is a self taught art historian, who tutored himself about art and the inner-workings of the art world whilst working as a security guard at the Metropolitan Museum of Art, New York.

 

Youngman appears in direct-address to the Internet at large in online episodes of a series titled “Art Thoughtz” which began in early 2010. Most often, Youngman takes on the role of art or cultural critic while speaking about topics concerning art, race, gender, and popular culture. In his video monologues, Youngman becomes a tutor to an audience of hopeful artists in search of success. By explaining traditional art concepts and relating them to pop culture and real world examples, he is able to expose issues and conflicts within contemporary art society. A scheme is perpetuated, through Youngman and the “Art Thoughtz” videos, of following an often sympathetic character, one who is apparently outside the art world, attempting to understand and permeate a seemingly exclusive cultural society.

 

Curators:

At the beginning of 2012 Yasmine Datnow and Maïa Morgensztern started the company Reply All, having collaborated on projects for the previous 2 years.

Reply All is an agency specializing in curating, teaching, broadcasting and consulting for contemporary art, design and culture. Previous projects include the critically acclaimed group exhibition JaffaCakes TLV, a show in London featuring 7 artists from Tel Aviv. Ongoing projects include the radio show ‘Culture FRL’ for the radio station FRL (French Radio London).

 

Prior to their collaboration, Yasmine Datnow received a BA in the History of Art and Architecture at the University of East Anglia and an MA in Contemporary Art at Sotheby’s Institute. She became Modern Collections Coordinator at White Cube (2000-2004) and was an Independent Art Consultant and Curator (2004-2012).

 

Maïa Morgensztern received a BA, MA and M.Phil in Art History from La Sorbonne, Paris IV. She later became Art and Auction Manager at Robert Wilson’s Watermill Foundation, New York (2005-2008), Manager of the Ikepod by Marc Newson pop-up store at Phillips de Pury, London (2009) and Cultural Editor for French Radio London (2010-current)

 

Times in Acrylic and Oil

Natalia Zourabova / Times in

Opening: 09/02/2012   Closing: 15/03/2012

Times in, Installation view, Noga Gallery of Contemporary Art, 2012
Times in, Installation view, Noga Gallery of Contemporary Art, 2012
Times in, Installation view, Noga Gallery of Contemporary Art, 2012
Times in, Installation view, Noga Gallery of Contemporary Art, 2012
Times in, Installation view, Noga Gallery of Contemporary Art, 2012
Playground 2, acrylic on canvas, 120 x80 cm, 2010
Last Evening, acrylic on canvas, 290x190cm, 2011
Ester Skating, Park Jaffa, oil on canvas, 90 x 253cm, 2012
Crossing Sderot Yerushalaim Dereh Eilat, oil on canvas,94x195cm, 2011

My new exhibition, “Times in Acrylic and Oil” reveals achievements in painting and drawing distinctive from my last period of work.  The essence of the exhibition communicates the continuous moment of observing nature and space and the appreciation of the perpetual presence.

 

The work refers to the Israeli motif; today’s human life, its surroundings and its products. All my works are inspired by the people and landscapes in my local habitat, specifically in the Tel Aviv area and the Negev desert where I use to live and work. I found these new elements stimulating from the day I immigrated to Israel years ago. These paintings touch on memory, of what has been seen, lived and experienced. They are paintings about the present and emphasize the thrill of being in the moment. They are a celebration of timelessness.

 

The name of the exhibition refers to the technical foundations of the painting, the materials which I have consciously chosen to work with during the last few years.  The choice of material (acrylic and oil) is essential and has contributed to the arrival of my conclusion:  which specific language and material will direct me to the objective.

 

The Acrylic period is based on my digital, computer drawings taken from personal memories. They show the static, almost plastic, gigantic and story filled world that is closed from the inside. The Oil period is based on sketches from nature and aims to develop a new visual language in which there is a return to subjectively human ways of looking and picturing the world. This new period refers to unconscious knowledge and direct emotions that one experiences from the observation of nature.

 

Within this process I found myself working on elongated formats, suggestive of cinema screens or sheets of infinite papyrus which ancient people used in order to write texts that could be unrolled further and further. My choices in technique of lines, hatching, stains together with the very narrow arsenal of colors, almost all primary colors: yellow, red, orange, blue, green, and violet, is reminiscent of the simplicity or almost childish method of drawing by felt-tip pens. These works are less verbal than the Acrylic works. They are the result of describing the world in a million yet very simple signs and symbols.

 

 

Habitat

Group Exhibition / Habitat

Opening: 12/01/2012   Closing: 02/02/2012

05
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Habitat

 

Participating Artists:

Nino Biniashvili

Talia Keinan

Gosia Machon

Amit Mann

Dragan Prgomelja

 

“Habitat” – the natural environment in which an organism lives, a geo-physical environment in which each present living organism has its survival needs fulfilled. A habitat is then a designated area: a home, other interior spaces, public territories, gardens, city squares as well as dream rooms. It is a space in which one can grow and potentially develop. Five artists from Germany and Israel aim at exploring their own personal habitats: The project aims to create a visual narrative, developed by the examination of each of the artists’ personal habitat. Their works inspect the personal habitat from its territorial context, how it is observed from afar, and their subjective sensations in it and around it. This exhibition and a book, published by Bookieman, are the outcome of this process. About Bookieman. Bookieman is an independent publishing house, funded by Nino Biniashvili and Omri Grinberg. Bookiemans’ focus is limited editions of artist books, with an emphasis on collaborations between writers, poets, illustrators, photographers and designers. Its focuses are on poetic, critical and thorough content.

 

Group Exhibition in the Project Room
This project is supported by the Ministry of Culture, City of Hamburg

 

“Habitat” – the natural environment in which an organism lives, a geo-physical environment in which each present living organism has its survival needs fulfilled. A habitat is then a designated area: a home, other interior spaces, public territories, gardens, city squares as well as dream rooms. It is a space in which one can grow and potentially develop.

 

Five artists from Germany and Israel aim at exploring their own personal habitats: The project aims to create a visual narrative, developed by the examination of each of the artists’ personal habitat. Their works inspect the personal habitat from its territorial context, how it is observed from afar, and their subjective sensations in it and around it. This exhibition and a book, published by Bookieman, are the outcome of this process.

 

About Bookieman:

Bookieman is an independent publishing house, funded by Nino Biniashvili and Omri Grinberg. Bookiemans’ focus is limited editions of artist books, with an emphasis on collaborations between writers, poets, illustrators, photographers and designers. Its focuses are on poetic, critical and thorough content.