Your email was sent successfully. Check your inbox.

An error occurred while sending the email. Please try again.

Proceed reservation?

Last 7 Days Catalog Additions

Export
  • 1
    Language: English
    Pages: 132 Seiten, [2] Blatt, 80 Seiten , Illustrationen
    Year of publication: 2018
    Keywords: Installation ; Künstlerin ; Ausstellung
    Abstract: Regardless of her chosen media – wood, metal or fabric – Dina Recanati’s art remains steadily dedicated to the abstract. The great advantage of abstract art is the freedom it gives creators, and the room for interpretation it allows for viewers. Dina Recanati works within this boundless freedom and invites viewers to enter a world that combines colors and forms, dream and reality. Glimpses of Dina Recanati’s memories, which feed into her works, appear in both early and recent works. The memories, in shapes and colors, are tucked into the fabric folds, hidden behind arches and gates, and sketched in the pages of wordless books. The works’ colors – light desert tones, sky blues, and more recently, white – are the colors of memories. Some are very clear, others have blurred over time. The female figures in Passage (2000) are covered from head to toe, reminiscent of the “unidentifiable” women who populated the streets of Cairo in the 1940s, and who have in recent years returned to the streets of many cities worldwide. These figures’ colors and material makeup joins the artist’s earlier large abstract paintings, Untitled (1992). As if a landscape seen from the window of a fast train, memory acquires blurred colors and a checkered interpretation in the abstract paintings, which stress the free use of color in a way that leaves much room for coincidence. Although the appearance is based on concrete sights it is blurred, leaving behind more a sense of the colors than visual images. The fluidity of the colors and the amorphic stains emphasize the free movement of the colors on the canvas. Lacking perspective and center, the color stains all have the same value as they merge with each other. The form becomes secondary in these large colorful paintings that seem limited only by the size of the canvas. The Open Museum Tefen is honored to host the exhibition and its accompanying book, which together enfold 60 years of Dina Recanati’s creation. Ruthi Ofek
    Library Location Call Number Volume/Issue/Year Availability
    BibTip Others were also interested in ...
  • 2
    Language: Hebrew
    Pages: 283 Seiten, [2] Blatt , Illustrationen
    Year of publication: 2016
    Keywords: Künstlerin ; Ausstellung
    Abstract: Ofra Zimbalista (1939–2014) was a unique presence on the Israeli art scene. She did not measure her success solely by the number of museum exhibitions she participated in, but rather by the placement of her sculptures in public spaces. Her works speak above all to the public at large rather than to art connoisseurs, and the public listened and related to them with love. There were also museum exhibitions, yet the sculptures impressed upon collective memory are those placed in the public sphere, in a range of local and international sites. Zimbalista's "troupe" numbers some 50 actors. The members of this troupe are all sculptures – women, men, and children of all ages. Some of them appear in many of the artist's performances, while others participate in only a few. The stage sets vary: closed spaces, old castles, shopping malls, playgrounds. Beyond the actual process of creating the sculptures, Zimbalista's greatness lies in their positioning on these changing stages to create choreographies in space. Her spatial thinking and the precise planning of each figure's position are consistent and unique to her works – both to her permanent installations and to her temporary displays. Zimbalista's highly perfected talent in creating installation was also given expression in the positioning of the sculptures in her studio in Ashdod, which is reconstructed in the current exhibition at the Open Museum in Tefen. This is how the orphaned sculptures remained in the studio in Ashdod following the artist's death. Zimbalista's sculptural installation Walking was positioned on a rocky expanse at the heart of the Tefen Industrial Park when the Open Museum was inaugurated in 1987, and has been accompanying us ever since. "These figures will continue to walk across the rocky terrain even after we are gone," Zimbalista said in 2006, when we reinstalled the bronze casts of the figures. And she was right. The figures that make up Walking continue to accompany us today. Ruthi Ofek Exhibition Curator
    Library Location Call Number Volume/Issue/Year Availability
    BibTip Others were also interested in ...
  • 3
    Language: English
    Pages: 200, 104 Seiten , Illustrationen
    Year of publication: 2017
    Keywords: Künstler ; Ausstellung
    Library Location Call Number Volume/Issue/Year Availability
    BibTip Others were also interested in ...
Close ⊗
This website uses cookies and the analysis tool Matomo. More information can be found here...