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Last 7 Days Catalog Additions

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  • 2015-2019  (4)
  • 1920 - 1924
  • Muze'on Patuaḥ 〈Tefen〉  (2)
  • Achelwilm, Mechthild  (1)
  • Bartana, Yael
  • Künstlerin  (4)
Library
Region
Material
Language
Years
Year
Author, Corporation
Publisher
Keywords
  • 1
    Book
    Book
    Dina Recanati. Nearing : the Open Museum, Tefen industrial park ; [opening: January 2018] (2018)
    Tefen
    Details
    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
    URL: http://www.omuseums.org.il/eng/mmt_art_gallery/Art_Gallery
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  • 2
    Book
    Book
    Ofra Zimbalista. The grand spectacle : the Open Museum, Tefen Industrial Park, [May 2016] (2016)
    Tefen
    Details
    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
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  • 3
    Book
    Book
    Yael Bartana - Inferno : [Petzel Gallery, New York, January 8 - February 14, 2005 ; Capitain Petzel, Berlin, January 23 - February 28, 2015] (2015)
    New York [u.a.]
    Details
    Language: English
    Pages: 52 Seiten , Fotografien
    Year of publication: 2015
    Keywords: Standphotographie ; Film ; Künstlerin ; Ausstellung
    Abstract: In Inferno, Yael Bartana films the inauguration of a grand temple, the destruction of it, and the worship of its debris. The starting point is the construction of a replica of Solomon’s Temple in São Paulo by an evangelical neo-Pentecostal church called the Universal Church of the Kingdom of God (UCKG). The temple is built with stones imported from Israel as the UCKG intends to bring part of the Holy Land to São Paulo, thus inverting the traditional path taken by pilgrims who would leave Brazil for the Holy Land. The film’s conflation of place, history, and belief allows Bartana to weave connections between the complex realities of São Paulo and Jerusalem. Shot and edited with stylistic references to Hollywood action epics, her film employs what she refers to as “historical pre-enactment”, a methodology that commingles fact and fiction, and prophesies and histories. Using this powerful cinematic language, Inferno combines histories of antiquity in the Middle East with Brazil’s contemporary hybrid culture. The film addresses the grandiose temple project through a vision of its future destruction.
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  • 4
    Book
    Book
    Existenz. Brigitte Waldach : Felix-Nussbaum-Haus ; [14. Dezember 2018 - 10. November 2019] (2019)
    Zürich : Verlag Scheidegger & Spiess
    Details
    Language: German
    Pages: 95 Seiten , Illustrationen , 27 cm
    Edition: [1. Auflage]
    Year of publication: 2019
    Keywords: Nussbaum, Felix ; Osnabrück ; Felix-Nussbaum-Haus ; Museumsbau ; Künstlerin ; Ausstellung
    Abstract: Brigitte Waldach ist für die Bearbeitung existentieller Themen bekannt, aus denen die ehemalige Meisterschülerin von Georg Baselitz unter anderem begehbare räumliche Zeichnungen entwickelt. Durch die Verdichtungen von Fäden schafft die Künstlerin neue visuelle Ebenen. Die eigens für den Raum der Gegenwart konzipierte Installation EXISTENZ ist ein System von Verflechtungen, das seinen Ursprung in dem Symbol des Davidssterns hat. Die verspannten Fäden und ihre Vernetzungen symbolisieren in Waldachs Arbeiten Zeit und Raum, Leben und Tod als komplexes und dynamisches Geflecht. Rot leuchtet es aus der gläsernen Front des verzerrten Kubus im Raum der Gegenwart. Stimmen drängen aus seinem Inneren. Die Worte und Sätze sind schwer zu erfassen, da sie geflüstert wie gesprochen und übereinander gelagert Gedankensprüngen gleichen. Es sind Felix Nussbaums Worte, die in Briefen überliefert nun im Raum Fragmente aus seinem Leben zu hören geben. Gleich einer schwingenden Resonanz erweitern Texte von Literaten und Denkern des 20. Jahrhunderts Nussbaums Innensicht. Ein einzelner roter Faden durchkreuzt den vorderen Raum, scheint sich in einer Ecke zu verfangen, wo er durch die Enge eingeschnürt immer neue Richtungen einschlägt – unruhig erscheint sein Verlauf. An seinen Wegepunkten benennen Stationen aus Nussbaums Leben Richtungsänderungen und Brüche der persönlichen Geschichte des Malers, die eng mit der deutschen Geschichte des Judentums verwoben ist. Im hinteren Teil des Raumes verdichtet sich auf der Rückseite des Kubus eine Form: zwei übereinadergelagerte Dreiecke, die zusammen einen Davidsstern bilden. Ursprünglich ist dieses Symbol der zwei Dreiecke ein jahrtausendealtes Sinnbild der Durchdringung von Geist und Materie, von sichtbarer und unsichtbarer Welt, die erst in ihrem Zusammenkommen eine Ganzheit bildet. In der Geschichte von zunehmend jüdischer und politischer Bedeutung wird das Symbol als Zeichen der Identität in Nussbaums Werk künstlerisch befragt. Strahlen gehen von diesem Zeichen aus: weiße und schwarze Verspannungen ziehen sich durch den Raum – Geist und Materie –, treffen auf Wände, werden umgelenkt, drehen sich, fächern sich auf, dynamisieren den Raum. Wieder trifft der Blick auf den einzelnen roten Faden, der mitgeführt wird und hier mehrmals aus dem Gewebe ausbricht: das Individuelle kommt im Universalen zum Vorschein. Brigitte Waldach lädt mit ihrer Installation zu einem Raumerlebnis ein, in welchem Sound, Text, Zeichnungen und verspannte Bänder eine neue Dimension bilden. Die von Waldach inszenierten multimedialen Erzählstränge bilden auf der einen Seite unterschiedliche Ebenen, über die in das persönliche Schicksal Felix Nussbaums eingetaucht werden kann. Auf der anderen Seite fragt die Installation nach der eigenen Position im schwindelerregenden, komplexen Gewebe eines universalen Seins.
    Note: Diese Publikation erscheint anlässlich der Ausstellung EXISTENZ von Brigitte Waldach in der Reihe "Gegenwärtig. Zeigenössische Künstler*innen begegnen Felix Nussbaum". 14. Dezember 2018 - 10. November 2019, Museumsquartier Osnabrück/Felix-Nussbaum-Haus.
    URL: http://deposit.dnb.de/cgi-bin/dokserv?id=b8fb347a280349cc966612a62b476013&prov=M&dok_var=1&dok_ext=htm
    URL: https://d-nb.info/1185590528/04
    URL: https://www.museumsquartier-osnabrueck.de/ausstellung/existenz-brigitte-waldach/
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