Tavi Dresdner gallery is proud to present 7 Sculptures, a communal sculpture exhibition. The exhibition attempts to open a window unto Israeli contemporary art through the sculptures of six artists presenting under one roof an exhibition with no theme. The assumption is that a dialogue will be created between the works themselves and the open spaces around them, allowing for an openness that defies limits or themes, leaving the works open to any impression and interpretation. From the impression of the works, one can see the shared subjects of the artists, such as the use of different materials and their visible aspects (materials that look like something else), death, power, and tragedy wrapped in beauty.
Sasha Serber, Batman looking good, Styrofoam and plywood
The character of Batman is sculpted in Styrofoam and painted in black acrylic. The Styrofoam is worked in different ways on different parts of the sculpture, so that in certain places the sculpture looks like rubber, while in other parts it looks like bark or bronze. The sculpture is a parody, created on the lines of Apollo Belvedere, utilizes the lines, attributes, and pose. Apollo Belvedere is most likely a copy of an ancient Greek bronze statue. This sculpture is another layer of discussion with classical art and deals amongst other things with what enters the pantheon of classical western art and what does not. In BATMAN LOOKING GOOD Serber deals with the faulty evolutionary process and the mutations that these aesthetics have under gone in the different eras and until today, with the resurgence of contemporary sculpture to the figurative ideals of the past. Serber uses the aesthetics ideals of classical sculpture to comment on the "here & now". The sculptures pose is reminiscent of Apollo in the temple, with a contemporary connotation reminiscent of a statue of a dictator situated in the center of town more than a pure god.
Sharon Glasberg, MUD-Earth, Sawdust, glue, acrylic
The work is made of earth, sawdust, plastic cement & acrylic. The earth symbolizes itself and does not pretend to be something else. The tension in the work is created between the use of material that stays true to itself, the earth, and material that attempts to be something it's not, the green sawdust that looks like grass or moss that has grown on the earth. There exists some kind of duality, but in fact it is not more than parasitism. The sculpture is a random pile, pieces of earth piled on top of one another, like after a dig.
Yael Yudkovik, 3 Urinals, Stainless Steel
Three urinals identical in size and shape made of stainless steel. Upon first look from afar, the urinals look like small gynecological instruments. As you get closer the shape changes, creating the urge to get closer, even sticking your head in, to peek and see what is going on inside. The heart of the urinals looks like a Venus flytrap with a gaping mouth both inviting and repulsive at the same time. These sculptures represent a distancing and evasion of sexuality while embracing it. Yodkobik's object of desire is her father, whose absence defines her identity.
In three urinals, the artist peeks into the field of the male ethos. The urinal symbolizes the intimate male territory, offering masculine brotherhood, and the discovery of control in the act of urinating. With that, and in contrast to Duchamp's famous piece, Yudkovik's urinals remind us of a pregnant woman from the side, a fullness that is in contrast to the empty space embodied in their center. In opposition to Duchamp's "fountain" The urinals are blocked, so there is no urge or possibility to urinate within. This sculpture undermines the idea of the vagina as a space that wants to be filled, and offers an alternative of an independent feminine space with a power of its own.
Dina Shenhav, Gerbarot, mixed media
A pool of black water resembling a distorted natural habitat for growing gerbarot flower. The gerbarot are "innocent" of symbolic associations like the narcissus, flowers "modest & innocent" that are trapped in an impossible and hopeless circumstance. In the Israeli "mourning culture", these flowers are usually associated with rounded bouquet of flowers put on graves. The contrast between black and white talks about
extremes like life and death. Water, the source of life that usually symbolizes flow and renewal is turned into a negative of itself. The gerbarot, pure and white, grow against all odds out of the murky water, out of death, but in spite the above, charge the work with positive energy and with hope.
Sharon Glasberg, no title, concrete and iron rods
Like the earth piled up after a dig, the horses are also a type of find from an archeological dig, or perhaps a find of fossils drawn from water. The combination of materials between the concrete and hair creates a play of contrasts between soft and hard, between stillness and motion. Made of concrete and clay, which are used extensively in Glasberg's work, the horses with severed legs, sit on iron stumps, reminiscent of survivors returning from perdition. According to the artist, the amount of concrete used by humanity today, will in the future, turn into a geological and archeological stratum in its own right.
Elad Kopler, no title, mixed media
The sculpture covered with grey fur and assembled from different shapes that come together into a single unit. A closer look reveals parts of familiar images like UFO's, planes, or tanks, but the whole creates a sort of a hybrid- half animal, half technological. The fur shroud gives the sculpture a soft and childlike beauty, and creates an illusion of an instrument of war camouflaged as a toy. The search for a familiar image or wholeness is elusive in Kopler's statue. The observer seeks to commit to a familiar image, yet it remains elusive, creating a feeling of movement and an evolutionary process that has stopped. The off balance sense, shakes the foundations of security and gravity inherent in instruments of war. The different elements of the sculpture and their connection to each other, place the piece in an elusive and illusive territory between seriousness and humor, aggressiveness and softness, childishness and maturity.
Rachel Giladi, Pillow, Moreno Glass
This work was born of a trip that Giladi took to Prague and the writings of the local Jewish population about their hardships and the fact they were forced to leave the city. The sculpture is a part of a larger body of work that focuses on traveling/journeys/wandering. The pillow represents comfort during a journey, a place to lay ones head, home. However, the pillow has some hard connotations. According to the artist, a pillow is the first thing a refuge takes with them when they flee their homes. The pillow is made of glass that reflects softness, but it is hard and uncomfortable. The sculpture is made of opposites-between the softness of the pillow and the hardness of the material, between the coldness of the glass and the warmth of the connotation made by the pillow, and between home and wandering. The poet Uri Zvi Greenberg wrote of a Jew in the time of Herod that left Jerusalem for Rome. He took with him a pillow that went with him everywhere. One night, while sleeping, the pillow was engulfed in flames. That same night the Temple in Jerusalem was burned and razed.