{"id":13324,"date":"2020-09-09T10:03:31","date_gmt":"2020-09-09T08:03:31","guid":{"rendered":"http:\/\/www.smadarsheffi.com\/?p=13324"},"modified":"2020-09-09T20:58:57","modified_gmt":"2020-09-09T18:58:57","slug":"%d7%91%d7%95%d7%92%d7%a8%d7%99-%d7%90%d7%9e%d7%a0%d7%95%d7%aa-%d7%a8%d7%91-%d7%aa%d7%97%d7%95%d7%9e%d7%99%d7%aa-%d7%91%d7%a9%d7%a0%d7%a7%d7%a8-2020","status":"publish","type":"post","link":"https:\/\/www.smadarsheffi.com\/?p=13324","title":{"rendered":"\u05d1\u05d5\u05d2\u05e8\u05d9 \u05d0\u05de\u05e0\u05d5\u05ea \u05e8\u05d1-\u05ea\u05d7\u05d5\u05de\u05d9\u05ea \u05d1\u05e9\u05e0\u05e7\u05e8 2020 |2020 Graduates of the Department of Multidisciplinary Art, Shenkar College Ramat Gan"},"content":{"rendered":"

English follows Hebrew<\/span><\/p>\n

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Nati Ariel and Tom Hockey , 2020<\/figcaption><\/figure>\n

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Bar Logasi and Almog Gavrieli, 2020<\/figcaption><\/figure>\n

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Danielle Manobelle, 2020<\/figcaption><\/figure>\n

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\n<\/strong>\u00a0 14 \u00a0\u05e1\u05e4\u05d8\u05de\u05d1\u05e8 2020 ,\u05d9\u05d5\u05dd \u05e9\u05e0\u05d9 \u2013 20:00<\/strong><\/span><\/p>\n

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Roni Kim , 2020<\/figcaption><\/figure>\n

2020 Graduates of the Department of Multidisciplinary Art, Shenkar College Ramat Gan<\/span><\/h2>\n

A thin layer of fatigue lies over the graduates of Shenkar\u2019s Multidisciplinary Art Department. Perhaps this is due to the very difficult year, from problems in the physical plant of the building to the Corona pandemic (of course). However, this does not change the fact that this exhibit is especially weak.<\/p>\n

Most of the obvious \u201cbad\u201d paintings stand out in such a way that makes one wonder what caused such a large quantity of mediocre works. Perhaps if the teachers had the best interest of the students in mind (and not the school\u2019s budget) they would refer some of the graduates to a different career path.<\/p>\n

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Tom Ariel and Nati Hockey, 2020<\/figcaption><\/figure>\n

Among the few projects that show promise is the ambitious photography project by Tom Ariel and Nati Hockey. They photographed abandoned vehicles with relatively long exposures in a large-format still camera, with dramatic lighting. The results are breathtaking, and their size is justified. The large scale creates a field in which the viewer\u2019s gaze wanders, with the sense of time doubled and self-reflexive, between the moment of revealing and reading the image and the long exposure time. The marks of time are evident in the subjects, among them an airplane, a crane, and a boat. The brightly illuminated objects appearing against a background of a velvety-black night sky, nevertheless remain tools whose functions were disrupted, their clocks running backwards through the thicket of times embodied in the photograph. The space has become an installation, a visual ensemble in which the works reinforce each other as chapters in a drama whose details became vague but whose fiery emotions are still present. The machines, so absolutely out of place in their surroundings, are similar to the huge riverboat hauled through the Amazon jungle in Werner Herzog\u2019s film Fitzcarraldo (1982). It will be interesting to watch Ariel and Hockey\u2019s future development.<\/p>\n

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Bar Logasi and Almog Gavrieli, 2020<\/figcaption><\/figure>\n

The complex space with the installations by Bar Logasi and Almog Gavrielli is replete with details revealed in a delayed gaze. At first sight, what stands out is a plasticine frieze and grills from a heater surrounding the top of the walls. The multi-part installation is an impressive display of playfulness, self-confidence, and thinking about and understanding about materiality and enjoyment of the materials, qualities not often seen. Near an installation containing tall sheets of plywood forming the letter Alef and matches creating a potential fire path in the shape of stairs surrounding an architectural pillar is \u201cthe writer\u2019s room.\u201d The room, covered in purple artificial grass, has a table with a typewriter on it. A long sheet of people with texts written on site curling out of the typewriters falls onto the floor. The room is cut off from its surroundings; strange and inviting, its feeling of being a stage set intensifies the story building up in the minds of viewers who feel that they invaded a private space.<\/p>\n

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Danielle Mano-bella, 2020<\/figcaption><\/figure>\n

Danielle Mano-bella\u2019s photographic collages are interesting. She cut black-and-white photographs in a way that suggests a kind of visual stream of consciousness (or perhaps repressed consciousness because of the lack of color?). Also on view is a lovely dress printed with b&w photographs of people (in collaboration with Tanya Kleinerman), very similar to the dress made by Gil Yefman for his video in collaboration with Dov Or-Ner currently in P8 Glalery. Roni Kim\u2019s sculptures and installation also stand out, creating a refined space with checks and balances between styrofoam mashrabiyyas and domestic objects. They generate equilibrium between them to create a familiar alien universe.
\nVictor Hyman\u2019s video is impressive. Heyman, who immigrated from Estonia at a young age, follows his grandmother who remained behind. The two-channel video is a meditation on distance and closeness, loneliness and old age, which are both particular and suffused with a poetic universalism.<\/p>\n

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Roni Kim , 2020<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

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