{"id":19808,"date":"2024-02-22T16:44:52","date_gmt":"2024-02-22T14:44:52","guid":{"rendered":"https:\/\/www.smadarsheffi.com\/?p=19808"},"modified":"2024-02-23T16:45:27","modified_gmt":"2024-02-23T14:45:27","slug":"%d7%a2%d7%a8%d7%9a-%d7%9e%d7%95%d7%97%d7%9c%d7%98-absolute-value","status":"publish","type":"post","link":"https:\/\/www.smadarsheffi.com\/?p=19808","title":{"rendered":"\u05e2\u05e8\u05da \u05de\u05d5\u05d7\u05dc\u05d8 | Absolute value"},"content":{"rendered":"\t\t
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\u05d0\u05d5\u05e6\u05e8\u05d5\u05ea \u05d4\u05ea\u05e2\u05e8\u05d5\u05db\u05d4, \u05d4\u05d3\u05e1 \u05d7\u05e1\u05d9\u05d3, \u05d8\u05dc\u05d9\u05d4 \u05d9\u05e9\u05e8\u05d0\u05dc\u05d9 \u05d5\u05e8\u05e7\u05e4\u05ea \u05d5\u05d9\u05e0\u05e8 \u05e2\u05d5\u05de\u05e8 \u05de\u05e6\u05d9\u05d2\u05d5\u05ea \u05d1\u05d4 \u05e2\u05d1\u05d5\u05d3\u05d5\u05ea \u05d7\u05d3\u05e9\u05d5\u05ea \u05d5\u05de\u05d5\u05e7\u05d3\u05de\u05d5\u05ea \u05d4\u05d9\u05d5\u05e6\u05e8 \u05d7\u05d5\u05d8 \u05de\u05e9\u05de\u05e2\u05d5\u05ea \u05de\u05e8\u05ea\u05e7 \u05db\u05e8\u05d5\u05e0\u05d5\u05dc\u05d5\u05d2\u05d9, \u05ea\u05de\u05d8\u05d9 \u05d5\u05db\u05de\u05e2\u05d8 \u05e0\u05d9\u05ea\u05df \u05dc\u05d5\u05de\u05e8 \u05de\u05e8\u05d7\u05d1\u05d9. \u05d0\u05d7\u05ea \u05d4\u05e2\u05d1\u05d5\u05d3\u05d5\u05ea \u05d4\u05de\u05d5\u05e7\u05d3\u05de\u05d5\u05ea \u05d1\u05d9\u05d5\u05ea\u05e8 \u05d4\u05d9\u05d0 “\u05de\u05e8(\u05d0)\u05d4 \u05e9\u05d7\u05d5\u05e8\u05d4” \u00a0\u05e9\u05dc \u05d9\u05e6\u05d7\u05e7 \u05dc\u05d9\u05d1\u05e0\u05d4 \u05de 1990, \u05e9\u05e0\u05d9\u05dd \u05d1\u05d4\u05dd \u05e6\u05d9\u05d9\u05e8 \u05d0\u05ea \u05e1\u05d9\u05d3\u05e8\u05ea \u05e6\u05d9\u05d5\u05e8\u05d9 \u05d4”\u05d5\u05e8\u05d5\u05e0\u05d9\u05e7\u05d4”. \u05e6\u05d9\u05d5\u05e8\u05d9\u05dd \u05d0\u05dc\u05d5 \u05d3\u05e0\u05d5 \u05d1\u05de\u05d1\u05d8 \u05d5\u05d1\u05d0\u05de\u05ea \u05d3\u05e8\u05da \u05d4\u05de\u05d9\u05ea\u05d5\u05e1 \u05e0\u05d5\u05e6\u05e8\u05d9 \u05e2\u05dc \u05d0\u05d9\u05e9\u05d4 \u05e6\u05d3\u05e7\u05ea \u05e9\u05e4\u05e0\u05d9 \u05d9\u05e9\u05d5 \u05d4\u05d5\u05e4\u05d9\u05e2\u05d5 \u05e2\u05dc \u05de\u05d8\u05e4\u05d7\u05ea \u05e9\u05d4\u05d5\u05e9\u05d9\u05d8\u05d4 \u05dc\u05d5 \u05d1\u05d3\u05e8\u05da \u05d4\u05d9\u05d9\u05e1\u05d5\u05e8\u05d9\u05dd. \u05d1\u05e8\u05d9\u05d1\u05d5\u05e2 \u05e7\u05d8\u05df \u05d5\u05e9\u05d7\u05d5\u05e8 \u05d5\u05de\u05d1\u05d4\u05d9\u05e7, \u05e9\u05d9\u05e6\u05e8 \u05dc\u05d9\u05d1\u05e0\u05d4, \u05de\u05d6\u05d5\u05d5\u05d9\u05d5\u05ea \u05de\u05e1\u05d5\u05d9\u05de\u05d5\u05ea, \u05de\u05e9\u05ea\u05e7\u05e4\u05d9\u05dd \u05e4\u05e0\u05d9 \u05d4\u05e6\u05d5\u05e4\u05d4 \u05d5\u05d0\u05ea \u05d4\u05d0\u05d9\u05e7\u05d5\u05e0\u05d4 \u05de\u05d7\u05dc\u05d9\u05e3 \u05d4\u05d0\u05d3\u05dd.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
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Yanai Segal, Power gate , 2020<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t
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Tomer Rosenthal, Sleeping Cyclops, 2016<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\u05d4\u05ea\u05dc\u05d9\u05d4 \u05d9\u05d5\u05e6\u05e8\u05ea \u05d4\u05e7\u05d1\u05e6\u05d9\u05dd, \u05de\u05ea\u05d1\u05e7\u05e9 \u05dc\u05d5\u05de\u05e8 \u05d1\u05ea\u05d9\u05dd \u05d1\u05e9\u05d9\u05e8 \u05e9\u05d4\u05d5\u05d0 \u05d4\u05ea\u05e2\u05e8\u05d5\u05db\u05d4. “\u05e7\u05e8\u05d9\u05d0\u05d8\u05d9\u05d3\u05d4”\u00a0 \u05e2\u05d1\u05d5\u05d3\u05ea \u05d4\u05e4\u05d5\u05e8\u05e6\u05dc\u05df \u05d4\u05dc\u05d1\u05df \u05d4\u05de\u05e2\u05d5\u05d3\u05e0\u05ea, \u05d4\u05db\u05de\u05e2\u05d8 \u05e0\u05e2\u05dc\u05de\u05ea \u05d1\u05e7\u05d9\u05e8 \u05e9\u05dc \u05d3\u05e0\u05d4 \u05d9\u05d5\u05d0\u05dc\u05d9 \u05ea\u05dc\u05d5\u05d9\u05d4 \u05e0\u05de\u05d5\u05da \u05d1\u05de\u05d9\u05d5\u05d7\u05d3. \u05d6\u05d5\u05d4\u05d9 \u05d0\u05e6\u05d1\u05e2 \u05e7\u05d8\u05d5\u05e2\u05d4 \u05d4\u05d9\u05d5\u05e6\u05d0\u05ea \u05de\u05d2\u05dc \u05e4\u05d5\u05e8\u05e6\u05dc\u05df \u05de\u05e6\u05d1\u05d9\u05e2\u05d4, \u05de\u05e8\u05d5\u05d7\u05e7\u05ea, \u05de\u05d5\u05e8\u05d3 \u05e9\u05d4\u05dc\u05d1\u05d9\u05df. \u05d4\u05de\u05d1\u05d8 \u05e2\u05d5\u05dc\u05d4 \u05de\u05de\u05e0\u05d4 \u05dc”\u05e9\u05e2\u05e8 \u05db\u05d5\u05d7” \u05d4\u05de\u05e6\u05d5\u05d9\u05df \u05e9\u05dc \u05d9\u05e0\u05d0\u05d9 \u05e1\u05d2\u05dc. \u05d1\u05e6\u05d9\u05e0\u05d5\u05e8 \u05d2\u05d5\u05de\u05d9 \u05e9\u05d7\u05d5\u05e8 \u05d9\u05d5\u05e6\u05e8 \u05e9\u05e2\u05e8 \u05e2\u05dc \u05e8\u05d9\u05d1\u05d5\u05e2 \u05e9\u05d7\u05d5\u05e8, \u05d5\u05db\u05da \u05d8\u05d5\u05e8\u05e3 \u05d0\u05ea \u05de\u05e9\u05de\u05e2\u05d5\u05ea\u05d5 \u05de\u05e8\u05d9\u05e7 \u00a0\u05dc\u05d7\u05dc\u05dc \u05e9\u05de\u05d1\u05d8\u05d9\u05d7 \u05d4\u05de\u05e9\u05da, \u05db\u05e9\u05d4\u05e7\u05e9\u05ea \u2013 \u05e9\u05e2\u05e8 \u05de\u05e1\u05d3\u05d9\u05e8 \u05d0\u05ea \u05ea\u05e0\u05d5\u05e2\u05ea \u05d4\u05de\u05d1\u05d8. \u00a0\u05ea\u05d7\u05ea\u05d9\u05d5 \u05ea\u05dc\u05d5\u05d9\u05d9\u05dd \u05e6\u05d9\u05dc\u05d5\u05dd \u05d9\u05dd \u05e9\u05dc \u05d7\u05d2\u05d9 \u05d0\u05d5\u05dc\u05e8\u05d9\u05da \u05d5\u05e6\u05d9\u05d5\u05e8 \u05e8\u05d9\u05d1\u05d5\u05e2 \u05e9\u05d7\u05d5\u05e8 \u05e9\u05dc \u05d2\u05dc\u05e2\u05d3 \u05d0\u05e4\u05e8\u05ea \u05e9\u05db\u05d5\u05ea\u05e8\u05ea\u05d5 ” IV \u05de\u05d1\u05d8\u05d5 \u05e9\u05dc \u05d0\u05d5\u05e8\u05e4\u05d0\u05d5\u05e1”. \u05d4\u05db\u05d5\u05d5\u05e0\u05d4 \u05dc\u05de\u05d1\u05d8 \u05e9\u05d0\u05e1\u05d5\u05e8 \u05dc\u05d0\u05d5\u05e8\u05e4\u05d0\u05d5\u05e1 \u05dc\u05d4\u05e4\u05e0\u05d5\u05ea \u05dc\u05d0\u05d5\u05e8\u05d9\u05d3\u05d9\u05e7\u05d4 \u05d0\u05dd \u05e8\u05e6\u05d5\u05e0\u05d5 \u05dc\u05d4\u05e6\u05d9\u05dc \u05d0\u05d5\u05ea\u05d4 \u05de\u05d4\u05e9\u05d0\u05d5\u05dc. \u05d1\u05de\u05d9\u05ea\u05d5\u05e1 \u05d0\u05d5\u05e8\u05e4\u05d0\u05d5\u05e1 \u05e0\u05db\u05e9\u05dc \u05d5\u05de\u05d1\u05d9\u05d8 \u05d5\u05e8\u05d2\u05e2 \u05d4\u05de\u05d1\u05d8 \u05d4\u05d5\u05d0 \u05e8\u05d2\u05e2 \u05d4\u05d4\u05db\u05e8\u05d4 \u05d1\u05d4\u05e2\u05dc\u05de\u05d5\u05ea \u05d4\u05d0\u05d4\u05d5\u05d1\u05d4.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"unnamed\"\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Dana Yoeli, Caryatide, 2023<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u05d4\u05e2\u05d1\u05d5\u05d3\u05d5\u05ea \u05e9\u05dc \u05d3\u05d2\u05e0\u05d9\u05ea \u05d1\u05e8\u05e1\u05d8 \u05de\u05d4\u05e1\u05d3\u05e8\u05d4 “\u05e4\u05d5\u05e8\u05d8\u05e4\u05d5\u05dc\u05d9\u05d5 \u05d4\u05d4\u05d9\u05e4\u05d5\u05db\u05d9\u05dd” \u00a0\u05d8\u05d5\u05e8\u05d3\u05d5\u05ea. \u05de\u05e8\u05d5\u05d1\u05e2\u05d9\u05dd \u05d1\u05e6\u05d5\u05e8\u05d5\u05ea \u05d1\u05dc\u05d9 \u05e8\u05d2\u05d5\u05dc\u05e8\u05d9\u05d5\u05ea \u05de\u05e8\u05d7\u05e4\u05d9\u05dd \u05d1\u05e8\u05d9\u05e7 \u05e2\u05dd \u05de\u05d4 \u05e9\u05e0\u05e8\u05d0\u05d4 \u05db\u05de\u05d5 \u05e2\u05d9\u05e0\u05d9\u05d9\u05dd, \u05d3\u05d9\u05de\u05d5\u05d9 \u05de\u05e9\u05d7\u05e7\u05d9 \u05dc\u05db\u05d0\u05d5\u05e8\u05d4. \u05d4\u05ea\u05d1\u05d5\u05e0\u05e0\u05d5\u05ea \u05de\u05e7\u05e8\u05d5\u05d1 \u05de\u05d2\u05dc\u05d4 \u05d4\u05e2\u05d9\u05d2\u05d5\u05dc\u05d9\u05dd \u05e0\u05e8\u05d0\u05d9\u05dd \u05db\u05ea\u05e7\u05e8\u05d9\u05d1 \u05e9\u05dc \u05e4\u05e6\u05e2 \u05de\u05d5\u05d3\u05dc\u05e7. \u05d4\u05e8\u05d9\u05d1\u05d5\u05e2\u05d9\u05dd \u05d4\u05de\u05e8\u05d7\u05e4\u05d9\u05dd \u05e9\u05e0\u05e8\u05d0\u05d9\u05dd \u05db\u05de\u05e1\u05db\u05d4 \u05de\u05e1\u05ea\u05d9\u05e8\u05d9\u05dd \u05d6\u05d5\u05d5\u05e2\u05d4 \u05d5\u05d4”\u05e2\u05d9\u05e0\u05d9\u05dd” \u05d4\u05df \u05db\u05e4\u05e6\u05e2 \u05e9\u05dc \u05d9\u05e9\u05d5\u05e2 \u05e9\u05de\u05d2\u05dc\u05d4 \u05ea\u05d5\u05de\u05e1 \u05d4\u05de\u05e4\u05e7\u05e4\u05e7 \u05d1\u05d1\u05e8\u05d9\u05ea \u05d4\u05d7\u05d3\u05e9\u05d4 \u2013 \u05d4\u05de\u05d1\u05d8 \u05de\u05e7\u05e8\u05d5\u05d1 \u05de\u05d2\u05dc\u05d4 \u05d0\u05ea \u05de\u05d4 \u05e9\u05d0\u05d9\u05e0\u05e0\u05d5 \u05e8\u05d5\u05e6\u05d9\u05dd \u05dc\u05e8\u05d0\u05d5\u05ea. \u05db\u05de\u05d5 \u05d1\u05e2\u05d1\u05d5\u05d3\u05d5\u05ea \u05e8\u05d1\u05d5\u05ea \u05d1\u05e2\u05d1\u05e8 \u05d1\u05e8\u05e1\u05d8 \u05de\u05db\u05e1\u05d4 \u05d0\u05de\u05d9\u05e8\u05d4 \u05e7\u05e9\u05d4 \u05d1\u05e6\u05d9\u05e4\u05d5\u05d9 \u05d3\u05e7, \u05e0\u05e1\u05d3\u05e7 \u05d1\u05de\u05d1\u05d8, \u05e9\u05dc \u05e7\u05dc\u05d9\u05dc\u05d5\u05ea.<\/p>

\u00a0<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\u05e2\u05d5\u05d3 \u05d1\u05d5\u05dc\u05d8\u05d9\u05dd \u05d4\u05e6\u05d9\u05dc\u05d5\u05dd \u05d4\u05d0\u05dc\u05d2\u05e0\u05d8\u05d9 “\u05d7\u05e4\u05ea\u05d9\u05dd” \u05e9\u05dc \u05dc\u05d9 \u05d0\u05d5\u05e8\u05e4\u05d6; \u00a0\u00a0Few flat things (with Red & blue)\u05e2\u05d1\u05d5\u05d3\u05d4 \u05de\u05e6\u05d5\u05d9\u05e0\u05ea \u00a0\u05e9\u05dc \u05e0\u05d7\u05d5\u05dd \u05d8\u05d1\u05ea ; “\u05d0\u05e8\u05e0\u05d1” \u05e9\u05dc \u05d9\u05d5\u05e0\u05ea\u05df \u05e6\u05d5\u05e4\u05d9 \u05e9\u05de\u05e6\u05d9\u05d9\u05e8 \u05d3\u05de\u05d5\u05ea \u05e8\u05e4\u05d0\u05d9\u05dd \u05e9\u05dc \u05d7\u05d9\u05d4 \u05e9\u05db\u05de\u05d5 \u05e0\u05d7\u05e0\u05e7\u05d4- \u05e0\u05de\u05d7\u05e7\u05d4 \u05de\u05d0\u05d7\u05d5\u05e8\u05d9 \u05d0\u05e7\u05e8\u05d9\u05dc\u05d9\u05e7 \u05d3\u05e9\u05df, \u05dc\u05d1\u05df \u05d5\u05e8\u05e2\u05d9\u05dc; \u00a0“\u05de\u05e8\u05d0\u05d4 \u05dc\u05d1\u05e0\u05d4 (\u05de\u05d1\u05d9\u05d8 \u05d1\u05de\u05e8\u05d0\u05d4 \u05e9\u05dc \u05e1\u05d1\u05ea\u05d0)” \u05ea\u05d1\u05dc\u05d9\u05d8 \u05d2\u05d1\u05e1 \u05e9\u05dc \u05e4\u05d9\u05d8\u05e8 \u05de\u05dc\u05e5 \u05d5\u05d4\u05e2\u05d1\u05d5\u05d3\u05d4 \u05d4\u05e7\u05d8\u05e0\u05d4, \u05d4\u05e2\u05d3\u05d9\u05e0\u05d4 “\u05d3\u05de\u05de\u05d4 \u05d3\u05e7\u05d4” \u05e9\u05dc \u05e8\u05df \u05d8\u05e0\u05e0\u05d1\u05d0\u05d5\u05dd.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Exhibition view<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\u05d4\u05e2\u05d1\u05d5\u05d3\u05d4 \u05e9\u05dc \u05d8\u05e0\u05e0\u05d1\u05d0\u05d5\u05dd \u05d4\u05d9\u05d0 \u05d4\u05d0\u05d7\u05e8\u05d5\u05e0\u05d4 \u05d1\u05e8\u05e9\u05d9\u05de\u05ea \u05d4\u05e2\u05d1\u05d5\u05d3\u05d5\u05ea \u05d1\u05ea\u05e2\u05e8\u05d5\u05db\u05d4 \u05d1\u05d4 \u05db\u05dc \u05d4\u05e2\u05d1\u05d5\u05d3\u05d5\u05ea \u05de\u05de\u05d5\u05e1\u05e4\u05e8\u05d5\u05ea (\u05e4\u05e8\u05d8\u05d9 \u05d4\u05e2\u05d1\u05d5\u05d3\u05d5\u05ea \u05de\u05d5\u05e4\u05d9\u05e2\u05d9\u05dd \u05e2\u05dc \u05d3\u05e3 \u05e0\u05e4\u05e8\u05d3). “\u05d3\u05de\u05de\u05d4 \u05d3\u05e7\u05d4” 2023 \u05de\u05e1\u05d9\u05d9\u05de\u05ea \u05d4\u05ea\u05e2\u05e8\u05d5\u05db\u05d4. \u05dc\u05e6\u05d5\u05e4\u05d4 \u05e0\u05d5\u05ea\u05e8 \u05e0\u05d7\u05e9\u05d5\u05dc \u00a0\u05de\u05d7\u05e9\u05d1\u05d5\u05ea \u05d5\u05e8\u05d2\u05e9\u05d5\u05ea \u05e9\u05dc\u05d0 \u05ea\u05de\u05d9\u05d3 \u05e0\u05d5\u05ea\u05e8\u05d5\u05ea \u05de\u05ea\u05e2\u05e8\u05d5\u05db\u05d5\u05ea \u05d2\u05d3\u05d5\u05dc\u05d5\u05ea \u05d1\u05d4\u05e8\u05d1\u05d4.<\/p>

\u00a0\u05d2\u05dc\u05e8\u05d9\u05d4 \u05e0\u05d5\u05dc\u05d5\u05d1\u05d6
<\/strong>\u05d0\u05d5\u05e6\u05e8\u05d5\u05ea \u05d4\u05d0\u05de\u05e0\u05d9\u05d5\u05ea : \u05d4\u05d3\u05e1 \u05d7\u05e1\u05d9\u05d3, \u05d8\u05dc\u05d9\u05d4 \u05d9\u05e9\u05e8\u05d0\u05dc\u05d9 \u05d5\u05e8\u05e7\u05e4\u05ea \u05d5\u05d9\u05e0\u05e8 \u05e2\u05d5\u05de\u05e8.
<\/strong>\u05e8\u05d1\u05d9\u05e2\u05d9 \u05d5\u05d7\u05de\u05d9\u05e9\u05d9 17:00-20:00, \u05e9\u05d9\u05e9\u05d9 \u05d5\u05e9\u05d1\u05ea 11:00-14:00
\u05db\u05ea\u05d5\u05d1\u05ea: \u05d6\u05d1\u05d5\u05dc\u05d5\u05df 19, \u05e9\u05d5\u05e7 \u05dc\u05d5\u05d9\u05e0\u05e1\u05e7\u05d9, \u05ea\u05dc-\u05d0\u05d1\u05d9\u05d1.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Ran Tenenbaum, Silence, 2023 <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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<\/a>Absolute value<\/strong><\/h2>

The sound, tone, and range in the exhibition \u201cAbsolute Value\u201d are extremely precise. The reading should be approached with a certain feeling of adventure accompanying poetry in which anything can happen: short verses, long ones, sometimes repetitions or doubling, a familiar phrase peeking out, an unsolved meaning and the feeling of having visited the inner chambers of someone\u2019s heart.<\/p>

With 32 participating artists and an engagement in black and white as the theme \u2013 similar to many other exhibitions \u2013 \u201cAbsolute Value\u201d could have come close to being banal, but instead, it comprises artworks that reinforce each other while avoiding the overly demonstrative emotionality visible in quite a few attempts at an immediate response to the horrific times Israel is now undergoing. The unavoidable, painful, necessary reference to the current situation is found in the gallery text. The discussion that the art creates in the gallery space is much broader than the here and now. It is a discourse on the essence of matter, particularly black (and it is impossible not to think about Anish Kapoor\u2019s black); minimalist aesthetics as a (moral) option in this consumer-oriented world, and in the dichotomous view of the world suffused with a culture maintaining centers of power and violence.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Lee Orpaz, Cufflinks, 2011<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Esther Schneider\u2019s Chaos<\/em> (2017), <\/em>a work in ink, hangs on the window facing the street. The black square at its center seems to be moving wildly, surrounded by wave-like brushstrokes. This is a seismic moment, acting as epilogue and explanation for the exhibition. Kazimir Malevich\u2019s iconic modernist painting, Black Square<\/em> (2015), marked the absolute abstract and was perceived as a kind of zero point of origin for the art which would be a new beginning. (Three years later Malevich made White Square<\/em>). The challenged square in Schneider\u2019s work is visible to those outside of the gallery as well as to those inside as if it is a question mark.\u00a0<\/p>

The title, \u201cAbsolute Value,\u201d is a mathematical term defining the value of a number as its distance from the zero point. Zero, the absolute point at which things disappear, remains an enigma.<\/p>

The exhibition curators, Hadas Hassid, Talia Israeli, and Rakefet Viner Omer have selected new and early works creating a fascinating thread of meaning which is chronological, thematic, and one can almost say, spatial. One of the earliest pieces is by Yitzhak Livneh, Black Mirror\/Melancholy<\/em> (1990) when he was painting his \u201cVeronica\u201d series which engaged in the gaze and the veracity through the myth of Veronica\u2019s veil. From certain angles, the viewer\u2019s face is reflected in the small, glistening black square in the painting, forming an icon replacing the person.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Exhibition view<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Nearby hangs Nose,<\/em> a work in black by Tomer Rosenthal who is also showing a work in white –\u00a0 Sleeping Cyclops,<\/em> both superb. Rosenthal has an intelligent, connoisseur\u2019s drawing hand, touching upon the very essence of the space that colors open up in a person\u2019s soul, as well as the danger zones .See my previous Window\u00a0 \u00a0 entry on Rosenthal<\/a><\/p>

The works are installed in a way that forms groups which seem to be stanzas in this poem of an exhibition.<\/p>

Dana Yoeli\u2019s delicate white porcelain Caryatide<\/em> almost disappears into the wall, and is hung rather low. A severed finger emerging from the porcelain wave points from a distance from a whitened rose. The gaze moves upward from it to Yanai Segal\u2019s excellent Power Gate<\/em> (2020). A black rubber hose creates a black square, thus completely changing its meaning from a void into a space promising a continuation, as the arch\/gate creates the movement of the gaze. Underneath it are Hagai Ulrich\u2019s photograph of the sea and Gilad Efrat\u2019s \u201cblack square\u201d painting titled Orpheus\u2019s Gaze, IV.<\/em> Orpheus, in his attempt to rescue Eurydice from the Underworld, was warned not to look back at her, but he did: the moment of the gaze was the moment of recognition of the disappearance of his beloved.<\/p>

Deganit Berest\u2019s works from her Portfolio of Opposites<\/em> are disturbing. Irregular squares float in a void with what look like eyes as seemingly playful images, but a closer look reveals that the circles look like a close-up of an infected wound. The floating squares look like masks concealing horrors, and the \u201ceyes\u201d look like the wound that Doubting Thomas touched on Jesus\u2019s body: the close gaze reveals what we do not want to see. As in many of her past works, Berest places a thin covering over a painful statement which is easily pierced by the gaze.<\/p>

Other works that stand out are Leigh Orpaz\u2019s elegant Cufflinks<\/em>; the superb Few flat things (with red & blue) <\/em>by Nahum Tevet; Yonatan Zofy’s Rabbit, <\/em>a ghost of an animal suffocated and erased by a rich, white, toxic acrylic layer; the plaster relief White Mirror (looking in Grandma\u2019s mirror),<\/em> by Peter Meltz; and Ran Tenenbaum\u2019s delicate Silence.<\/em><\/p>

Tenenbaum\u2019s Silence<\/em> (2023) is the last work in the list of numbered works on view (details on a separate gallery sheet) in an exhibition that leaves visitors with a deluge of thoughts and emotions not always present when leaving in much larger exhibitions.<\/p>

\u00a0Nulobaz Cooperative Art Space<\/strong>
Curators: Hadas Hassid, Talia Israeli, Rakefet Viner Omer<\/strong>
Open: Wed.-Thurs., 5-8 p.m.; Fri.-Sat., 11 a.m.-2 p.m.<\/strong><\/h4>

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