{"id":22184,"date":"2024-12-17T14:38:30","date_gmt":"2024-12-17T12:38:30","guid":{"rendered":"https:\/\/www.smadarsheffi.com\/?p=22184"},"modified":"2024-12-18T23:13:06","modified_gmt":"2024-12-18T21:13:06","slug":"niv-gafni-spectacle-%d7%a0%d7%99%d7%91-%d7%92%d7%a4%d7%a0%d7%99-%d7%97%d7%99%d7%96%d7%99%d7%95%d7%9f","status":"publish","type":"post","link":"https:\/\/www.smadarsheffi.com\/?p=22184","title":{"rendered":"Niv Gafni \u2013 Spectacle | \u05e0\u05d9\u05d1 \u05d2\u05e4\u05e0\u05d9 – \u05d7\u05d9\u05d6\u05d9\u05d5\u05df"},"content":{"rendered":"\t\t
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For English click here<\/a><\/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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\u05d0\u05e1\u05d5\u05e6\u05d9\u05d0\u05d8\u05d9\u05d1\u05d9\u05ea \u05d4\u05de\u05d9\u05e6\u05d1 \u05de\u05ea\u05e7\u05e9\u05e8 \u05dc\u05e2\u05d1\u05d5\u05d3\u05d4 \u05e9\u05dc \u05e9\u05d9\u05dc\u05e4\u05d4 \u05d2\u05d5\u05e4\u05d8\u05d4, \u00a0Shilpa Gupta<\/a> \u05d0\u05de\u05e0\u05d9\u05ea \u05d4\u05d5\u05d3\u05d9\u05ea \u05e9\u05e2\u05d5\u05e9\u05d4 \u05e9\u05d9\u05de\u05d5\u05e9 \u05e0\u05e8\u05d7\u05d1 \u05d1\u05e1\u05d0\u05d5\u05e0\u05d3 , For, In Your Tongue, I Cannot Fit (2017\u20132018). \u00a0\u05d1\u05e9\u05dc \u05d4\u05d3\u05de\u05d9\u05d5\u05df \u05d1\u05e9\u05d3\u05d4 \u00a0\u05d2\u05d1\u05e2\u05d5\u05dc\u05d9 \u05d4\u05de\u05ea\u05db\u05ea \u00a0\u05e9\u05dc \u05d2\u05e4\u05e0\u05d9, \u05dc\u05e9\u05d3\u05d4 \u05d4\u05de\u05e7\u05dc\u05d5\u05ea \u05d5\u05d4\u05e8\u05de\u05e7\u05d5\u05dc\u05d9\u05dd \u05d1\u05e2\u05d1\u05d5\u05d3\u05d4 \u05e9\u05dc \u05d2\u05d5\u05e4\u05d8\u05d4 \u05d4\u05d9\u05d0 \u05de\u05d6\u05db\u05d9\u05e8\u05d4 \u05d0\u05d5\u05ea\u05d4 . \u05d2\u05d5\u05e4\u05d8\u05d4 \u05d4\u05e9\u05ea\u05de\u05e9\u05d4 \u05d1\u05e7\u05d8\u05e2\u05d9\u05dd \u05de\u05e2\u05d1\u05d5\u05d3\u05d5\u05ea \u05de\u05d0\u05d4 \u05de\u05e9\u05d5\u05e8\u05e8\u05d9\u05dd \u05e9\u05e0\u05e8\u05d3\u05e4\u05d5 \u05e2\u05dc \u05d9\u05d3\u05d9 \u05de\u05e9\u05d8\u05e8\u05d9\u05dd \u05d8\u05d5\u05d8\u05dc\u05d9\u05d8\u05e8\u05d9\u05d9\u05dd \u05d1\u05de\u05d3\u05d9\u05e0\u05d5\u05ea \u05e9\u05d5\u05e0\u05d5\u05ea \u05d1\u05d9\u05e6\u05d9\u05e8\u05ea \u05e4\u05e1\u05e7\u05d5\u05dc \u05d5\u05e2\u05dc \u05de\u05e7\u05dc\u05d5\u05ea \u05de\u05ea\u05db\u05ea \u05e9\u05d9\u05e4\u05d3\u05d4 \u05e7\u05d8\u05e2\u05d9 \u05e9\u05d9\u05e8\u05d4. \u05d1\u05d9\u05de\u05d9\u05dd \u05d1\u05d4\u05dd \u05d4\u05de\u05d5\u05e0\u05d7 “\u05dc\u05d4\u05e9\u05de\u05d9\u05e2 \u05e7\u05d5\u05dc” \u05d4\u05e4\u05da \u05e4\u05d5\u05dc\u05d9\u05d8\u05d9 \u05d3\u05d5\u05de\u05d4 \u05e9\u05d1\u05db\u05dc \u05e2\u05d1\u05d5\u05d3\u05ea \u05e1\u05d0\u05d5\u05e0\u05d3 \u05e6\u05e4\u05d5\u05e0\u05d4 \u05d0\u05de\u05d9\u05e8\u05d4 \u05e2\u05dc \u05d7\u05d5\u05e4\u05e9.<\/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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Shilpa Gupta, For, In Your Tongue, I Cannot Fit 2018<\/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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***<\/p>

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\u05dc\u05d9\u05e0\u05e7 \u05d4\u05e6\u05d8\u05e8\u05e4\u05d5\u05ea \u05dc\u05e7\u05d1\u05d5\u05e6\u05ea \u05d5\u05d5\u05d0\u05d8\u05e1\u05d0\u05e4 \u05d4\u05de\u05e7\u05d1\u05dc\u05ea \u05e2\u05d9\u05d3\u05db\u05d5\u05e0\u05d9\u05dd\n<\/h1>
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\u05d4\u05e4\u05e8\u05d9\u05d7\u05d4 \u05d1\u05e2\u05d1\u05d5\u05d3\u05d5\u05ea \u05e1\u05d0\u05d5\u05e0\u05d3, \u05e0\u05e7\u05d5\u05d3\u05d4 \u05d1\u05d4 \u05d0\u05de\u05e0\u05d5\u05ea \u05de\u05ea\u05e7\u05e8\u05d1\u05ea \u05d1\u05de\u05d9\u05d3\u05d4 \u05d6\u05d5 \u05d0\u05d5 \u05d0\u05d7\u05e8\u05ea \u05dc\u05de\u05d5\u05e1\u05d9\u05e7\u05d4, \u05d0\u05d5\u05dc\u05d9 \u05d4\u05d0\u05d1\u05e1\u05d8\u05e8\u05e7\u05d8\u05d9\u05ea \u05e9\u05d1\u05d0\u05d5\u05de\u05e0\u05d5\u05d9\u05d5\u05ea \u05de\u05ea\u05e8\u05d7\u05e9\u05ea \u05d1\u05ea\u05e7\u05d5\u05e4\u05d4 \u05d1\u05d4 \u05d6\u05d9\u05d4\u05d5\u05dd \u05e8\u05e2\u05e9 \u05e0\u05d7\u05e9\u05d1 \u05dc\u05d0\u05d7\u05d3 \u05de\u05e1\u05d5\u05d2\u05d9 \u05d4\u05d6\u05d9\u05d4\u05d5\u05de\u05d9\u05dd \u05d4\u05e1\u05d1\u05d9\u05d1\u05ea\u05d9\u05d9\u05dd \u05d4\u05de\u05e1\u05d5\u05db\u05e0\u05d9\u05dd \u05d5\u05d0\u05e0\u05d7\u05e0\u05d5 \u05de\u05d5\u05e7\u05e4\u05d9\u05dd \u05d1\u05de\u05db\u05e9\u05d9\u05e8\u05d9\u05dd \u05d5\u05de\u05db\u05d5\u05e0\u05d5\u05ea \u05e9\u05de\u05e6\u05e4\u05d9\u05dd \u05d0\u05d5\u05ea\u05e0\u05d5 \u05d1\u05e6\u05dc\u05d9\u05dc\u05d9\u05dd \u05d5\u05d4\u05ea\u05e8\u05d0\u05d5\u05ea. \u05e2\u05d1\u05d5\u05d3\u05d5\u05ea \u05d4\u05e1\u05d0\u05d5\u05e0\u05d3 \u05d9\u05d5\u05e6\u05e8\u05d5\u05ea \u05d4\u05e7\u05e9\u05d1\u05d4 \u05e4\u05e2\u05d9\u05dc\u05d4, \u05de\u05db\u05d5\u05d5\u05e0\u05ea \u05d5\u05d1\u05d0\u05d5\u05e4\u05df \u05de\u05e1\u05d5\u05d9\u05dd \u05d2\u05dd \u05d0\u05d9\u05e0\u05d8\u05d9\u05de\u05d9\u05ea.<\/p>

\u05d0\u05d5\u05e6\u05e8: \u05d1\u05e8 \u05d9\u05e8\u05d5\u05e9\u05dc\u05de\u05d9<\/strong>
\u05e9\u05dc\u05d5\u05e9 42, \u05ea\u05dc \u05d0\u05d1\u05d9\u05d1-\u05d9\u05e4\u05d5\u00a0
<\/strong> \u05d0\u2019, \u05d1\u2019, \u05d2\u2019, \u05d4\u2019, \u05d5\u2019 \u2013 09:00-14:00
\u05d3\u2019 09:00-19:00
\u05e9\u05d1\u05ea \u05e1\u05d2\u05d5\u05e8<\/strong><\/p>

\u00a0<\/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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\u05d3\"\u05e8 \u05e1\u05de\u05d3\u05e8 \u05e9\u05e4\u05d9 - \u05d4\u05ea\u05e2\u05e8\u05d5\u05db\u05d5\u05ea \u05d4\u05de\u05d1\u05d8\u05d9\u05d7\u05d5\u05ea: 2025 \u05d1\u05de\u05e8\u05db\u05d6\u05d9 \u05d0\u05de\u05e0\u05d5\u05ea \u05d1\u05d9\u05e0\u05dc\u05d0\u05d5\u05de\u05d9\u05d9\u05dd<\/div>

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\n\u05dc\u05d7\u05e6\u05d5 \u05db\u05d0\u05df <\/h1>
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<\/a>Niv Gafni \u2013 Spectacle <\/strong><\/p>

Niv Gafni\u2019s sound installation creates a moment and place of crystallized quiet. With an exposed mechanism and narrative directness, he aims to create an experiment with religious shades without being specifically rooted in any particular religion \u2013 and succeeds in doing so.<\/p>

The entrance to the gallery space is through stairs descending into an arched space that looks like a cistern, a catacomb, or a borrowed concept – sites that are symbolically linked to the cycle of life \u2013 death and birth, source, the subconscious. Gafni\u2019s work, is thus isolated from the Neve Schechter courtyard and the cafe. Behind a curtain, a brownish-gold bell clapper is revealed in the velvet darkness, hitting a kind of gong constituting an acoustic shell.<\/p>

The entrance is limited to three people at any given moment. Visitors are invited to be seated on a black bench, their back included in the gong shell, facing a field of thin metal stalks with glistening metal pieces at the top of each like flowers. The illumination at the center of the curved wall transforms the site into an image of a church apsis, the place in the church where the ritual takes place. What could very easily become \u201cnew age,\u201d or kitsch (which I privately call \u201cart as aspirin\u201d) does not fall into those categories thanks to its elegance. The elusive quality is very palpable, mainly because the work\u2019s operating system is exposed.<\/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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The is a type of beating organism that keeps itself going with the aid of air pressure that operates the bell clapper. The ensuing sound is cyclical, making the gong vibrate as well as those in the space. The echoing is felt in the body, making visitors part of the organism for a moment. Thus, there is a blurring and disruption between living and inanimate.<\/p>

The installation differs from Gafni\u2019s excellent sculpture Rumors <\/em>(2023), installed on the coast near the Tel Aviv Port but derives from it . The viewer must ascend several steps to sit inside of the white shell, where an isolated \u201cbubble\u201d contains the sounds of the sea. Along with the sight of the open sea, the sculpture forms a place of drawing inwards. If we pause to consider works of Romanticism, such as Caspar David Friedrich\u2019s The Monk by the Sea <\/em>(1810), one can identify with the ambition to touch the sublime.<\/p>

The exhibition text refers to the biblical Burning Bush which was not consumed, and especially to the optical phenomenon of Mt. Karkom on December 21st, the shortest day of the year, which inspired the installation of the light show. The link is too thin, and it seems that the quality of the \u201clight show\u201d lies in its universalism.<\/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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\u05d3\"\u05e8 \u05e1\u05de\u05d3\u05e8 \u05e9\u05e4\u05d9 - \u05d4\u05ea\u05e2\u05e8\u05d5\u05db\u05d5\u05ea \u05d4\u05de\u05d1\u05d8\u05d9\u05d7\u05d5\u05ea: 2025 \u05d1\u05de\u05e8\u05db\u05d6\u05d9 \u05d0\u05de\u05e0\u05d5\u05ea \u05d1\u05d9\u05e0\u05dc\u05d0\u05d5\u05de\u05d9\u05d9\u05dd<\/div>

\u05d4\u05e8\u05e6\u05d0\u05d4 \u05d1\u05d6\u05d5\u05dd 24 \u05d3\u05e6\u05de\u05d1\u05e8 2024 \n \u05dc\u05e4\u05e8\u05d8\u05d9\u05dd \u05dc\u05d7\u05e6\u05d5 \u05db\u05d0\u05df<\/h1>
Click Here<\/div><\/div><\/a><\/div>
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\u05e1\u05d9\u05d5\u05e8 \u05d1\u05ea\u05e2\u05e8\u05d5\u05db\u05d4 \u05dc\u05e8\u05d2\u05dc 100 \u05dc\u05e1\u05d5\u05e8\u05d0\u05dc\u05d9\u05d6\u05dd \u05d1\u05de\u05d5\u05d6\u05d9\u05d0\u05d5\u05df \u05d9\u05e9\u05e8\u05d0\u05dc 23\/01\/2025<\/div>

\n\u05dc\u05d7\u05e6\u05d5 \u05db\u05d0\u05df <\/h1>
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The association is also to Indian artist Shilpa Gupta\u2019s installation For, In Your Tongue, I Cannot Fit<\/em> (2017-2018), which makes wide use of sound. Gafni\u2019s field of metal stalks bears a similarity to Gupta\u2019s field of stalks and amplifiers. Gupta used extracts from the works of 100 poets persecuted by totalitarian regimes in different countries in her soundtrack, and on sections of poems \u201cskewered\u201d on the metal stakes. At the time, the concept of \u201cmaking one\u2019s voice heard\u201d became political, as it seems that each sound work embodies a statement about freedom.<\/p>

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0***<\/p>

Gafni\u2019s oeuvre is part of the increasing presence of sound pieces in the Israeli art world. It is important to emphasize that this is not an innovation, as sound works have been made in Israel since the 1970s. To the best of my knowledge, the earliest was The Jerusalem River Project <\/em>(1970) by Joshua Neustein, Georgette Batlle, and Gerard Marx. Over recent months, a relatively large number of sound works have been exhibited, among them Aaliyah<\/em> by Lior Tamim (curated by Drorit Gur Ari), and an interesting work by Gilad Ratman at the CCA. Hansen House has quite consistently exhibited sound works, among them a brilliant piece by Daniel Kiczales (which I reviewed on January 25, 2024, https:\/\/www.smadarsheffi.com\/?p=19150<\/a>). About a week ago, the new sound piece by Jonathan Ron and Rotem Volk, Decoding a piece of the city<\/em> was launched at the French Institute Tel Aviv as part of the project \u201cPerec-Tel Aviv-Perec\u201d which I curated (and will write about separately). The sound piece is designed to be listened to in the urban or domestic space. A new sound installation by Yuval Avital, Alma Mater,<\/em> is being launched this week at the Israel Museum, Jerusalem.<\/p>

The flowering of the genre, the point at which visual art comes close to music to some extent, music being the most abstract art, is taking place at a time when noise pollution is considered one of the most dangerous types of pollution. We are surrounded by devices and machines that are flooding us with sounds and warnings. Sound pieces create active directed listening, and, in a certain way, also forms intimacy.<\/p>

Curator: Bar Yerushalmi<\/strong><\/p>

Chelouche 42, Tel Aviv-Yafo\u00a0 \u00a0\u00a0<\/strong>Sun., Mon., Tues., Thurs., Fri. 9 a.m.-2 p.m. <\/strong>Wed. 9 a.m.-7 p.m.\u00a0<\/strong>Sat. Closed<\/strong><\/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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Niv Gafni \u2013 Spectacle.<\/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\t\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

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