{"id":22711,"date":"2025-02-10T15:32:19","date_gmt":"2025-02-10T13:32:19","guid":{"rendered":"https:\/\/www.smadarsheffi.com\/?post_type=projects&p=22711"},"modified":"2025-02-13T13:24:19","modified_gmt":"2025-02-13T11:24:19","slug":"perec-tel-aviv-perec-2024-25","status":"publish","type":"projects","link":"https:\/\/www.smadarsheffi.com\/?projects=perec-tel-aviv-perec-2024-25","title":{"rendered":"PEREC \u2013 TEL AVIV \u2013 PEREC 2024"},"content":{"rendered":"\t\t
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PEREC \u2013 TEL AVIV \u2013 PEREC <\/u><\/strong><\/span><\/p>

\u00a0\u00a0A project curated by Dr. Smadar Sheffi<\/span> <\/u><\/strong><\/p>

Project manger: Ya\u00ebl Baruch<\/span><\/strong><\/p>

\u00a0<\/span><\/u><\/strong><\/p>

And what if Perec visited Tel Aviv of 2024? Walking through the streets dotted with buildings in different stages of urban renewal, the stories of the lives of their former inhabitants exposed, would he think of 11 rue Simon-Crubellier, the fictitious Parisian apartment block in which \u201cLife: A User’s Manual<\/em>\u201d takes place? \u00a0Would he choose a vantage point – perhaps Dizengoff square or Rothschild boulevard, and observe the mundane, record the \u201cnonstop city\u201d like in \u201cAn Attempt at Exhausting a Place in Paris<\/em>\u201d written 50 years ago, 1974 in Saint-Sulpice Square in Paris? \u00a0<\/p>

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PEREC \u2013 TEL AVIV \u2013 PEREC was compromised of the exhibition Troisi\u00e8me droite, 3 | Third floor on the right, 3<\/strong> \u00a0in the gallery of the French Institute in Tel Aviv, a digital sound work\u00a0 and Perec Night <\/strong>which encompassed eight \u00a0concurrent events including literary events, film screenings and architectural walks.<\/p>

The project explored and observed Tel Aviv through Georges Perec the French-Jewish novelist and filmmaker <\/a>sensitivities: delving into the city\u2019s, and its dwellers mind, and memories through its spaces, both the seemingly shabby and the polished.\u00a0 Inspired by\u00a0 Perec\u2019s oeuvre it contemplated the way\u00a0 spaces are a trajectory that\u00a0 influences our lives.<\/p>

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Perec\u2019s biography relates to biographies of numerous immigrants and refugees that formed the fabric of Tel Aviv and shaped its culture, one in which hope coexists with immense pain and vulnerability, a reservoir of human feeling. A son of Polish Jews who had emigrated to France, he lost his parents in World War II – his father killed in service in the French Army, His mother murdered in the Holocaust. Perec addressed his traumatic childhood in his literary work -most often in a concealed manner. \u00a0
The interconnecting stories of his heroes in each book, and between them, create what can be pictured as an urban entity, bustling with energy, creativity, even humor and yet constantly mining the past, its memory peering into its own void. In Species of Spaces<\/em>, Perec escorts the readers from their bed to the street, the city, and the world trying to understand the essence of shared spaces.<\/p>

The horrific events of World War II and its ramifications had a huge impact on Tel Aviv, a city waves of refugees and immigrants defined and redefined over the last hundred years. People fled to it from Europe since the interwar period. In \u201cEllis Island and the People of America<\/em>\u201d, Perec remarks it was only by chance that he was not Canadian or Argentinian, Israeli or American, as were many of his relatives.<\/p>

Heartfelt thanks to Ya\u00ebl Baruch.<\/strong><\/em><\/p>

Thanks to \u00a0the Jacqueline de Romilly Foundation hosted by the Fondation de France\u00a0 for their generous \u00a0support.\u00a0<\/strong><\/em><\/p>

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Ofer Bessudo\n 15-30, 2013\n Courtesy of the artist\n<\/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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\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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Ira Prohorova \u201cA Place Where\u2026\u201d, 2023 Courtesy of the artist<\/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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\u05e2\u05d1\u05d5\u05d3\u05ea \u05e1\u05d0\u05d5\u05e0\u05d3: \u05dc\u05e4\u05e2\u05e0\u05d7 \u05e4\u05d9\u05e1\u05ea \u05e2\u05d9\u05e8 Cr\u00e9ation sonore : \u00ab D\u00e9chiffrer un morceau de ville \u00bb<\/div>
\u05d9\u05d4\u05d5\u05e0\u05ea\u05df \u05e8\u05d5\u05df \u05d1\u05e9\u05d9\u05ea\u05d5\u05e3 \u05e8\u05d5\u05ea\u05dd \u05d5\u05d5\u05dc\u05e7 \u05d5\u05d2\u05f3\u05d0\u05d3 \u05de\u05e8\u05e9\u05e0\u05d3\u05d5 \u2013 \u05d1\u05e8\u05d0\u05d1\u05d9. \n(\u05e2\u05d1\u05e8\u05d9\u05ea \u05e6\u05e8\u05e4\u05ea\u05d9\u05ea) \u05d0\u05d5\u05e6\u05e8\u05ea \u05d4\u05e4\u05e8\u05d5\u05d9\u05d9\u05e7\u05d8: \u05d3\u05f4\u05e8 \u05e1\u05de\u05d3\u05e8 \u05e9\u05e4\u05d9.\nde Jonathan Ron, en collaboration avec Rotem Volk et Jade Marchandeau-Berreby\n(en fran\u00e7ais et en h\u00e9breu) Commissaire du projet : Dr. Smadar Sheffi\n\n\u05d4\u05e6\u05e2\u05d4 \u05dc\u05d4\u05ea\u05d1\u05d5\u05e0\u05e0\u05d5\u05ea \u05e2\u05d9\u05e8\u05d5\u05e0\u05d9\u05ea \u05d1\u05e2\u05e7\u05d1\u05d5\u05ea \u00ab \u05d7\u05dc\u05dc \u05d5\u05db\u05d5 \u00bb \u05e9\u05dc \u05d6\u05f3\u05d5\u05e8\u05d6\u05f3 \u05e4\u05e8\u05e7<\/div>
Click Here<\/div><\/div><\/a><\/div>\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\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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Troisi\u00e8me droite, 3
<\/strong><\/span>Commissaire : Dr. Smadar Sheffi<\/strong><\/p>

Ira Eduardovna, Ofer Bessudo, Ira Prohorova, Barak Ravitz
Cr\u00e9ation sonore : \u00ab D\u00e9chiffrer un morceau de ville \u00bb<\/strong>
de Jonathan Ron, en collaboration avec Rotem Volk et Jade Marchandeau-Berreby<\/p>

Le titre de cette exposition fait r\u00e9f\u00e9rence au chapitre 33 de La vie mode d’emploi<\/em>, \u0153uvre embl\u00e9matique de<\/p>

\u00a0Georges Perec publi\u00e9e en 1978. Dans ce livre, Perec nous invite \u00e0 une exploration minutieuse et prodigieuse d’un immeuble imaginaire \u00e0 Paris, ainsi que de ses habitants, de leurs objets, de l’architecture environnante, de leurs voyages et de leurs r\u00eaves. C\u2019est ainsi qu\u2019il d\u00e9crit la troisi\u00e8me pi\u00e8ce de l’appartement situ\u00e9 au troisi\u00e8me \u00e9tage \u00e0 droite : \u00ab La troisi\u00e8me pi\u00e8ce de cet appartement fant\u00f4me est vide… Sur le mur du fond sont suspendues vingt et une gravures sur acier, d\u2019un format identique\u2026 \u00bb. Les pages suivantes offrent un inventaire d\u00e9taill\u00e9 des sc\u00e8nes repr\u00e9sent\u00e9es sur chacune des gravures.<\/p>

Ce contraste entre l’\u00e9vocation d’un vide et l’inventaire foisonnant de d\u00e9tails est caract\u00e9ristique de l’\u0153uvre de Perec. Il remet en question des id\u00e9es pr\u00e9con\u00e7ues, des concepts et des axiomes, les d\u00e9cortique et r\u00e9v\u00e8le les m\u00e9canismes d’illusion qu\u2019ils renferment, notamment ceux li\u00e9s \u00e0 l’auto-tromperie.<\/p>

Les \u0153uvres d’Ira Eduardovna, Ofer Bessudo, Ira Prohorova et Barak Ravitz explorent des th\u00e9matiques similaires. Empreintes, \u00e0 divers degr\u00e9s d’un humour grin\u00e7ant et d’une touche d’absurde, elles r\u00e9v\u00e8lent toutes un m\u00e9canisme subtil, perceptible par le spectateur.<\/p>

Dans l’\u0153uvre \u00ab La Biblioth\u00e8que \u00bb, les membres de la famille d’Ira Eduardovna emballent, \u00e0 la cha\u00eene, le contenu de leur existence dans une valise, objet apr\u00e8s objet. Le p\u00e8re \u00e9num\u00e8re chaque objet \u2014 une bouilloire, une horloge, un masque \u00e0 gaz, un livre, une serviette, un vase. La m\u00e8re les dispose, les uns apr\u00e8s les autres, sur la table, la s\u0153ur a\u00een\u00e9e les emballe dans du papier journal, et l’artiste les place dans la valise. Cet inventaire, \u00e0 la fois al\u00e9atoire et absurde, esquisse le portrait d’une vie r\u00e9volue et refl\u00e8te les pr\u00e9occupations de ces \u00e9migr\u00e9s face \u00e0 leur avenir dans leur nouveau pays. Il met en lumi\u00e8re les objets qu’ils jugent essentiels pour leur enracinement et la pr\u00e9servation de leur m\u00e9moire collective.<\/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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Barak Ravitz\n Four Wings, 2011\n Courtesy of the artist and Dvir Gallery\n<\/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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Ofer Bessudo pr\u00e9sente une s\u00e9rie de photographies titr\u00e9e \u00ab 15-30 \u00bb, en r\u00e9f\u00e9rence au temps d’exposition, au moment o\u00f9 l\u2019objectif de l\u2019appareil, de fa\u00e7on indiff\u00e9rente et uniforme, capture la fa\u00e7ade d’un immeuble \u00e0 Tel Aviv, en r\u00e9v\u00e9lant les volets, les fissures, les plantes dess\u00e9ch\u00e9es, les meubles d\u00e9labr\u00e9s, la douce lumi\u00e8re ainsi que des pi\u00e8ces o\u00f9 les personnages qui s\u2019y trouvaient ont disparu en raison d\u2019une surexposition.<\/p>

Ira Prohorova propose \u00ab Un endroit o\u00f9… \u00bb, une \u0153uvre o\u00f9 quatre portes \u00e9troites de 27 cm de large sont ferm\u00e9es, sans fonctionnalit\u00e9 aucune, cr\u00e9ant un \u00e9l\u00e9ment architectural d\u00e9tach\u00e9 dans l’espace. Ces portes ne m\u00e8nent nulle part, mais offrent de nombreuses possibilit\u00e9s, toutes sans issue. \u00c0 l’instar des jeux math\u00e9matiques de Perec, la dimension de ces portes renvoie \u00e0 une puissance de trois, 33<\/sup> = 27.<\/p>

Barak Ravitz pr\u00e9sente les \u0153uvres \u00ab Cl\u00f4ture \u00bb et \u00ab Quatre ailes \u00bb o\u00f9 des \u00e9l\u00e9ments architecturaux sont dupliqu\u00e9s. La sculpture de la cl\u00f4ture en aluminium s’inspire d’une cl\u00f4ture d\u00e9corative en plastique con\u00e7ue pour d\u00e9limiter des parterres de fleurs et dont l\u2019aspect vise \u00e0 imiter le bois, tentative touchante, mais risible, de pr\u00e9server une touche de naturel dans un objet industrialis\u00e9, l\u2019aluminium ajoutant \u00e0 cela un suppl\u00e9ment d\u2019ironie. Dans cette sculpture, la cl\u00f4ture ne d\u00e9limite rien, mais les \u00e9l\u00e9ments s\u2019emprisonnent les uns les autres. Dans \u00ab Quatre ailes \u00bb, une fen\u00eatre d\u00e9mont\u00e9e est orn\u00e9e d\u2019un autocollant rempla\u00e7ant un paysage qui aurait pu y \u00eatre refl\u00e9t\u00e9. L\u2019artificiel remplace le naturel et \u00a0la fonction m\u00eame de la fen\u00eatre, celle de s\u00e9parer int\u00e9rieur et ext\u00e9rieur, est interrog\u00e9e, tout comme celle de la cl\u00f4ture, ne laissant qu’une forme vide mais ordonn\u00e9e.<\/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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Ofer Bessudo 15-30, 2013 Courtesy of the artist<\/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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