Sep 9, 2015-Oct 31, 2015
Curator: Shai Dobjinski
"For me, curating an exhibition from the START collection is like playing in the premium league without a referee on the court.."
My strategy for curating START was to choose the works I intuitively responded to. I analyzed them to try to understand what it was that moved me in them. I limited the selection to a few works that in my mind could work together. They all seemed to be unconcerned with aesthetic beauty or composition; rather they revealed the scars and weaknesses of humanity with no shame or apology. They preferred to be “stupid” instead of boring, “dirty” instead of righteous, “incomplete” in both content and shape. Their dirtiness and weaknesses together with their confrontational nature built the foundations of the concept of this exhibition. This very decadence reflected in human nature and often present in art fascinates me and naturally drove me to research it in different fields, ranging from cinema to literature, from music to dance.
In 2007 Iggy Pop performed in Tel Aviv. A little after two in the morning, Iggy got on stage running shirtless, showing his skeletal chest: the bones popping out of his body, the wrinkled skin falling apart, the eyeballs falling from their sockets. The band started playing at full blast and before anyone realized what was going on, Iggy poured a bottle of water on himself, screaming into the microphone while running across stage. From 0 to 100 in 20 seconds without any explanations, without building any tension or “doing it the right way”!
A few minutes later, Iggy was surrounded by fans jumping hysterically, showing no fear, having nothing to lose! At that time, Iggy was already 60 years old and it seemed that he has returned for the thousandth time from the underworld just to tell us that there is nothing to worry about and that everything is going to be fine… and to be honest, I believe him! The characters from the art works that I chose could have easily been part of Iggy's band or even among his fans!
Once I finished arranging the works in the gallery space, I took one step back: I looked at the crowded composition of works that I put together and suddenly, I realized that there was a ghostly character jumping from one work to the other. Sometimes he would take his clothes and skin off, sometimes it would wear a mask, other times it would only leave footprints.
With the same impulsivity as Bigfoot, in search for himself in the gallery space, the figure moves from the drawing of the Israeli artist Rakefet Viner-Omer, to the work of the Tel Aviv street artist Zero Cents. From there he continues forward, crawling on the floor and trying to avoid the snakes of Alexandra Zuckerman’s drawing. From Zuckerman’s drawing, the figure jumps to the shoes of the young graffiti collective Broken Fingaz, who started working in the underground streets of Haifa and today are exhibiting in renowned galleries around the world. For this exhibition, I wanted to help Bigfoot to get around the space, so I put the works closer to each other to make sure that he would not miss any of them.
I would like to thank Serge Tiroche and the START Team who chose me for the Curatorial Program and gave me the opportunity to work with art, the thing I love the most in life.
Graduate from the Wizo Haifa Academy of Design and Education, Major in Visual Communication and from Camera Obscura School of Art, specialization in Curatorial Studies.