طلعة ونزلة الجيل Up and Down the Mountain במעלה ובמורד ההר

The New Gallery Artists’ Studios, Jerusalem

13.03-01.05.2020

Photo: Hila Yassan Smolyanski

The exhibition Up and Down the Mountain is devoted to contemporary local photography, focused on the fundamental link between the artist’s own biography and his or her photographic oeuvre. The exhibition’s basic assumption is that the artist’s personal narrative exists, among other elements, in the space between reality and its representations. This is a significant element in creating the genetic code generating the artist’s subjective observation of objective reality. The artist’s unique perspective is reflected not only in the selection of the subject of the photograph, but in a series of choices accompanying each and every photographic act: choice of camera, format, lens, perspective, and the other elements comprising the final image.

The total of all of the personal gazes making up the current exhibition depict locale, a land, a path, from the lowland, and up and down the mountain. It is neither a circuit nor an entire route, but an act of marking out and coming back, characterizing many of the projects from which the works on view were selected. It is from the biography of each participating artist that the return is derived, the need to come back and make a photograph at the same place, again and again, to return and make more and more careful observations from the site. It is only in this way that the subjects of the photograph are transformed, transitioning from their existence in an average mundane location to existing in a particular, differentiated way.

The repetition leads to the subject of the photograph being severed from its time and place, whether it is landscape, place, or object. This constant return characterizes all of the photographs on view, which do not focus on the culture or history of the subject but in the way in which it activates the artist. This is photography that embodies the past and present simultaneously: it is direct, seemingly flat, yet reflects the photographer’s inner world. The works on view differ greatly from one another, yet in all of them, photography is the means of making a subjective experience come into being and delineate the exclusivity of that experience.

Curator: Etty Schwartz

Artists: David Adika, Ruth Agassi, Boaz Aharonovitch, Ron Amir, Einat Arif-Galanti, Oded Balilty, Michal Bar Or, Rea Ben David, Ariel Hacohen, Youval Hai, Gaston Zvi Ickowicz, Yaakov Israel, Ronit Porat, Eldad Rafaeli, Baruch Rafiach, Michal Rovner, Gustavo Sagorsky, Hadas Satt, Etty Schwartz, Meir Wigoder, Pavel Wolberg, Sharon Yaari, Yuval Yairi, Keren Zaltz 

المعرض الحالي طلعة ونزلة الجيل مُكرّس للتصوير المحلي المعاصر، ويركّز على ماهية العلاقة بين السيرة الذاتية للمصور وعملية التصوير التي يقوم بها. الفرضية الأساسية للأعمال في المعرض هي أن بين الواقع وتمثيلاته ثمّة، ضمن أمور أخرى، قصة شخصية للمصور. وهذا عنصر مهم في تشكيل الشيفرة الوراثية التي تنمو منها تأملاته الذاتية في الواقع الموضوعي، تأملات فريدة يتم التعبير عنها ليس عبر اختيار موضوع التصوير فحسب، يل أيضًا عبر سلسلة الخيارات المرافقة لعمل التصوير: اختيار الكاميرا، الاطار، العدسة، المنظور وبقية مركبات التصوير.

مجموعة النظرات الشخصية الوافرة التي تُركّب المعرض ترسم مكانًا، بلدًا، طريقًا. من المنخفض، وطلعة الجبل والعودة. ليس مسارًا دائريًا، كاملًا، بل فعل من التأشير والتكرار، الذي يميّز العديد من المشاريع التي تم اختيار الأعمال من ضمنها. السيرة الذاتية لكل واحد وواحدة من الفنّانين والفنّانات المشاركين هي التي تولّد التكرار، حاجة العودة وتصوير الماكن نفسه مرة تلو المرة، والعودة للتأمل به أكثر وأكثر. فقط هكذا تتحول موضوعات التصوير وتنتقل من وجودها في مكانها الحالي، اليومي، إلى وجودها الفريد المميّز.

يؤدي التكرار إلى انعتاق موضوعة التصوير- المنظر الطبيعي، المكان أو الكائن – عن الزمن والحيّز المتواجد فيهما. وهذا يميّز جميع الصور المشاركة في المعرض، فهي لا تتمحور في ثقافة أو تاريخ موضوعة التصوير، بل في الطريقة التي تعمل فيها على تشغيل الفنّان أو الفنّانة. إنه تصوير يتواجد داخله الماضي والحاضر في الوقت نفسه، تصوير مباشر، كأنه مسطّح لوهلة، ومع ذلك فهو يعكس العامل الداخلي للمصور. تختلف الصور المشاركة في المعرض الواحدة عن الأخرى، ولكن فيها كلها يشكل التصوير وسيلة لتكوين تجرية شخصية وتخطيطها الحصري.

أمينة المعرض: إيتي شڤارتس

المشاركون في المعرض: روتي أچاسي, بوعاز أهرونوڤيتش, عوديد باليلطي, ريع بن داڤيد, ميخال بار أور, أريئيل هكوهن, پاڤيل ولبيرغ, مائير ويچودير, كيرن زالتس, يوڤال حاي, يوڤال يائير, شرون يعاري, يعقوب يسرائيل, غوستاڤو سچورسكي, هداس سات, داڤيد عديقا, رون عمير, عينات عريف چلانتي, رونيت پورات, غوستون تسڤي أيسكوبيتش, ميخال بار أور, إلداد رفائيلي, باروخ رفياح, إيتي شڤارتس 

התערוכה במעלה ובמורד ההר מוקדשת לצילום מקומי עכשווי, ומתמקדת במהות הקשר בין הביוגרפיה של האמן ובין מעשה הצילום שלו. הנחת היסוד של העבודות בתערוכה היא שבין המציאות לייצוגים שלה נמצא, בין היתר, סיפורו האישי של הצלם. זהו מרכיב משמעותי ביצירת הקוד הגנטי שממנו צומחת ההתבוננות הסובייקטיבית שלו במציאות האובייקטיבית, התבוננות ייחודית הבאה לידי ביטוי לא רק בבחירת מושא הצילום אלא גם בסדרת הבחירות המלוות כל מעשה צילומי: בחירת המצלמה, הפורמט, העדשה, הפרספקטיבה ושאר מרכיבי הצילום. 

שלל המבטים האישיים המרכיבים את התערוכה מציירים מקום, ארץ, דרך. מן השפלה, במעלה ההר ובחזרה. זהו אינו מסלול מעגלי, שלם, אלא פעולה של סימון וחזרה, המאפיינת רבים מהפרויקטים שמתוכם נבחרו העבודות. הביוגרפיה של כל אחד ואחת מהאמנים המשתתפים היא המולידה את החזרה, את הצורך לחזור ולצלם באותו המקום שוב ושוב, לחזור ולהתבונן בו עוד ועוד. רק כך מותמרים מושאי הצילום ועוברים מקיומם במקומם המצוי, היומיומי, אל קיומם הפרטיקולרי, הנבדל.   

החזרתיות מובילה לניתוקו של מושא הצילום – נוף, מקום או אובייקט – מהזמן והמרחב שהוא נתון בו. היא מאפיינת את כל התצלומים המופיעים בתערוכה, הם אינם מתמקדים בתרבות או בהיסטוריה של מושא הצילום אלא באופן שבו הוא מפעיל את האמן או האמנית. זהו צילום המקיים בתוכו את העבר ואת ההווה בו בזמן, צילום ישיר, שטוח לכאורה, ויחד עם זאת משקף את עולמו הפנימי של הצלם. העבודות המוצגות בתערוכה שונות מאוד זו מזו, אך בכולן משמש הצילום אמצעי להתהוות חוויה סובייקטיבית ולרישום האקסקלוסיביות שלה.

אוצרת: אתי שוורץ

אמנים: רותי אגסי, בעז אהרונוביץ׳, עודד בלילטי, רע בן דוד, מיכל בראור, אריאל הכהן, פבל וולברג, מאיר ויגודר, קרן זלץ, יובל חי, יובל יאירי, שרון יערי, יעקב ישראל, גוסטבו סגורסקי, הדס סט, דוד עדיקא, רון עמיר, עינת עריף גלנטי, רונית פורת, גסטון צבי איזקוביץ׳, מיכל רובנר, אלדד רפאלי, ברוך רפיח, אתי שוורץ

Cyphers & Cypresses

Yuval Yairi’s solo exhibition opening at Fabienne Levy, Lausanne, Switzerland, December 4, 2019

https://www.instagram.com/fabiennelevygallery/

Objective Space / 2019 / 197 x 158 cm

The exhibition is composed of the first two chapters of a trilogy in progress, featuring photography, drawings and an intervention on the walls. The show is accompanied by a short film that portrays the artist’s work process.

In the first chapter, Yuval adopted the semi-fictional figure of a “surveyor” as a partner and a vision aid for examining his surroundings and for introspection and personal soul searching, as he tries to come to terms with certain episodes of his past.

With the help of the surveyor, Yairi revisited experiences from his military service, confronting unresolved ethical and moral questions. He formulated a coded language and with symbolic actions and objects, he expressed thoughts and feelings about these experiences, which he cannot share publicly.

In the current chapter, Yairi shifts away from the contemplation of his personal experience towards a broader and multifaceted examination, which reflects many perspectives about the state and future of the Israeli space, in a personal, political, and geographical context. He chooses the cypress tree as a measuring tool and a symbol of memory, as a sensor that collects data about its environment.

Each of Yuval’s works starts from direct photography, capturing a moment of truth or reality.. Out of thousands of such photographs, he recomposes on an extensive grid all the fragments of time in the virtual space of a computer. He strings together non-sequential times, events, and places into a timeless photograph.

The exhibition accompanied with text by Ilanit Konopny
https://yuvalyairi.com/cyphers-cypresses/cyphers-cypresses-essay-by-ilanit-konopny/

Photo London 2018

https://photolondon.org/exhibitors/2018-2/podbielski-contemporary/

17 MAY 2018 – 20 MAY 2018

SOMERSET HOUSE | Strand, London WC2R 1LA | STAND NR G20 | COURTYARD
Podbielski Contemporary & Ncontemporary present:
Naomi Leshem / Matan Ashkenazy / Ohad Matalon / Yuval Yairi
Topographic-Study-detail
Yuval Yairi / Topographic Study, 2015 (detail)

 

photo london 2018

Photo London (Podbielski Contemporary & Ncontemporary booth)

Review of “Surveyor” in The Pitch

Roger Shimomura and Yuval Yairi map complex legacies in separate solo shows
ANNIE RAAB JAN 3, 2017 4 PM

……….

Yuval Yairi: Surveyor

Israeli artist Yuval Yairi was trained as a military surveyor, and he brings to the works in his Epsten Gallery exhibition a highly disciplined sense of remove, even as he depicts the conflicts surrounding his home, Jerusalem. Making himself a documentarian of physical space, he accounts for every stone, every crease in the Judean Desert as he searches for meaning on the face of the land.

The three large desert images in Surveyor share a recurring event: A man travels in a circumference, holding taut a line anchored to the hills. We see this single man in 12 places at once, like the face of a clock or the outer circle around a bull’s-eye. Each photographic map here is overlaid with a faint and subdivided grid, visible as a product of unemotional diligence, simply the recording of a textured landscape. But edges in the images don’t always line up perfectly, much as the individual pieces of a longstanding conflict never balance.

The aerial surveyor is allowed a degree of emotional distance around an area of land that is highly contested. The photographed landscape might appear quiet and still, but the scout must remain wary of stumbling into hostile territory. Yairi’s “Land” photographs and short video performance feature large white letters spelling out LAND. The letters appear at the top of a crumbling structure, inside the bones of a fallen framework in prairie grass, atop a patient mule — places where the size of the word can really be felt. A person carries his or her land, as burden or ornament or target, everywhere.

Yairi plays impassive archaeologist with “Bullet Archive,” which shows bullets dug up from sites of past conflict. Each is labeled — the kind of gun that fired it, the place it was discovered — but none is exactly recognizable. The wear endured after discharge changes these metal shapes to something resembling petrified wood or small bones.

Studio assemblages make up a small but emotional part of the show. A map in the “Codes” series reads “No Fly Zone” and shows a small lens suspended parallel to a textured, moonlike surface, weighted opposite by a plumb bob so that neither touches the ground. In a curious series of still lifes, “Surprise Egg, Codes” shows a glossy egg at rest on a wire-bristle comb, a tethered bullet aimed at the soft flesh of the white. In these pieces and elsewhere in this exhibition, Yairi’s map-centric works, even absent people, reveal the artist as an unusually sensitive and resourceful monitor of human conflict.

Through January 22 at Epsten Gallery, 5500 West 123rd Street, Overland Park

http://www.pitch.com/arts-entertainment/visual-art/article/20847951/roger-shimomura-and-yuval-yairi-map-complex-legacies-in-separate-solo-shows

Surveyor, Solo exhibition at the Epsten Gallery Kansas City, November 13, 2016 – January 22, 2017

Image

Surveyor, Solo exhibition @ Epsten Gallery, Kansas City.  Curator: Heather Lustfeldt

https://yuvalyairi.files.wordpress.com/2016/11/yuval-yairi-epsten-gallery.pdf