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I Will Love You 2020

Installation, spilt video, sculpture, print, collaboration with Talya Shalit, Final exhibition Bezalel, curators: Irena Gordon, Peter Jacob Maltz, Jerusalem  

The exhibition is set at two ends of an imaginary triptych whose middle part is missing.
On the one end- a pre-narrative situation.* The choir is the knowing entity, whose knowledge sets in motion the order of destiny. It stands at the city gate and tells what is certainly about to happen. The passage through the thin gate slows down and stretches, becoming the space of the cinematic show. The screen anesthetizes the entrance into the story's thicket (lullaby).


And on the other end - awakening. A behind-the-scenes scene "awakens" the viewer into a thicker sleep. In the two creators conversation with the photographer, the missing part is revealed. Interpretation areas displayed alongside excerpts "not yet seen" from the rest of the film, give the impression that there is another, larger work that has been shelved and is now only present in flickers. The knowers alongside the not-knowers weave a space.
 

Through a fantasy that melts together the worlds of cinema, music, theater and plastic art, the moments on the set, the scenery and the show are mixed, including the role of the artist / actor.

______________________________________

 

* The arrow has already been sent but is still in the endless paths of the wind tunnel


** The greenhouse is a semi-transparent body. It allows a strategic point of view to the outside, while at the same time being exposed to the intrusion of the gaze inwards (a hair that has grown upside down).
 

The exhibition is set at two ends of an imaginary triptych whose middle part is missing.
On the one end- a pre-narrative situation.* The choir is the knowing entity, whose knowledge sets in motion the order of destiny. It stands at the city gate and tells what is certainly about to happen. The passage through the thin gate slows down and stretches, becoming the space of the cinematic show. The screen anesthetizes the entrance into the story's thicket (lullaby).


And on the other end - awakening. A behind-the-scenes scene "awakens" the viewer into a thicker sleep. In the two creators conversation with the photographer, the missing part is revealed. Interpretation areas displayed alongside excerpts "not yet seen" from the rest of the film, give the impression that there is another, larger work that has been shelved and is now only present in flickers. The knowers alongside the not-knowers weave a space.
 

Through a fantasy that melts together the worlds of cinema, music, theater and plastic art, the moments on the set, the scenery and the show are mixed, including the role of the artist / actor.

______________________________________________________________________________________________________

 

* The arrow has already been sent but is still in the endless paths of the wind tunnel


** The greenhouse is a semi-transparent body. It allows a strategic point of view to the outside, while at the same time being exposed to the intrusion of the gaze inwards (a hair that has grown upside down).
 

Notes--WHAT-IS-LOVE-2.jpg
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video screenshot 

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Wooden beams, mosquito net, stone spray, wet and burnt clay, TV screen, styrofoam relief, sheet music (exhibition text), blue wheels 

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Wooden frame, gypsum board, water, cardboard box, stickers, silk screen print, 260 x 120 cm, porcelain, strings, variable sizes 

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Porcelain silk screen print, 100 x 120 cm 

video of the 2 screens