Koresh 14 Gallery, Jerusalem, July 2016
opening 28.7.2016 at 20:00
Chinese Whispers incorporates four solo exhibitions, inspired by the well-known children’s game, Broken Telephone.
Just like in the game, the exhibition’s progression is linear, as the following four different artists display their work in the space of Koresh 14: Vered Hadad, Hili Greenfeld, Avinoam Stranheim and Niv Cohen. The transition from one solo exhibition to the next is a continual two-week process, during which the incoming artist leads an artistic dialogue with the existing work in the space, and gradually exchanges it for his own work, until the space contains the new solo exhibition, which will follow suit and eventually also be exchanged with the following artist’s work.
In the gallery space a wall will be designated for documentation of the exhibition, such as photographs, drawings and texts that will be added throughout the two weeks. The documentation wall becomes an integral part of the process since it stores within it all of the daily activities and changes that are made in the space. At the end of the exhibition a conversation will be held with the exhibition participants and a celebratory event in which a catalogue will be distributed, portraying the process.
The continuous exchanging of work within the exhibition allows the viewers to return to the gallery at different points during the two weeks and experience the transitions.
Vered Hadad’s exhibition, Deceptive Lights, begins the project. She will display her installation, built from cotton strings and various recycled materials. The different materials create a circular motion. Only from close-up it ist clear that the statuesque object in her exhibition is made of toilet paper rolls. The seemingly trivial material transcends its inferiority and receives a higher status, gaining a sublime, artistic effect. Vered Hadad, the founder of Koresh 14, is displaying her work for the first time in the gallery, after nine years of activity.
During the month of August Hili Greenfeld will enter the space and display the Persian Princess exhibition. The exhibition name refers to a story about a mummy that was discovered in Pakistan in the year 2000. Archaeologists claimed that the mummy was a Persian princess from the 6th century, and her value on the black market was measured at around 11 million dollars. After pathological tests, it became apparent that the mummy was actually an anonymous woman in her twenties, who was killed in the year 1996. Greenfeld picked up the signs and symbols used by the forgers, such as engraved rosettes, Cypress gold, etc. She painted the symbols on artificial grass, and created a hybrid of lyrical abstract paintings, Persian rugs and graffiti murals.
In September Avinoam Stranheim will gradually take over the space and erect Megalith as Greenfeld gradually vacates the space. Megalith is an ancient monument, and it is unclear how it arrived to its present resting place. In this exhibition Avinoam will create large statuesque works, which activate the gallery space and create elements of feelings that are almost physical for the viewer. These feelings stem from power games, scale and tension. The statue structures function as energy generators and create attraction, repulsion and pressure relations between the viewer and the space.
In October Niv Cohen will enter the space with Stranheim. He will erect the Battle of Lima. Cohen, an autodidact, collects the materials from the street in his studio’s neighborhood in South Tel Aviv. Afterwards, he adapts the materials with inspiration from surfing the web and watching extensive YouTube videos. In his current project he will take inspiration from the three artists before him. He intends to observe their work methods, in regards to raw material and final product, and then use this as the starting point for his creation.
This project is made possible thanks to the support of the Pais Foundation, the Arts Department of the Jerusalem Municipality, the Jerusalem Foundation, the Ministry of Culture and the Koresh Association.