Tzfia Dgani, Vered Hadad, Peter Yaacov and Ben Meltz, Liat Klein, Ira Shalit

 

Curator: Vered Hadad

 

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September 2015

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The exhibition 'Everything from here' was created from a meeting of artists with the many materials that had accumulated in the wonder Room of Koresh 14. The entrance to the crowded and eclectic warehouse was a kind of entrance to a playground and drew bursts of excitement and discovery. It was interesting to see that despite the material abundance all the male and female artists opted for content and formal minimalism, the clutter created a process of refining, of a uniform sound whose touches were precise. The works changed form and material until they became fixed in their present place.

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Tzfia Dgani / The things I do not know what they are called but they appear before my eyes when I look the other way /

The library in Koresh is diverse and unique. It does not recreate the required books from an ordinary art book but presents in its jumble the esoteric and the central. I loved immersing myself in the experience that the library invites, opening the books and watching the reproductions. What is art? We live in a province where the encounter with reproduction is closer to the heart and carries more memories and emotions than the encounter with the source. What is art? Are it the catalogs, artist books, albums and anthologies that preserve the traces of the work? This work, too, will fit into a catalog that may one day roll into the library, and an anonymous reader will open and peruse it. Hello. The encounter between housing and the European cultural world as seen to us between the pages of the book is milky and exciting. I wanted to stick my teeth into him and get the juice out of him.

 

Vered Hadad / These blondes are not me /

The encounter with the materials in Koresh was surprising to me, on the one hand I know the existing materials on mullet and in my mind's eye I saw how I create from the familiar material, and yet when I went into work as an artist I caught myself touching materials I had not thought of. As I delved deeper into the action I found myself creating gestures and touching on other and unexpected contexts.

Liat Klein / In the end of Bedit /

When I arrived in Koresh, there was a certain material destined for me — a legacy of wooden objects left over from the work of a Judaica artist who left them for Koresh. At first I was intrigued by the shape of the rounded and polished objects (mostly candlesticks and boxes). The gameplay with them seemed endless to me. After a while, in working with them in the studio, I felt the exact opposite, I felt that working with the objects necessarily takes them to the source from which they came. I decided to work with papers on which I printed textures that suited me to play with the objects. I played with the combination of two-dimensional paper and three-dimensional objects so that together they create something new. The paper functions in some cases as a sculptural material and sometimes as a substrate. As the game progressed, I thought more and more about ritual positions, altars and placing objects related to religion (thinking related to the origin of objects) however, the use of paper, created a "discount" of the same religious weight which may be obtained from creating these positions and maybe even somehow" "Secularization" of objects. You could say that the game is also about the religious and the secular, something that calls me as a Tel Aviv secularist who came to work in the Holy City with Judaica objects that were apparently charged with the same religious energies and the opposite of the secular spiritual place I come from.

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Peter Jacobi and Ben Meltz / The Chronicle Stories /
During a visit to Koresh I saw a large box full of book covers. I was immediately tempted to dig into the pile of covers and wonder where these covers came from? Is there any connection between all the different covers? In my mind's eye I saw the possibility of creating a collage that would manage to make connections between the various images and perhaps even create some world. I took the box as it is to my studio, where I started the screening process. To my pleasant surprise I found images related to Jerusalem and local archeology. It suited me very well because the box was taken from Jerusalem and from the Koresh Gallery. I continued cutting, connecting and gluing. The sense of creating the image sessions resembled writing a story and the final product for the map.

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Ira Shalit / ELECTIC CAFÉ /

The Koresh Art Center, located in the lower strip of a building, was inspired by the "residential units" of the modernist architect La Corbusier. In this strip are a number of spaces built as communal spaces and in one of them Koresh operates.

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ELECRIC CAFÉ is trying to reactivate the community meeting place from the modernist idea but in contrast it is created in an intuitive and eclectic way and so it hopes that the visitors, who are the optional participants, act.