Danielle Gorodenzik (curate.png) is a writer and independent curator completing her M.A. in Curatorial Studies at Bezalel Academy of Art and Design. Gorodenzik holds a B.F.A. in Communication Design from Parsons The New School of Design. She is the Art Editor for Telavivian Magazine, Co-founder of In Print Jerusalem Art Book Fair, and the Content Manager at Tiroche DeLeon Collection. She previously served as the Program Assistant at Artis in Tel Aviv where she organized curatorial research trips to Israel, artist career development initiatives, and the Artis project grant program.
She has worked at Braverman Gallery, Israel Museum, Fresh Paint Art Fair #8 & #9, and Museum of Bat Yam. Gorodenzik has participated in Goldsmiths Curatorial Intensive Course, and Valletta 2018 Curatorial School (2016).
You can follow her at @curate.png on instagram.
Danielle Gorodenzik (curate.png) is a writer and independent curator completing her M.A. in Curatorial Studies at Bezalel Academy of Art and Design. Gorodenzik holds a B.F.A. in Communication Design from Parsons The New School of Design. She is the Art Editor for Telavivian Magazine, Co-founder of In Print Jerusalem Art Book Fair, and the Content Manager at Tiroche DeLeon Collection. She previously served as the Program Assistant at Artis in Tel Aviv where she organized curatorial research trips to Israel, artist career development initiatives, and the Artis project grant program.
She has worked at Braverman Gallery, Israel Museum, Fresh Paint Art Fair #8 & #9, and Museum of Bat Yam. Gorodenzik has participated in Goldsmiths Curatorial Intensive Course, and Valletta 2018 Curatorial School (2016).
You can follow her at @curate.png on instagram.
Danielle Gorodenzik (curate.png) is a writer and independent curator completing her M.A. in Curatorial Studies at Bezalel Academy of Art and Design. Gorodenzik holds a B.F.A. in Communication Design from Parsons The New School of Design. She is the Art Editor for Telavivian Magazine, Co-founder of In Print Jerusalem Art Book Fair, and the Content Manager at Tiroche DeLeon Collection. She previously served as the Program Assistant at Artis in Tel Aviv where she organized curatorial research trips to Israel, artist career development initiatives, and the Artis project grant program.
She has worked at Braverman Gallery, Israel Museum, Fresh Paint Art Fair #8 & #9, and Museum of Bat Yam. Gorodenzik has participated in Goldsmiths Curatorial Intensive Course, and Valletta 2018 Curatorial School (2016).
You can follow her at @curate.png on instagram.
Danielle Gorodenzik (curate.png) is a writer and independent curator completing her M.A. in Curatorial Studies at Bezalel Academy of Art and Design. Gorodenzik holds a B.F.A. in Communication Design from Parsons The New School of Design. She is the Art Editor for Telavivian Magazine, Co-founder of In Print Jerusalem Art Book Fair, and the Content Manager at Tiroche DeLeon Collection. She previously served as the Program Assistant at Artis in Tel Aviv where she organized curatorial research trips to Israel, artist career development initiatives, and the Artis project grant program.
She has worked at Braverman Gallery, Israel Museum, Fresh Paint Art Fair #8 & #9, and Museum of Bat Yam. Gorodenzik has participated in Goldsmiths Curatorial Intensive Course, and Valletta 2018 Curatorial School (2016).
You can follow her at @curate.png on instagram.
video greenhouse fresh paint art fair #10
no frontiers
The four video works selected for the Video Greenhouse of Fresh Paint Art Fair 10 explore geographical, conceptual, and psychological boundaries and representations of memory. What are boundaries made of? What are the limits between imaginary and conventional frontiers? By giving a face and a voice to an anonymous figure, the artist Roni Karfiol (The Aegean Sea, 2016) questions our perception of the refugee crisis and the role that technology plays in the way we relate to this issue. Differently, Tal Ilan (Untitled, 2016) confronts the boundaries of the psychiatric system – as well as her own limits – through repetitive phone calls. Subverting gender conventions by featuring women who recite the Kaddish (Kaddish, 2017) in their own individual harmony, Yael Serlin highlights the power of words and the ambivalence between the individual and the collective significance of this ritual. In the animation video War Marks (2017), Meshi Koplewitz reconstitutes a narrative from her childhood memories in the kibbutz, near the borders with Syria and Lebanon. The artist underlines the ambivalence of these episodes by creating a dissonance in the poetic illustration of these war scenes. This spectrum of works was chosen to question the drastic reality of frontiers and to highlight diverse ways of escaping the individual significance of experience in order to reach the perception of collective faith.
Curated by CCA, The Center for Contemporary Art, Nicola Trezzii, Danielle Gorodenzik, Bar Goren, Judith Lenglart. Supported by Ronnie Duek.
artists
video greenhouse fresh paint art fair #10
no frontiers
The four video works selected for the Video Greenhouse of Fresh Paint Art Fair 10 explore geographical, conceptual, and psychological boundaries and representations of memory. What are boundaries made of? What are the limits between imaginary and conventional frontiers? By giving a face and a voice to an anonymous figure, the artist Roni Karfiol (The Aegean Sea, 2016) questions our perception of the refugee crisis and the role that technology plays in the way we relate to this issue. Differently, Tal Ilan (Untitled, 2016) confronts the boundaries of the psychiatric system – as well as her own limits – through repetitive phone calls. Subverting gender conventions by featuring women who recite the Kaddish (Kaddish, 2017) in their own individual harmony, Yael Serlin highlights the power of words and the ambivalence between the individual and the collective significance of this ritual. In the animation video War Marks (2017), Meshi Koplewitz reconstitutes a narrative from her childhood memories in the kibbutz, near the borders with Syria and Lebanon. The artist underlines the ambivalence of these episodes by creating a dissonance in the poetic illustration of these war scenes. This spectrum of works was chosen to question the drastic reality of frontiers and to highlight diverse ways of escaping the individual significance of experience in order to reach the perception of collective faith.
Curated by CCA, The Center for Contemporary Art, Nicola Trezzii, Danielle Gorodenzik, Bar Goren, Judith Lenglart. Supported by Ronnie Duek.
artists
co-juror and co-curator for video and new media focus fresh paint art fair #11, tel aviv
no frontiers
The four works featured at Fresh Paint Art Fair #11 Video Exhibit focus on locations and sites, from familiar tourist attractions to unidentifiable places that convey a sense of non-place. Through these sites, the artists embark from a familiar place toward a personal, physical, or symbolic journey. Using memories and stories – whether their own or those of other people – they bring the viewer into their experience.
In his video Untitled, Ariel Bernstein decides to leave the city to clear his head. He goes on a road trip across Israel, which turns into a journey of his personal traumas. Every encounter with a character or a landscape on the road unfolds another layer of his internal investigation through associative memory.
Gal Leshem’s work These Stones was created during her stay at an artists’ residency in Sofia, Bulgaria, and explores how collective memory is constructed in the public space through the genealogy of monuments in the city from the Communist era to today.
In his video Giverny Gardens, Sasha Tamarin takes a day trip to the gardens where Claude Monet lived and work. The site is packed with tourists leading Tamarin to focus on filming the visitors and his interaction with them. The visit becomes a kind of anthropological study, exploring the prevalence of technology in today’s tourist experience.
Reouth Keren’s video Haunting, Never, Touching is comprised of footage taken from security cameras scattered throughout different locations, which are accessible online. She creates a collage from the low-quality images where each site is detached from its historical and geographic context. As the images move across the screen, Keren reads texts aloud questioning the way images migrate on the internet.
Curated by CCA, The Center for Contemporary Art, Nicola Trezzi, Danielle Gorodenzik, Bar Goren, Judith Lenglart. (June 2019)
artists
