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 of the video greenhouse fresh paint art fair #9, tel aviv
The six works selected for Fresh Paint 9 Video Greenhouse explore concepts of digital culture, nature, and the home environment. The works investigate different relationships, connections and tensions between these concepts, and their impact on our lives.
Feed is a work by Liliana Farber that plays with the digital language through a combination of common applications and photos; the cross between these two worlds creates a pixilated image that is at first incomprehensible and can only be recognized through the motion of the application. Thus, Farber criticizes the very position that technology holds in our everyday lives.
The Battle Over is a video by Barak Rubin in which he uses technology to take apart an Assyrian relief, and reconstruct a new narrative. The relief, which is known to the audience from the documentation of recent ISIS destructive actions in Syria and Iraq, raises questions about representations of violence and war throughout history - starting from that same ancient Assyrian relief and all the way to the internet and video representations of violence in recent years.
Hedgerow 25FT (Literally in Hebrew: Living Hedge)[a2] by Netta Laufer appropriates a commonly used surveillance system in Israeli army war rooms near the border for tracking human activity. However, in this work, the system is not used as a political control mechanism. Instead of tracking people, the cameras track the landscape and animal life. This discrepancy raises questions about how power relations are linked to this technology. The absence of human figures from these photographs, despite an expectation to find people there, brings forth their absent-present existence.
In the work Wild Animals, Yarden Taub uses the clichéd aesthetic of the bourgeois home juxtaposed by a text by American activist and writer Edward Abbey used to criticize the isolation and remoteness from man and nature. Taub shows this distance by creating a fantasy world where nature bursts back into our lives and creates a place of wildlife.
Crossing the Dune by Elham Rokni is a different technique for externalizing our misunderstanding of nature. This video illustrates the absurdity of attempting to ride a bike on planks over a dune. The work AA by Michael Liani conveys the complexity of home as a concept. Three characters in the video bring to the surface the tension between signifiers of tradition and a personal search for identity and sexuality.
Curated by CCA, The Center for Contemporary Art, Nicola Trezzi, Danielle Gorodenzik, Judith Lenglart and Bar Goren. Supported by Outset Israel.
(March 2017)
artists
Elham Rokni, Crossing the Dune
Michael Liani, AA
Barak Rubin, The Battle Over
Netta Laufer, Hedgerow 25FT
Yarden Taub, Wild Animals
Liliana Farber, Feed
