gomlei data | Danielle Gorodenzik

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

Curated by CCA, The Center for Contemporary Art, Nicola Trezzii, Danielle Gorodenzik, Bar Goren, Judith Lenglart. Supported by Ronnie Duek.

artists

co-curator of gomlei data, hansen house, jerusalem

Hansen House, known as the “Lepers House”, was established in 1887 as a hospital to treat the Hansen’s disease, an infection that was called leprosy, even though it was different than the Biblical disease. Over the years, the common belief that leprosy is contagious spurred urban legends, thus, for over a century the hospital and its surrounding garden remained threatening and enigmatic to the city’s residents. The hospital was mostly run as an autarkic economy, aspiring for self-sustaining agriculture in the garden. In 1952, it became a government hospital and was named after Gerhard Armauer Hansen who discovered the bacterium that causes the disease. In 2009, the state decided to transfer the Hansen House to the Jerusalem Development Authority, part of the Jerusalem Municipality, to rehabilitate and preserve the site.

The exhibition GomleiDATA was inspired by the history of Hansen House as a phantasmagoric enclave in the Jerusalem area and the story Forever by Shmuel Yosef Agnon. The Lepers House was considered as an alluring and frightening place in the Jerusalem consciousness, influenced by folkloristic stories of horror and stigma.

Download the full catalog here.

For press click here.

(August - September 2017)