Dede - Behind The Scenes

Dede - Behind The Scenes

If you know Tel Aviv street art, you know Dede. Famous for his eponymous band aids and his deformed urban animals that adorn walls all over the city, Dede has established his place in the art world. His art often deals with social issues of the urban sphere. It acts as a remark or an observation meant to point attention to things that are overlooked. It has a unique balance of wits, humor and simplicity and always displays elaborate technique and ambition. 

Dede prefers to keep his identity unknown. Luckily for me, our paths crossed, and I have the privilege of working with him since. So when I realized a piece commissioned by the Tel Aviv municipality was going to be made, I took the opportunity to join, help and report back.

So where to begin? This piece evokes several points of interest. The location of the piece is as central as it gets, hardly the neglected outskirts of the city where one usually finds street art. The fact it was commissioned by the municipality challenges the consideration of the piece as “true street art”. The subject matter of the piece demands interpretation. And lastly – how was this ambitious piece physically made? 

For me, the last question was the most exciting one to answer. Seeing street art being made is very cool. It brings you face to face with creativity, determination and excellent improvisation skills. This piece required carfeul geometric planning. Dede even made custom calipers to execute it properly. Nonetheless, accidents do happen. All the stencils that were created for the piece were splashed with water when a tenant washed his apartment. Luckily a hairdryer saved the day. The tenant’s wife felt so bad she made us tea all night! Turns out art does bring out a good side of people. Aside from a very angry juicer who was worried about the sprays smell scaring customers away, people crossing were curious and excited to see the finished piece. 

The finished piece depicts a typical emergency stop button, closed in a glass box, with a key to its left. It’s an invitation to the busy people passing on this busy Tel Aviv street to stop, slow down, and take a break from the hectic city life. The wall in question belongs to a local power station. I believe that adds a subversive and critical aspect to the piece. Anyway, street art, like any art, is at its finest when numerous interpretations can be made. 
If you want to hear more about the piece and the issues it raises visit the Alternative Tel Aviv Blog for the full coverage.

by Cobi Krieger

Five Highlights in Jerusalem’s Art Scene

Five Highlights in Jerusalem’s Art Scene

As April approaches, we are looking forward to some wonderful new exhibitions in Jerusalem.  
 

Aliza Auerbach From Stone to Sea, Photographs 1970-2015. Curated by Gay Raz.

From Stone to Sea highlights the career of Israeli photographer Aliza Auerbach (1940–2016), whose photographs have followed the trajectory of Israeli culture and art for approximately fifty years. From Stone to Sea exhibits photographs from various series, revealing different aspects of the artist’s career through her intimate connection with land, people and especially her connection to Israeli culture. On view at The Jerusalem Artists’ House until April 22.

Aliza Auerbach, Louise Bourgeois

Benji Boyadgian The Discord . Curated by Basak Senova and Jack Persekian.

The roots of The Discord starts with its geological definition, and Boyadgian’s complex exhibition looks at eroded ornamental tiles for inspiration. After six years of research and working on this project, the artist projects ideas of history, conflict, memory, authenticity and autonomy onto these patterns known from ‘classical’ Middle Eastern architecture and culture, and sets off on a painting process that encompasses the mutation of the patterns. Using watercolor, Boyadgian dismantles the physical and metaphorical layers and temporalities that have until now created the story of these tiles.
 
On view at the Al Ma’mal Center for Contemporary Art until April 22.

Benji Bdjoyan, Discord

No Place Like Home.
Curated by Dr.Adina Kamien Kazhdan. 


No Place Like Home highlights the artistic appropriation of domestic objects, celebrating a movement that was prominent in the early 20th century with artists such as Louise Bourgeois, Andy Warhol and Yayoi Kusama. The exhibition consists of 120 artworks, organized as a series of “rooms”, where corresponding galleries are labelled  as “bedroom”, “living room”, “bathroom” and other common home spaces. The works on display prompt new perspectives on concepts that are negotiated in the domestic sphere; such as gender roles, definitions of family and questions of place and displacement.

On view at the Israel Museum until July 29, 2017.

Exhibition view no place like home courtesy of the Israel Museum Photo by Elie Posner

Trickle, Sara Benninga and Noam Bar. Curated by Tamar Gispan-Greenberg  

The exhibition Trickle at the New Gallery, Teddy Stadium, emerged as a result of the New Gallery’s active studio artist Sara Benninga inviting artist Noam Bar to present her work in a joint exhibition. Trickle illuminates themes of identity using the contrasting works of Sara Benninga’s paintings and Noam Bar’s sculptures.
The exhibition raises questions regarding a conceptual “trickle” of material by focusing on subjects like fragmentation and the connection of different worlds, blending background, space, interior and exterior. Digital images and flickering screens preoccupy the artists’ work as they blend background, space, interior and exterior.

On view New Gallery, until 21.4.17.

New Gallery Trickle Exhibition View Photo by Dor Kedmi

Mindy Weasel,  Meditations on Love

Meditations on Love is the first solo show of Jerusalem based artist Mindy Weisel, whose expressive paintings are identified as a language of process, emotion and layers. The twelve action paintings exhibited in this show are created spontaneously and emerge from Weisel’s observations of her city of residence, Jerusalem, her own personal history, and her meditations at the moment in which she paints. The results activate the viewer, questioning the subconscious— as the paintings answer with their deep colors, hidden words and markings on the canvas.  
On at Rosenbach Contemporary until May 2, 2017.

Mindy Weisel at Rosenbach Untitled

Contemporary March in Madrid

Contemporary March in Madrid

This month we recommend two exhibitions in art galleries in Madrid: 

At Gallery Silvestre (39 Calle Doctor Fourquet), the Israeli artist Ella Littwitz is showing her project called "Everybody knows that the boat is leaking" and it's your last chance to visit it (until March 22nd).
"The raising of Lod's mosaic revealed a trace: that of someone who was there in the third century, taking care of setting the tiles that adorned the floor of that patrician house. The bed of the mosaic, found by chance, showed the negative of a foot. There literally appeared a trace of the process, which was revealed as an open book. Here a scroll shows in this room the letter of a lay: in situ, ex situ, non situ ... Both figures are prepared to transport of a possible reading to another, from the roots to the tips of a story a thousand times told, and started again. A story we all know and seems to have no beginning or end."

Also to be highlighted, the exhibition at Gallery Combustion Espontánea (20 calle Amaniel). It is called "The Fourth Wall", related to the fictional reality of Din Matamoro & Alan Sastre and it runs until April 1st. 

pic @combustionespontanea

Museums:

In Caixa Forum, we recommend the retrospective of the works by the American photographer Philippe Halsman. He is known for the portraits he made of celebrities like Audrey Hepburn and Marilyn Monroe during the 20th century. 

London March Art Guide

London March Art Guide

Marine Tanguy gives us three recommendations for an arty month of March in London!

- Royal Academy of Arts: Not just for the Royal Academy of Arts members' garden (the nicest hideaway) but for its two current exhibitions. In a time when society is divided, the Royal Academy of Arts is showing 'America After The Fall' - an exhibition discussing America in the wake of the Wall Street Crash bearing anxiety, nostalgia and pessimism - next to its second exhibition 'Revolution: Russian Art 1917-1932', which completely in contrast, depicts artists and people in hope of a better society. In both exhibitions, artists capture and record the mood of the times and these moods evolve: while the USA will soon recover with jazz and a world of colours, the Soviet Union artists will lose their freedom of expression and idealistic visions. 

- Jennifer Abessira, Camden Collective: My team and I have spent quite a few days in overalls painting a room entirely pitch black (from floor to pipes to ceiling!) to feature the next project of our artist Jennifer Abessira. Jennifer loves movies and refers to her favourite screened moments in her art. We wanted to recreate this full vision in a room of its own. It hopefully carries a little Tel Aviv back to grey London. Drop me a line if you wish to visit it! 

- Get out of London! Jump on a train and head to Fareham to see the studio of artist Alexandra Lethbridge. You will encounter an endless archive of found photographs, archival imagery and constructed images of her own making. You will be inspired by her playful and experimental approach and you lose track of fiction and reality. Heaven. 

Giuseppe Penone Show At The Fendi White Space

Giuseppe Penone Show At The Fendi White Space

The exhibition “Matrice” by Giuseppe Penone is presented by Fendi in its headquarter at the Palazzo della Civiltà and is curated by Massimiliano Gioni, the well known italian director of the New Museum in New York. The famous luxury brand Fendi is now beginning a new art commitment, opening its white marble large space to art shows and events. The “Palazzo della Civiltà” is a 1930-40s spectacular building that has been recently rented by the fashion company as a great symbol of its roman origin. The result is amazingly powerful, impressive and meaningful.


First of all Penone is, without any doubt, one of the purest artists we ever had in Italy: his research on the vulnerability of nature and on natural shapes was persued since the beginning of his career in the 1960s (when he took part to the avant-guarde movement of Arte Povera) to the present. 
The most spectacular artwork of the exhibition called “Matrice” is a 30 meter-long sculpture in which the trunk of a tree has been carved out following one of its growth rings, bringing to surface the past of the tree as well as its evolution and crystallized by a bronze mold which freezes nature’s flow of life. The romanticism of Penone’s art is even more evident in the delicate “Acacia Thorns-Contact”: a canvas where the image-shape of a person’s face is drawn with hundreds of thorns, sticked on the canvas surface. It represents traces of men absence, like footprints, but way more evocative. That’s why the union between Penone’s evocative works and the large white and bright square-space of the building is a great description of an allegory, of absence. 


What I mostly loved about the exhibition is the contrast between the smoothness of the white marble all over the space and the organic ruggedness of Penone’s materials like wood trunks. The same contrast between the bright glow of the space and the opacity of the sculptures or between the geometrical perfection of the walls, windows and rooms and the curvy fluidity of the branches coming out from Penone’s tree-shaped sculpture. That is metaphorically the same contrast between time and nature or between human history and natural transience.