First visual arts gallery opens in Modi’in with revealing exhibition

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Last month, Gallery 51 opened, making it the first space in the city of Modi’in dedicated to the visual arts.

Her current exhibition, “Beauty Salon”, curated by Nitza Perry, aims to explore the different meanings of beauty in our current cultural moment.
As I walked out of the station, I took a moment to stand in Transportation Square, soak up the buildings around me, and remember a radio commercial that aired during the construction of the city. “Modi’in, a perfect city [designed] for you.”
Jean Baudrillard would probably suggest that Israelis who despise Modi’in and describe it as boring or imposing, with its towers and malls, are simply trying to communicate that they belong to a certain social class, snobs who attach status to living. in Jerusalem, Tel Aviv or even Petah Tikva, which deserved the famous line “I can’t believe I live in Petah Tikva / Years and years”, sung by the punk rock group Infectzia. Are there punk-rock songs on Modi’in?

Baudrillard would advise us to be postmodern on this subject. Modi’in works, although no one likes living there. People buy houses and choose them to raise a family. If Zionism is about bringing together the exiles and covering the earth with a robe of cement and concrete, Modi’in is essential. The gathered exiles need cell phones, pizza, houses, schools and art.

THE EXHIBITION begins with Mountain of Lamborghini by Alina Orlov. An intense, flashy and almost porn shot that shocks the viewer before entering a space intended to offer more works on beauty (she also has other works in the exhibition).
Feminine beauty and its objectification are also at the center of Ain’t Nothing Wrong with Being Beautiful by multidisciplinary artist Naama Attias. The 2017 video work explores Texan children’s beauty pageants.
“This particular ideal of beauty is very exaggerated,” Attias told the Jerusalem Post. “I chose something extreme to project a projector into everyday life.”
According to her, “It’s a way of looking at an existing reality, because mothers really tell daughters how to act,” even though they are not pageant moms encouraging their six-year-old daughters to shake their hips at the time. ‘a contest. . “I understood that I was being judged as a body in this world when I was nine years old,” she shared.

In the 2017 video “Carpets on a Flat Roof” Fatma Shanan blocked the main road in Julis with beautiful carpets.

The drivers, anxious not to crush the elaborate carpets, turned around.
“I was examining how the mat makes the human body recalculate its trip,” she told the Post.
The work offers an interesting twist on an ancient motif. Western Paintings – 15th Century The Virgin and Child Enthroned by Gentile Bellini, which depicts an Islamic prayer rug under the feet of the Virgin, to the 1663 painting Portrait of a Family Making Music by Pieter de Hooch, which shows the family holding a Transylvanian type prayer rug – often includes oriental rugs.

The artwork therefore shows things that are usually hidden and rolled up, places what is kept in the house outside, and focuses on what is generally considered a detail.

“IN THE ancient world,” Perry told the Post, “to be beautiful meant you were blessed by the gods; not being pretty meant you were rejected by the divine.
When Christianity entered the scene, beautiful art was used in sacred spaces to teach people about the good moral order of society.
“In our time,” she says, “beauty is a commodity. This is why the exhibition is called “Beauty Salon”.
Marx, who notoriously warned that the power of capitalism is to destroy everything that is stable and turn it into a commodity, seemed to believe that the very rich can nullify their ugliness and offer beautiful women a life of material ease in return. of their company. .
In her 2000 book Survival of the Prettiest: The Science of Beauty, Nancy Etcoff shows that, when it comes to postmodern ideas about taste and class, some aspects of beauty can indeed be proven to have a basis in life. objective reality. A rich person, if he is right, is doomed to live with the face and body he has, regardless of the size of his bank account.
The painter Eyal Sasson presents an unusual work in an exhibition devoted to beauty, an interior organ resembling a cartoon sliced ​​like an alien plant emerging from a wall. Beauty is only superficial, art seems to say. Once you’ve cut the body, I’m here, all the real guts and guts that move you forward – no lofty ideals but, rather, me.
“This gallery is kind of a laboratory,” Perry told me. “It is important for me to treat what is happening here as research, to use art as a tool for change and to ask questions that challenge the viewer. “
The artists included in the exhibition are Oren Ben Moreh, Orlov, Orit Ishay, Maya Agam, David Adika, Vardi Bobrow, Attias, Ella Amitay Sadovsky, Sasson, Lilach Bar Ami and Shanan.

“Beauty Salon” will be presented at Gallery 51: Multidisciplinary Art Center until October 7 at 51 rue Binyamin, Sunday, Wednesday and Thursday from 9 am to 2 pm; Monday and Tuesday from 9 a.m. to 7 p.m. The gallery operates under the Multidisciplinary Center of Modi’in-Maccabim-Re’ut.


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