Friday - Saturday, September 6th & 7th, 2012. Tel Aviv.
Despite the considerable changes in art practices in recent decades, the studio still remains as the main working space for the majority of contemporary artists. This is the premise of “space shuttle”, a project that invites artists working across the city of Tel-Aviv to treat their studios not just as their work area, but also as a site of display.
Artist Daniel Buren, in an essay titled “The Function of the Studio”, highlighted the problematic inherent in removing a work of art from the studio, where it organically came into being, and transferring it to the exhibition space, where it is unveiled to the public. In this view, the current project aims to provide artists with display options that remain as an integral part of their work process.
Picture yourself a little girl, sitting on a carpet and playing. She holds a rectangular object and flies it around the room as if it were a plane. The psychoanalyst Donald Winnicott claimed that such is the original creative moment. Notwithstanding its various contemporary incarnations, the studio can still be seen as a “potential space” – the term offered by Winnicott to define the conditions of creativity. The potential space is an intermediate arena that lies between fantasy and reality, between the subjective and objective reality. It is thus the arena where thoughts crystallize into works of art, a place where a concrete space meets an imagined one that artists alone see in their mind’s eye – and that we too may now glimpse into.
Curator: Hila Cohen-Schneiderman
Sharon Glazberg & Shay Id Alony
Sharon Glazberg and Shay Id Alony share a single studio where they work one above the other. Their work links the upper and lower spaces through a drizzle of water. The upper space is inaccessible to visitors, forcing them to imagine the source of the leak. In the lower space, where water is absorbed, a tension between pastoral drizzle and menacing discharge gradually sets in.
An Exile within a Sovereignty
Arial Caine seeks to introduce the figures and places he photographs into his studio. Using what he call ‘projection mapping’ he aims to virtually expand the limits of his studio towards other landscapes and work rooms, thereby generating a continuum between the physical and mental workspace and its subjects.
2,100 Including Water and Property Tax
The studio. The room of doubts. Cardboards, a knife, glue. Indecision, accumulating potentials, laboratory. A workplace? Workshop? Warehouse? Kempinsky will present the work process in the studio as a series of decisions and incertidues. The work is broken down into its parts and components: from potentials to outcome and vice-versa – from the work to its origins.
Ester Shneider & Eitan Buganim
The Great Alligators
Ester Shneider and Eitan Buganim share a studio in a public shelter. “The Great Alligators” is a joint project referencing the unlikely hybrid of studio and shelter, which evokes both a protective haven and times of war. “The Great Alligators” unveils the influences that proceed from this hybrid, offering an underwater fantasy of whales, biblical creatures and forces of nature.
A House without a Room
Guy Yanai is a painter. His occupation ties him to his studio, which becomes like a second home to him. It is a home then, but also a part of an impossible journey towards a sense of place. Yanai built a corridor-like structure inside his studio, which at the same time leads to it.
Loving Art – Eating Burekas
Shay-Lee Uziel erected a burekas bakery inside his studio for the benefit of the “Loving Art” crowd. The autonomous structure, closely following the studio’s contours, gives visitors a chance to glimpse into the artist’s work condition before satisfying their hunger.
Raafat Hattab work draws from everyday materials and from the arenas in which he operates. His works relate, each in its way, to a certain level of his identity. For Hattab there is no distinction between home and the studio, which is located in his apartment. He invites us to visit his private space, while challenging the distinction between living and working space.
For Iva Kafri the studio has always been inseparable from the work process. Her installations tend to emphasize the work process by assimilating the exhibition space into a studio, making the former a space of freedom and experimentation. In this project, where the exhibition space is in fact her studio, she seeks rather to extract a minimalism out of freedom and multiplicity.
To be in the studio, not far from laborers. From beyond walls and behind the door, to listen to the clamor of men shouting to one another. To hear the freight elevator going up and down; the reverse beeps of trucks uploading and unloading. To be invisible. Not an open studio, neither a closed one, but an observer’s studio.