The exhibition features paintings by ELAD KOPLER, FATMA SHANAN and LIHI TURJEMAN, photo-based works of DAVID ADIKA and IVRI LIDER, as well as sculptural work by EITAN BEN-MOSHE, with larger-scale installations on view from GAL WEINSTEI N and ERAN NAVE. All artists will be present at the exhibition opening.
ONLY THROUGH TIME TIME IS CONQUERED is largely inspired by gallerist André Schlechtriem’s recent travels in Israel and love of Tel Aviv. The exhibition reflects a personal quest for meaning, self-definition, and moments of grace by an intermediate generation of artists working in a conflicted and complex country. This is the first presentation of the selected artists in Berlin.
Maya Anner discusses in her exhibition text, “It seems as if the selection of the works was led by an almost intuitive sense of an element that exists in all the works in the exhibition, in one form or another.The exhibition’s title, a quote from T.S. Eliot’s poem Burnt Norton, can offer us some insight into this element, as well as shed light on the common thread linking the works: an examination of time, a preoccupation with the past and passing time, and a search for meaning.”
Complimenting Anner in his contributed exhibition text On The Impossibility Of Understanding IsraelAnd The Possibilities Of Art, Middle East Reporter and Journalist, Thore Schröder highlights that the artists featured in the show share a common perspective with all Israelis, by stating that “in this fantastic, problematic, and bewildering country, much of life, with its moments of profound pain and great happiness, is still private.”
The complete exhibition texts and artworks will be published in the catalog for ONLY THROUGH TIME TIME IS CONQUERED and available at the gallery July 2018.
Please contact Nathaly Stern, nathaly(at)dittrich-schlechtriem.com, for information, images and with any further inquiries.
DAVID ADIKA photographs technically perfect and highly aestheticized images of objects in his home, carefully collected over the years. The objects, with Orientalistic air, Adika collects and photographs function as carriers of cultures and identities, bringing to the fore questions of time, memory, origin, status, and beauty, while delineating a line that stretches between original and fake, high and low.
For The Host, ERAN NAVE created a loudspeaker imprinted with an image of an African mask that emits sounds of the jungle. The music is played from a cassette called Sound of Jungle, which Nave found in Tel Aviv’s Flea Market. As in Adika’s objects, the origin of the “exotic” is in fact local.
EITAN BEN MOSHE presents light boxes and sculptures that consist of melted and cast glass, metal, polymers, and lights. With this unconventional mix of diverse materials he demonstrates, quite literally, the notion of a “melting pot” characterizing the history of the State of Israel since its establishment.
In his large-scale abstract paintings, ELAD KOPLER interweaves influences of great twentieth-century painters with key figures in Israeli painting and a personal statement. Through the layers of the painting, Kopler tries to emulate worn materials and capture a process of disintegration and the passage of time.
LIHI TURJEMAN “takes over” abandoned buildings in Tel Aviv moments before they are demolished. In a meticulous and labor-intensive process, Turjeman charts the walls of the structure, scarping them, sometimes with her bare hands, and exposing the layers and the years, signs of decay and neglect alongside evidence of life and domesticity that took place between the walls of the building. Then urjeman transfers the layers of paint and walls she collects onto canvases.
GAL WEINSTEIN, who represented Israel in the 57thBiennale in Venice, is interested in the subjugation of the land—his particular focus is on the Jezreel Valley, a plain in northern Israel. The coffee tables featured in the exhibition are the outcome of a process of collecting the residues of hundreds of moldy cups of coffee that accumulated in the artist’s studio over time, forming a landscape that reminded him of his earlier works of Jezreel Valley.
IVRI LIDER- one of Israel’s most renowned musicians -tells a very personal story in his works. Lider took photographs in 2012 with a simple flip phone, without any artistic motivation, in his late father’s apartment immediately after he passed away. Choosing to display the work in this manner, he includes us in the experience of revealing the life that his father hid from him. With the complex decision to expose these photographs to the public, Lider mends history and time, celebrating who his father really was, with all that entails.
The painter FATMA SHANAN is known for her paintings of carpets, which started as hyper-realistic paintings and over the years evolved into fields of color pixels. In the earlier paintings Shanan used the carpet as a signifier of the Druze culture from which she comes, removing it from its natural place in a gesture of defiance, and placing it outdoors in different surroundings, and at times in the presence of women and girls. In her new paintings Shanan raises questions about place and our relation to the place and ourselves, pushing the boundaries of identity and the boundaries of the body in space.
(Maya Anner, Only Through Time Time Is Conquered, 2018)