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¨‰‡ÂÏÓ· ‰ÁÏˆ ‡Ï ˙ÈË˜„È„‰ Â˙ÈÎ˙ Ì‡ Ì‚ Í‡ ÆÂÈÎ¯ˆÏ ‰˙Â‡ ÔÂÂÎÏÂ ‰ÈˆÈÊÂÙÓÂ˜· ËÂÏ˘Ï

ÈÂÓÈ„ ≠ ‰˜˙Ù¯‰‰ Ï˘ ˙È·ÈËÒ‚ÂÒ‰ ‰˙ÙÂ˙· Ë˘ÙÂÓ‰ ¯ÂÈˆ‰ ˙Ù˘ ˙‡ ÔÈÚË‰Ï ÁÈÏˆ‰ ‡Â‰

ÆÏ‚Ò ‚ÈÏÊ Ï˘ ¯ÁÂ‡Ó‰ ¯ÂÈˆ‰ Ï˘ ˙ÈÙÈˆÙÒ‰ ‰Èˆ‡ÂËÈÒ· ¯˘˜˙Ó˘

ÂÈ¯ÂÁ‡Ó ¯È‡˘‰˘ Ì„‡Ï ‰Ó„ ¨Ú„ÂÓ‰Â ÈËÒÈÏÓÈÈÓ‰ ÏÒÙ‰ ¨Ô‚ÂÒÓ‰Â ÈË‚Ï‡‰ ·ˆÚÓ‰ Ï‚Ò

Ï˘ ·Á¯ÓÏ ‡ˆÈÂ ÍÁ˙‰ ‰ÎÂ˙Ï ˙ÚÓ˘Ó‰ ÈÏÏÎ ˙‡Â ÔÓÂÈÓ ‰Î‡ÏÓ≠ÏÚ·Î ÂÏ˘ Ú„È‰ ÛÂ‚ ˙‡

ÔÈ·Ó ‰ÏÂ‚Ò‰ È„ÈÁÈÏ ÍÈÈ˘ Ï‚Ò˘ ‰Ó„ ÆÚÂˆ˜ÓÏ ıÂÁÓ ¨ÔÓÊÏ ¯·ÚÓ ¨˙Ú„Â≠‡Ï ‰˜˙Ù¯‰

ÈÂ˜ÈÁ Ï˘ ÌÈÂ‚Ó· ¯ÂÁ‡Ï Ì˙Â‡ ‰¯ÈÊÁÓ ‰È‡Â ÈÓÈÙ ˘ÙÂÁ Ì‰Ï ‰˜Ó Ì˙Â¯‚·˘ ÌÈÓ‡‰

¯ÁÂ‡Ó‰ ˜¯Ù‰ ˙‡ ‰ÈÚËÓ ıÓ‡Ó ‡ÏÏ ÍÎÏ ÚÈ‚‰Ï ˙ÏÂÎÈ‰Â È˘ÙÂÁ ˙ÂÈ‰Ï ıÓÂ‡‰ Æ˜Â˙ÚÈ˘Â

ßÌÊÈ¯„ÂÓ ËÒÂÙß ÂÓÎ ÌÈÈ˙ÙÂ˜˙ ÌÈ‚˙ÂÓ· „„ÓÈ‰Ï ˙ÂÏÂÎÈ ÔÈ‡˘ ˙ÂÚ¯·Â ‰ÓˆÂÚ· Â˙¯ÈˆÈ Ï˘

Æß¯ÂÈˆÏ ‰¯ÊÁß Â‡

ÛÒ‡ ‡Â‰ ∫Ë˘ÙÂÓ‰ ÌÊÈ¯„ÂÓ‰ ÈÎ¯Ú· ÔÚËÂ‰ ‰·˘ Â¯·Ú· ˙ÓÈÂÒÓ ‰„Â˜Ó ÏÂÚÙÏ ÏÁ‰ Ï‚Ò

·ËÈ‰ ¯ÈÎ‰ Ì˙„Â·Ú ˙‡ ¨È‡˜È¯Ó‡‰ Ë˘ÙÂÓ‰ È¯ÈÈˆ ∫Â‚ÂÒÓ ÌÈ¯ÈÈˆ ¨‰‡¯˘‰ ˙Â¯Â˜ÓÎ ¨Â·È·Ò

¨Ì„ˆÏÂ ¨ÏÂÂ¯„Ó Ë¯·Â¯ ¨‚ÈÂ˜≠‰„ Ì‡ÈÏÈÂ ¨˜ÂÏÂÙ ÔÂÒ˜ß‚ ≠ ˜¯ÂÈ ÂÈ· ÈÁ Ì‰· ÌÈ˘‰ Ú·¯‡·

¨Â˙˜Ê· ¨‡Â‰ Ì‚˘ ¨È˜ˆÓÈËÒ ¯Â„‚È·‡Â ÒÂ¯‚ Ï‡ÎÈÓ ¨‡È·Ï ÈÙ¯ ¨ÈÂ˘¯‚ ‰˘Ó ≠ ¯˙ÂÈ ÌÈ·Â¯˜

ÌÈ¯ÈÈˆ Ì‰ ‰Ï‡ Æß¯ÁÂ‡Ó ¯ÂÈˆß Ï˘ „ÁÂÈÓÂ ‡ÏÙ ˜¯Ù ¯ˆÈÂ È˜ˆÈ¯Ê Ï˘ „·Î‰ ÂÏÂÚÓ ÂÓˆÚ ¯¯Á˘

·‡Â˘ Ï‚Ò Æ˙ÁÎÂ ˙ÂÈÓˆÚÂ ˙È˘ÂÁ ˙ÂÈÏÈË˜Ë ¨Ú·ˆ ˙Â„˘ ¨˙ÈÓ‡È„ ‰ÙÂ˙ ¨˙È¯ÂÈˆ ‰ÂÂÁÓ Ï˘

˜È¯·Â ÁÏ˙˘Ó‰ ËÂ·¯˘· Ô‰Â ˙Â·È„‰ ˙ÂÈ‡˜È¯Ó‡‰ ˙ÂËÒß‚· Ô‰ ˘ÂÓÈ˘ ‰˘ÂÚÂ ‰‡¯˘‰ Ì‰Ó

¯Ó‰ÓÂ ¨ÔÂ„ÈÚÏ ˙Â‡¯Ù ÔÈ· Ú‰ ¨ÂÏ˘ È˘È‡‰ ÏÈ‰Ó˙‰ ˙‡ „·‡Ó ‡Ï Ú‚¯Ï Í‡ ÆÈÏ‡¯˘È‰ ˜‰Â·‰

ÆÌÈ‡¯≠È˙Ï· ˙ÂÏÂ·‚Ï ËÏÁÂÓ ˘ÙÂÁ ÔÈ·

5

¨˙Â„Â·Ú – Ï‚Ò ‚ÈÏÊ ¨„Á‡ ¯Â·È„· ∫ÍÂ˙· ¨¯˙ÂÈ ‡Â‰ ˙ÂÁÙ ¨‰ÂÓÏˆ Ï‡‚È Ø±

±ππ≤ ¨ÌÈÏ˘Â¯È ¨Ï‡¯˘È ÔÂ‡ÈÊÂÓ· ‰ÎÂ¯Ú˙ ‚ÂÏË˜

≤∞∞≥ ¨¯‚È¯ÙÒ ˙‡ˆÂ‰ ¨˙ÂÓ‡Â ˙ÂÈ˙¯ÈˆÈ ¨˙Â¯‚·˙‰ ¨¯ÂÂ‡ÈÏ ÆÒ ÔÈË¯Ó Ø≤

˙‡ˆÂ‰ ÆÌ¯Ê‰ „‚Î ˙Â¯ÙÒÂ ‰˜ÈÊÂÓ ∫¯ÁÂ‡Ó‰ ÔÂ‚Ò‰ ÏÚ ¨„ÈÚÒ ÆÂÂ „¯‡Â„‡ Ø≥

≤∞∞∂ ¨˜¯ÂÈ ÂÈ ¨ÔÂ‡È˙Ù

≤∞∞≥ ¨¯‚È¯ÙÒ ˙‡ˆÂ‰ ¨˙ÂÓ‡Â ˙ÂÈ˙¯ÈˆÈ ¨˙Â¯‚·˙‰ ¨¯ÂÂ‡ÈÏ ÆÒ ÔÈË¯Ó Ø¥

˙‡ˆÂ‰ ÆÌ¯Ê‰ „‚Î ˙Â¯ÙÒÂ ‰˜ÈÊÂÓ ∫¯ÁÂ‡Ó‰ ÔÂ‚Ò‰ ÏÚ ¨„ÈÚÒ ÆÂÂ „¯‡Â„‡ Øμ

≤∞∞∂ ¨˜¯ÂÈ ÂÈ ¨ÔÂ‡È˙Ù

ÌÈÈÙ¯‚ÂÈ· ÌÈÂÈˆ

Ï‚Ò ‚ÈÏÊ

±π≥≥ ¨ÌÈÏ˘Â¯È· „ÏÂ

‰·È˘ÈÂ ¯„Á· „ÓÏ

ÂÏ ‰˜ÚÂ‰ Ì˘ Ï‡Ïˆ·· „ÓÏ Ø ±π¥π≠μ∑

ÔÂÈ¯Â‚ Ô· „Â„ È¢Ú ‰‚ÏÓ

˙ÂÙ¯ÂˆÂ ·‰ÊÏ ‰˜ÏÁÓ‰ Ï‰Ó Ø ±π∂¥≠∂∏

Ï‡Ïˆ··

ÌÈÏ˘Â¯È· „·ÂÚÂ ÈÁ

≠≠≠≠≠

„ÈÁÈ ˙ÂÎÂ¯Ú˙

ÌÈÏ˘Â¯È ¨‰È¯ ‰È¯Ï‚ ¨ÌÈÏÒÙ Ø ±πμ∏

¨ Ï‡·¯È˜Ò ÔÂ‡ÈÊÂÓ ¨ ˙Î˙Ó ÈÏÒÙ Ø ±π∑π

ÒÏß‚‡ ÒÂÏ

„ÏÂ‰ ¨ÒÂÈÏÂÈ ‰È¯Ï‚ ¨ÏÂÒÈÙÂ ıÚ Ø ±π∏∞

‚„¯Â‡

‰È¯Ï‚ ¨ ÌÈË˜ ÌÈÏÒÙ Ø ±π∏≤

˜¯ÂÈ ÂÈ ¨

‰Ë¯·

ÂÈ

¨‚„¯Â‡ ‰Ë¯· ‰È¯Ï‚ ¨‰˜È‡„ÂÈ Ø ±π∏∏

˜¯ÂÈ

Ï˘ ˙È¯Â·Èˆ‰ ‰ÈÈ¯ÙÒ‰ ¨‰˜È‡„ÂÈ Ø ±ππ∞

ÔÂËÒÂ·

¨‚„¯Â‡ ‰Ë¯· ‰È¯Ï‚ ¨¯ÈÈ ˙Â„Â·Ú Ø ±ππ±

˜¯ÂÈ ÂÈ

¨„ÈÁÈ ˙ÎÂ¯Ú˙ ¨¢„ÈÁÈ ˙¯‰ˆ‰¢ Ø ±ππ≤

ÌÈÏ˘Â¯È Ï‡¯˘È ÔÂ‡ÈÊÂÓ

¨„ÈÁÈ ˙ÎÂ¯Ú˙ ¨¢„ÈÁÈ ˙¯‰ˆ‰¢ Ø ±ππ¥

Ì„¯ËÒÓ‡ ¨È„Â‰È‰ ÔÂ‡ÈÊÂÓ‰

È„Â‰È‰ ÔÂ‡ÈÊÂÓ‰ ¨¢„ÈÁÈ ˙¯‰ˆ‰¢ Ø ±ππ¥

Ë¯ÂÙ˜¯Ù

˙ÂÈ˙ˆÂ·˜ ˙ÂÎÂ¯Ú˙

˙ÂÓ‡Ï ·È·‡ Ï˙ ÔÂ‡ÈÊÂÓ ¨ÌÈÓ‡ Ø ±π∑≤

Ï‡¯˘È ÔÂ‡ÈÊÂÓ ¨ÌÈÏÒÙ È˜Á˘Ó Ø ±π∑π

ÌÈÏ˘Â¯È

¨Ô„¯Â‡ ‰Ë¯· ‰È¯Ï‚ ¨ıÚ ÈÏÒÙ Ø ±π∏≤

˜¯ÂÈ ÂÈ

˙ÂÓ‡Ï ÔÂ‡ÈÊÂÓ ¨¢ÈÏÂÈˆ¯ ¯ÂË˜Ù¢ Ø ±π∏¥

‰ÙÈÁ ¨˙È¯„ÂÓ

ÌÈÂÂ˘ÎÚ ˙ÂÂÈÚ¯ ¨¢‰ÂÂˆÓ ˙Â¯¢ Ø ±π∏∂

Ï‡¯˘È ÔÂ‡ÈÊÂÓ ¨È„Â‰È‰ ÔÁÏÂÙ· ¯Â‡Ï

ÌÈÏ˘Â¯È·

‰ÈÓ¯‚ ¨Û¯Â„· ‰È¯Ï‚ ¨ÔÂË· ˙ÂÓ‡ Ø ±π∏∑

Ï‡¯˘È ÔÂ‡ÈÊÂÓ ¨¢ÂÈ˘ÎÚÂ Ô‡Î ˙Â„‰È¢ Ø ±π∏π

ÌÈÏ˘Â¯È

˙Â‚ÏÓÂ ÌÈÒ¯Ù

‰ËÈÒ¯·ÈÂ‡‰ Ï˘ Â‚ÂÏ‰ ·ÂˆÈÚ Ø ±πμμ

˙È¯·ÈÚ‰

¯ËÒÂÙ‰ ·ÂˆÈÚ ÏÚ ÔÂ˘‡¯ Ò¯Ù Ø ±π∂¥

≤∂ ßÒÓ ÈÓÏÂÚ‰ ÈÂÈˆ‰ Ò¯‚Â˜Ï

ÌÂÈ „Â·ÎÏ ÔÂ¯ÎÈÊ‰ Ú·ËÓ ·ÂˆÈÚ Ø ±π∂∂

Ï‡¯˘È ˙È„Ó Ï˘ ±∏≠‰ ‰˘‰

¢ÌÂÏ˘‰ Ú·ËÓ¢ ·ÂˆÈÚ Ø ±π∂∏

¯Â·Ú ÌÈËÈ˘Î˙‰ ˙ÈÈˆ˜ÏÂ˜ ·ÂˆÈÚ Ø ±π∂π

Ï‡¯˘ÈÏ È‚ÂÏÂÎË‰ ÔÂÎÓ‰

‰˜È‡„ÂÈ ·ÂˆÈÚÏ ÔÂÊÏÒÈ Ò¯Ù Ø ±π∏∑

ÌÈÏ˘Â¯È Ï‡¯˘È ÔÂ‡ÈÊÂÓ ¨˙ÈÂÂ˘ÎÚ

ÌÈÙÒÂ‡

ÌÈÏ˘Â¯È ¨Ï‡¯˘È ÔÂ‡ÈÊÂÓ

˜¯ÂÈ ÂÈ ¨ÔÈÏ˜Â¯· ÔÂ‡ÈÊÂÓ

˜¯ÂÈ ÂÈ ¨ËÈ‡ÂÈ ¯ÙÂ˜ ÔÂ‡ÈÊÂÓ

˜¯ÂÈ ÂÈ ¨È„Â‰È‰ ÔÂ‡ÈÊÂÓ‰

ÔÈÏ¯· ¨È„Â‰È‰ ÔÂ‡ÈÊÂÓ‰

ÊÈ¯Ù ¨È„Â‰È‰ ÔÂ‡ÈÊÂÓ‰

ÒÏß‚‡ ÒÂÏ ¨È„Â‰È‰ ÔÂ‡ÈÊÂÓ‰

Ò„È·Â¯Ù ¨„ÏÈÈ‡ „Â¯ ·ÂˆÈÚÏ ¯ÙÒ‰ ˙È·

Ì„¯ËÒÓ‡ ¨È„Â‰È‰ ÔÂ‡ÈÊÂÓ‰

≤∞∞π ¨ÔÂÊÂ‡· ÌÈ¯ÂÁ

˙ÈÂÊÓ ÏÚ ˙·¯ÂÚÓ ‰˜ÈÎË

±≤∞x±≤∞

Holes in the Ozone, 2009

Mixed Media

120x120

----- ÌÈÈÙ¯‚ÂÈ· ÌÈÂÈˆ

6

Í¯„ ÂÙ¯ˆ Ì·Ï· ÏÊ¯·‰ È˘¯Á

„ÓÚ ıÚ Í¯„‰ ÏÚÂ

ÌÈÓ˘· ‰Ú‚˘ Â˙¯ÓˆÂ

Ô˜Â Â˜ Ì‰· ‰ÓÈÒ

ÌÈÂÂ˙Ó ‰‡ÏÓ ˙Â˘È

Â¯˘ ‰ÓÂ„‡ ˙Î˙ÓÓ ÌÈÓÏ‚ ˘Ó˘‰Ó

ÂÏÙ ‰·Â‰Ê ˙Î˙ÓÓ ÌÈ··˘ Á¯È‰Ó

ÂÙÒ‡ ˙Â¯ÂÁ˘ ÌÈÈ¯Ùˆ·Â ÌÈ„È·

ÌÈÊÁ˘ÂÓ ÌÈÚ ≠ ˙ÂÂÈÚ¯ ˙˘¯

ÁÂÏÓ ÛÂˆ ÈÚ

Ï‚ÈÚ ˘ÈËÙ‰ ¨Â˜È˙Ó‰ ÌÈÈÙÂ˘‰

˙ÂÚÈ˜˘ ¨˙Â‡ËÓÒ

¨ÌÈ¯Ú˘ ‰‡ÓÂ ÌÈ¯È˘

¨ÌÈ˘„Â˜Ó ÌÈ˘¯˜Ó ÌÈ¯˘‚

¨ÔÂ¯·Á· ˙ÂÏ‚

ÌÈÏ˘Â¯È· ÌÈ„Ï‚

˙ÂË˘Ù· ÌÈ˜ˆÂÈ ÌÂÈÈÓÂÏÚ

Æ„¢Ò· ÒÓ Û˘Î Ì‚

ÌÈ˘ÙÁ˙Ó È¯Ù‰ ÈÚ·ˆ Ï·‡

≠Ê‡Â ÍÓÓ ÌÈ¯˙˙ÒÓ

˙ÂÈÓÂ‡˙ÈÙ· ÌÈ¯ÒÓ˙Ó

ÌÈÙÚÂ Ì˙ÎÎ ¨Ô˜· ÌÈÚ˜Â·

ı¯‡‰Â ÌÈÓ˘‰ ÔÈ· Ï„·‰‰ ˙‡ ˘ÙÁÏ

®‰ÓÂ„‰ ˙‡ ‡ÏÂ©

ÌÈ„„ˆ È˘ ÔÈ· Ï„·‰‰ ˙‡ ˘ÙÁÏ

Á˙ÙÓ ‰ÏÂ ˙Ï„‰ ‰˙Â‡ Ï˘ ÌÈÈ„‚

„ÈÁÈ

‰ÏÈÁÓ·Â ÏÂÁÓÏ ÏÂÁÏ ˘„Â˜Ó ¯Â·ÚÏ

ÆÆÆÌÈ‡Â¯‰ ÏÈÏÁ ∫‰ÏÁ˙‰Ï

≤∞±∞ ¨˙ÈÏ‚ÈÒÓ ‚ÈÏÊÏ

ÌÈÚ¯ È˙Ï·‰ Ï˘ ÌÈÚÂ¯‰ ÏÈÏÁÂ‡„Ï ˙ÈÏ‚ÈÒ

Â‡„Ï ˙ÈÏ‚ÈÒ ≠≠ ÌÈÚ¯ È˙Ï·‰ ÌÈÚÂ¯‰ ÏÈÏÁ

Â‡„Ï ˙ÈÏ‚ÈÒ

≤∞∞∑ ¨ÌÈ˜·ÂÁÓ ÌÈ¯¯˜Ó

ÌÈ¯¯˜Ó È˘ ∫·ˆÈÈÓ

„·ÂÚÓ „ÈÈÓ È„¯

±¥∑x±≤μxπ∞

‰ÈÏËÈ‡¨ La Gaia ÛÒÂ‡Ó

© Â‡„Ï ˙ÈÏ‚ÈÒ

ÒÈ¯‡Ù ¨¯ÂÓ ÏÓ˜Â ˙ÈÓ‡‰ ˙Â·È„‡·

Sigalit Landau

Hugged Refrigerators, 2007

Installation : 2 refrigerators

Manipulated Ready Made,

147x125x90

Collezione La Gaia, Italy

© Sigalit Landau

Courtesy the artist and kamel

mennour, Paris

-----

8 Ï ̆

10

≤∞∞∂ ¨˙¯˙ÂÎ ‡ÏÏ

¥∞x∑∂ ¨‰˜ÈÈÓ¯ÂÙ ÏÚ ÔÓ˘

Untitled, 2006

Oil on Formica, 40x76

-----

≤∞∞∂ ¨˙¯˙ÂÎ ‡ÏÏ

∏∞x¥μ ¨˙ÈÂÊÓ ÏÚ ÔÓ˘

Untitled, 2006

Oil on Masonite, 80x45

-----11

≤∞∞π ¨˙¯˙ÂÎ ‡ÏÏ

∏∞x≤¥∞ ¨˙ÈÂÊÓ ÏÚ ÔÓ˘

Untitled, 2009


-----

≤∞∞π ¨˙¯˙ÂÎ ‡ÏÏ


Untitled, 2009


----- 12

≤∞∞π ¨˙¯˙ÂÎ ‡ÏÏ


Untitled, 2009


-----

≤∞∞π ¨˙¯˙ÂÎ ‡ÏÏ


Untitled, 2009


-----

13

≤∞∞π ¨‰ÊÂÓ‰

±≤∞x≤¥∞ ¨˙ÈÂÊÓ ÏÚ ÔÓ˘

The Muse, 2009


----- 14

≤∞∞π ¨ÏÂ„‚‰ ıÙÓ‰


The Big Bang, 2009


-----15

≤∞∞π ¨˙¯˙ÂÎ ‡ÏÏ


Untitled, 2009


----- 16

≤∞∞π ¨˙¯˙ÂÎ ‡ÏÏ


Untitled, 2009


-----17

≤∞∞π ¨ÔÓ¯ÙÙÂ˜Ï ß ‡ÓÂ‰


Homage to Kupfermann, 2009


-----

18

Ê

≤∞∞∂ ¨˙¯˙ÂÎ ‡ÏÏ

∂¥x∂∞ ¨‰˜ÈÈÓ¯ÂÙ ÏÚ ÔÓ˘

Untitled, 2006


-----19

20

≤∞∞π ¨‰ˆ¯‡ Â‡· Â‡


Anu Banu Artza, 2009


-----

≤∞∞π ¨˙¯˙ÂÎ ‡ÏÏ


Untitled, 2009


-----

21

22

≤∞∞∂ ¨˙¯˙ÂÎ ‡ÏÏ

±∞∞x∂≤ ¨Ë˜È„ ÏÚ ÔÓ˘

Untitled, 2006

Oil on Plywood, 100x62

-----

≤∞∞∂ ¨˙¯˙ÂÎ ‡ÏÏ

∏∞x∏∞ ¨Ë˜È„ ÏÚ ÔÓ˘

Untitled, 2006


-----

≤∞∞μ ¨˙È¯ÈÙ˘

±∞≤x±≥∂ ¨ıÚ ÏÚ ÔÓ˘

Dragonfly, 2005

Oil on Wood, 102x136

-----

23

≤∞∞∂ ¨˙¯˙ÂÎ ‡ÏÏ

π≤x∂π ¨Ë˜È„ ÏÚ ÔÓ˘

Untitled, 2006


----- 24

≤∞∞∑ ¨‰ËÏÙ

μμx¥μ ¨Ë˜È„ ÏÚ ÔÓ˘

Palette, 2007


-----25

≤∞∞∂ ¨‰ËÓÏ ˜Â¯È

∑≥xμ≥ ¨Ë˜È„ ÏÚ ÔÓ˘

Green Facing Down, 2006


-----

26

≤∞∞∑ ¨˙¯˙ÂÎ ‡ÏÏ

μ±xμ≥ ¨Ë˜È„ ÏÚ ÔÓ˘

Untitled, 2007


-----

27

≤∞∞≥ ¨Í‡ÏÓ

πμx∂∞ ¨ÁÂÏ ÏÚ ˜ÈÏÈ¯˜‡

Angel, 2003

Acrylic on Blackboard, 95x60

-----

28

≤∞∞∑ ¨˙¯˙ÂÎ ‡ÏÏ

∂≥xμ¥ ¨„ÈÈÓ È„¯ ÏÚ ÔÓ˘

Untitled, 2007

Oil on Ready-made, 63x54

-----

29

≤∞∞π ¨‰ÂÏˆ¯·


Barcelona, 2009


----- 30

≤∞∞∑ ¨˙¯˙ÂÎ ‡ÏÏ

∑∑x∑≤ ¨‰˜ÈÈÓ¯ÂÙ ÏÚ ÔÓ˘

Untitled, 2007


-----

32

≤∞∞∑ ¨˙¯˙ÂÎ ‡ÏÏ

¥¥x¥∑ ¨ıÚ ÏÚ ÔÓ˘

Untitled, 2007

Oil on Wood, 44x47

-----

≤∞∞∂ ¨˙¯˙ÂÎ ‡ÏÏ

∑∏x∂∞ ¨‰˜ÈÈÓ¯ÂÙ ÏÚ ÔÓ˘

Untitled, 2006


-----

ÔÓ˘

≤∞∞∑ ¨˙¯˙ÂÎ ‡ÏÏ

±∂μx∂π ¨‰˜ÈÈÓ¯ÂÙ ÏÚ

Untitled, 2007


-----

≤∞∞∂ ¨˙¯˙ÂÎ ‡ÏÏ

∏∞x∂∞ ¨Ë˜È„ ÏÚ ÈÈ¯ÙÒÂ ÔÓ˘

Untitled, 2006

Oil and Spray on Plywood, 80x60

-----

33

≤∞∞∂ ¨˙¯˙ÂÎ ‡ÏÏ

∑μx∂∞ ¨‰˜ÈÈÓ¯ÂÙ ÏÚ ÔÓ˘

Untitled, 2006


----- 34

≤∞∞π ¨˙¯˙ÂÎ ‡ÏÏ


Untitled, 2009

Oil on M sonite, 120x240

-----35

a

≤∞∞π ¨˙¯˙ÂÎ ‡ÏÏ


Untitled, 2009


----- 36

≤∞∞π ¨ÌÈˆÈ¯˜


Kritzim, 2009


-----37

a

≤∞∞π ¨ÈÂÓ‰ ¯ÂˆÈÈ


Mass Production, 2009


----- 38

≤∞∞μ ¨˙¯˙ÂÎ ‡ÏÏ

¥∞x±∑∏ ¨‰˜ÈÈÓ¯ÂÙ ÏÚ ÔÓ˘

Untitled, 2005


-----

40

≤∞∞∏ ¨≤ ÌÈˆÈ¯˜

≥∂x≤≥∞ ¨˙ÈÂÊÓ ÏÚ ÔÓ˘

Kritzim 2, 2008


-----

≤∞∞∏ ¨˙¯˙ÂÎ ‡ÏÏ

≥μx±π∞ ¨˙ÈÂÊÓ ÏÚ ÔÓ˘

Untitled, 2008


-----

≤∞∞∏ ¨˙¯˙ÂÎ ‡ÏÏ

≥μx≤¥∞ ¨˙ÈÂÊÓ ÏÚ ÔÓ˘

Untitled, 2008


-----

41

ÔÓ˘

≤∞∞∏ ¨˙¯˙ÂÎ ‡ÏÏ

≥μx≤¥∞ ¨˙ÈÂÊÓ ÏÚ

Untitled, 2008


-----

≤∞∞∏ ¨ÒÂÓÒÂ˜

≥μx≤¥∞ ¨˙ÈÂÊÓ ÏÚ ÔÓ˘

Cosmos, 2008


-----

ÔÓ˘

≤∞∞∏ ¨˙¯˙ÂÎ ‡ÏÏ

≥μx≤¥∞ ¨˙ÈÂÊÓ ÏÚ

Untitled, 2008


-----

≤∞∞∂ ̈‰ÏÁ

μ≤xμ∞ ¨‰˜ÈÈÓ¯ÂÙ ÏÚ ÔÓ˘

Land, 2006


----- 42

≤∞∞∑ ¨ÚÂ˜Ú˜

∏∞x∑∞ ¨‰˜ÈÈÓ¯ÂÙ ÏÚ ÔÓ˘

Tattoo, 2007


-----

≤∞∞π ¨˙¯˙ÂÎ ‡ÏÏ

±∞∑x±±∏ ¨˙ÈÂÊÓ ÏÚ ÔÓ˘

Untitled, 2009


-----43

a

44

≤∞∞π ¨˙¯˙ÂÎ ‡ÏÏ


Untitled, 2009


-----

≤∞∞∑ ¨˙¯˙ÂÎ ‡ÏÏ

∑∑x¥π ¨‰˜ÈÈÓ¯ÂÙ ÏÚ ÔÓ˘

Untitled, 2007


----- 46

≤∞∞∑ ¨Ú·Ë

π∞xμ∑ ¨ıÚ ÏÚ ÔÓ˘

Nature, 2007

Oil on Wood, 90x57

-----

≤∞∞∂ ¨˙¯˙ÂÎ ‡ÏÏ

μ∑x≥μ ¨ıÚ ÏÚ ÔÓ˘

Untitled, 2006

Oil on Wood, 57x35

-----

≤∞∞∑ ¨¯Â‡ ÈÈ‰ÈÂ

μ≤x∑∞ ¨Ò˜ÙÒ¯Ù ÏÚ ÔÓ˘

Let There be Light, 2007

Oil on Plexiglass, 52x70

-----

47

≤∞∞∂ ¨˙¯˙ÂÎ ‡ÏÏ

∑∞x¥∑ ¨Ë˜È„ ÏÚ ÔÓ˘

Untitled, 2006


-----

≤∞∞∂ ¨˙¯˙ÂÎ ‡ÏÏ

∏≥x¥∏ ¨‰˜ÈÈÓ¯ÂÙ ÏÚ ÔÓ˘

Untitled, 2006


-----

≤∞∞≥ ¨˙¯˙ÂÎ ‡ÏÏ

∑∏x∂∞ ¨ÔÂË¯˜ ÏÚ ÔÓ˘

Untitled, 2003

Oil on Cardboard, 78x60

-----

48

49

≤∞∞∏ ¨˙¯˙ÂÎ ‡ÏÏ

μ∞x∂π ¨¯ÈÈ ÏÚ ÔÓ˘

Untitled, 2008

Oil on Paper, 50x69

-----

≤∞∞∑ ¨˙¯˙ÂÎ ‡ÏÏ

∂∞x∏μ ¨‰˜ÈÈÓ¯ÂÙ ÏÚ ÔÓ˘

Untitled, 2007


-----

50

≤∞∞∑ ¨˙¯˙ÂÎ ‡ÏÏ

∏≤xμ≤ ¨‰˜ÈÈÓ¯ÂÙ ÏÚ ÔÓ˘

Untitled, 2007


-----51

52

≤∞∞∑ ¨˙¯˙ÂÎ ‡ÏÏ

μ∞x≥π ¨‰˜ÈÈÓ¯ÂÙ ÏÚ ÔÓ˘

Untitled, 2007


-----

≤∞∞∂ ¨ıÚ

±≤≥xμ≤ ¨Ë˜È„ ÏÚ ÔÓ˘

Tree, 2006


-----

≤∞∞μ ¨˙¯˙ÂÎ ‡ÏÏ

±∞∞x∏¥ ¨Ë˜È„ ÏÚ ÔÓ˘

Untitled, 2005


-----53

54

≤∞∞∑ ¨˙¯˙ÂÎ ‡ÏÏ

¥∏x¥∏ ¨Ë˜È„ ÏÚ ÔÓ˘

Untitled, 2007


-----

≤∞∞∏ ¨˙¯˙ÂÎ ‡ÏÏ

±≤μx∂∞ ¨Ë˜È„ ÏÚ ÔÓ˘

Untitled, 2008


-----55

56

≤∞∞∏ ¨˙¯˙ÂÎ ‡ÏÏ

∏≤x∑∑ ¨‰˜ÈÈÓ¯ÂÙ ÏÚ ÔÓ˘

Untitled, 2008


-----

≤∞∞¥ ¨˙¯˙ÂÎ ‡ÏÏ

±≤≥x±≤∞ ¨Ë˜È„ ÏÚ ÔÓ˘

Untitled, 2004


-----57

58

≤∞∞∑ ¨¯Â„Î ÌÚ ‰„ÏÈ

μ∞x¥∞ ¨ıÚ ÏÚ ÔÓ˘

Girl with ball, 2007

Oil on Wood, 50x40

-----

A

59

≤∞∞∂ ¨˙¯˙ÂÎ ‡ÏÏ

∂≥xπ≤ ¨ıÚ ÏÚ ÔÓ˘

Untitled, 2006

Oil on Wood, 63x92

-----

≤∞∞∂ ¨ÌÏÂÒ

±∞≤x¥∂ ¨ıÚ ÏÚ ÔÓ˘

Ladder, 2006

Oil on Wood, 102x46

-----

≤∞∞∑ ¨‰„Â¯Â ‰ËÏÙ

¥∂x¥∞ ¨‰˜ÈÈÓ¯ÂÙ ÏÚ ÔÓ˘

Pink Planet, 2007


-----

≤∞∞∑ ¨ÛÂ

∑¥x∂∞ ¨‰˜ÈÈÓ¯ÂÙ ÏÚ ÔÓ˘

Landscape, 2007


----- 60

61

≤∞∞∞ ¨¯Ú˘

¥∞xμ∞ ¨ıÚ ÏÚ ÔÓ˘

Goal, 2000

Oil on Wood, 40x50

-----

≤∞∞∂ ¨˙¯˙ÂÎ ‡ÏÏ

±μ∞xμ∞ ¨Ë˜È„ ÏÚ ÔÓ˘

Untitled, 2006


-----

≤∞∞∞ ¨‰ÈÒÒ·Â‡

±μ∞xμ∞ ¨ÔÂË¯˜ ÏÚ ÔÓ˘

Obsession, 2000


----- 62

63

≤∞∞∑ ¨˙¯˙ÂÎ ‡ÏÏ

∏∞x∏∞ ¨Ë˜È„ ÏÚ ÔÓ˘

Untitled, 2007


-----

64

≤∞∞∂ ¨˙¯˙ÂÎ ‡ÏÏ

∑∞xμ∞ ¨ÔÂË¯˜ ÏÚ ÔÓ˘

Untitled, 2006


-----

65

≤∞∞∑ ¨˙¯˙ÂÎ ‡ÏÏ

∏∞x∂≥ ¨Ë˜È„ ÏÚ ÔÓ˘

Untitled, 2007


-----

66

≤∞∞μ ¨˙¯˙ÂÎ ‡ÏÏ

±¥∞x∂∞ ¨„· ÏÚ ÔÓ˘

Untitled, 2005

Oil on Canvas, 140x60

-----

67

≤∞∞∑ ¨‰ÂÂ˜˙

¥∞x∑∞ ¨‰˜ÈÈÓ¯ÂÙ ÏÚ ÔÓ˘

Hope, 2007


-----

68

≤∞∞∂ ¨˙¯˙ÂÎ ‡ÏÏ

μπx¥π ¨‰˜ÈÈÓ¯ÂÙ ÏÚ ÔÓ˘

Untitled, 2006


-----

69

≤∞∞∑ ¨˙¯˙ÂÎ ‡ÏÏ

∂∞x¥∏ ¨‰˜ÈÈÓ¯ÂÙ ÏÚ ÔÓ˘

Untitled, 2007


-----

70

PLO, 1985

∑∞x±∞∞ ¨ÔÂË¯˜ ÏÚ ÔÓ˘

PLO, 1985


-----

±π∏μ ¨‡˜È¯Ù‡ ËÎÚ Úˆ¯‡ÂÂ˘

∑∞xμ∞ ¨ÔÂË¯˜ ÏÚ ËÈÙ¯‚

1985 ,Dark Nights in Africa

70x50 ,Graphite on Cardboard

-----

71

≤∞∞≥ ¨˙¯˙ÂÎ ‡ÏÏ

≤¥∞x±∞∞ ¨ıÚ ÏÚ ÔÓ˘

Untitled, 2003

Oil on Wood, 240x100

-----

72

≤∞∞∏ ¨˙¯˙ÂÎ ‡ÏÏ

π¥xπ¥ ¨‰˜ÈÈÓ¯ÂÙ ÏÚ ÔÓ˘

Untitled, 2008


-----

≤∞∞∑ ¨˙¯˙ÂÎ ‡ÏÏ

∂∏x∂∑ ¨‰˜ÈÈÓ¯ÂÙ ÏÚ ÔÓ˘

Untitled, 2007


-----

73

≤∞∞≥ ¨‰ÏÈÏ

∏∞x¥μ ¨‰˜ÈÈÓ¯ÂÙ ÏÚ ÔÓ˘

Night, 2003


-----

The Jewish Museum, Berlin

The Jewish Museum, Paris

The Jewish Museum, Los Angeles

Museum of the Rhode Island School of

Design, Providence

The Jewish Museum, Amsterdam

74

≤∞∞∏ ¨˙¯˙ÂÎ ‡ÏÏ

π¥xπ¥ ¨‰˜ÈÈÓ¯ÂÙ ÏÚ ÔÓ˘

Untitled, 2008


-----

Zelig Segal

1933, Born in Jerusalem.

Educated in heder and yeshiva

1949-54 / Studied at Bazalel School

of Arts and Crafts.

Awarded scholarship by David Ben-

Gurion

1964-68 / Director of the department

of gold and silver crafting at Bazalel

Academy of Art and Design

Lives and works in Jerusalem

-----

Solo Exhibitions

1958 / Sculptures, Rina Gallery,

Jerusalem

1979 / Metal Sculptures, Skirball

Museum, Los Angeles

1980 / Wood Sculptures, Julius Wijffels

Gallery, Leeuwarden, Holland

1982 / Small Sculptures, Bertha Urdang

Gallery, New York

1988 / Judaica, Bertha Urdang Gallery,

New York

1990 / Judaica, Boston Public Library

1991 / Judaica and Works on Paper,

Bertha Urdang Gallery, New York

1992 / “A Single Statement”, The Israel

Museum, Jerusalem

1994 / “A Single Statement”, The Jewish

Museum, Amsterdam

1994 / “A Single Statement”, The Jewish

Museum, Frankfurt

1998 / Pure Art, Painting & Sculpture,

Givon Gallery, Tel Aviv

Group Exhibitions

1972 / Sculpture Games, The Israel

Museum, Jerusalem

1979 / Artists Choose Artists, Tel Aviv

Museum of Art

1982 / Wood Sculptures, Enrlich

Gallery, New York

Artist’s Tribute to Bertha Urdang, The

Israel Museum, Jerusalem

1984 / Cross Section 1. Artist’s House,

Jerusalem

The Rational Factor, Haifa Museum of

Modern Art

1986 / Nerot Mitzvah, Contemporary

Ideas for Light in Jewish Ritual, The


Self-Portrait, Artist’s House, Jerusalem

1987 / Concrete Art, Bendorf, Germany

1989 / Judaica Here and Now, The


Competitions & Prizes

1954 / Bronze medal at Triennale, Milan

1955 / Design of the Hebrew University

logo

1964 / Design of the poster for the 26th

World Zionist Congress

1966 / Design of the commemorative

coin in honor of the 18th anniversary of

the State of Israel

1968 / Design of the “Peace Coin”

1969 / Design of the jewelry collection

for the Israel Institute of Technology

1987 / Jesselson Prize for

Contemporary Judaica Design, The


Collections

The Israel Museum, Jerusalem

The Brooklyn Museum, New York

Cooper-Hewitt Museum, New York

The Jewish Museum, New York

Biographical Notes

75 Biographical Notes

76

1/ Zalmona, In a Single Statement, 1992, Jerusalem.

2/ Martin Lindauer, Aging, Creativity and Art:

A Positive Perspective on Late-Life Development,

2003, New York.

3/ Edward Said, On Late Style : Music and Literature

Against the Grain, 2007, New York.

4/ Martin Lindauer, Aging, Creativity and Art.

5/ Edward Said, On Late Style.

artist reaches this point – a kind of Archimedean point of the self – but those

who do experience the dissolution of barriers, the renunciation of rules and the

best in the expression of an internal liberty. Palestinian-American writer Edward

Said spent his last years researching different writers’ and composers’ late style,

trying to answer the question, is their respectable old age discernable in specific

stylistic qualities? His last book, On Late Style3, published posthumously, deals

with the later creations of different composers (Mozart, Beethoven, Richard

Strauss, Schoenberg) and writers (Jean Genet). Interpreting these pieces, Said

hypothesizes that it could have been expected that the old artist, as “clan elder”,

would practice wisdom and restraint, offer up “a new spirit of reconciliation and

serenity.”4 But contrary to expectations, Said’s interpretation points to the fact

that some works by old artists on the contrary contain elements of rebellion

and resistance, harboring an unsolvable contradiction. Said diagnoses a kind

of “exile” in the late style – exile from laws and conventions, an exile from the

familiar, safe style and into an adventure outside of time and place…”A Late Style

that involves a sort of deliberately unproductive productiveness”5 going against

what is offered and what is given.

Kandinsky, one of the forbears of abstract painting, combined dynamic gestures

with what he called “nameless emotions” – emotional nuances that cannot be

put into words, but only in complex pictorials clusters. One of the emotions he

defined in attempting to describe abstract painting’s suggestive dimension was

the dimension of “adventure” – expressed, according to Kandinsky, in a diagonal

upward and rightward motion within the rectangle of the painting. In his book

Point and Line to Plane he analyzes the paper’s rectangular “Basic Plane” and

the dynamics of the pictorial elements in it in relation to the emotions they

invoke. Kandinsky envisioned a painter cognizant of the connection between

the painting’s dynamics and specific moods, who could therefore control its

composition and channel it to his needs. And although his didactic plan never

fully materialized, he managed to imbue the language of abstract painting with the

suggestive momentum of adventure – an image relevant to the specific situation of

Selig Segal’s late painting.

Segal – the elegant and stylized designer and the conscious, minimalist sculptor

– seems to be a man who has left the body of knowledge of the skilled craftsman

and the rules under which he was educated behind him, entering a space of

unknown adventure beyond time and profession. He seems to belong to a select

few artists whose old age allows for internal liberty rather than a rehearsal of

imitation and reproduction mechanisms. The audacity of freedom and the ability

to arrive at it effortlessly imbue the later chapter of his work with a strength and

freshness immeasurable by such period brands as ‘Postmodernism’ or ‘the return

to painting’.

Segal began working in a specific point in his past, when he was imbued with the

values of abstract Modernism: for sources of inspiration, he gathered the work of

painters of his kind – the painters of American abstraction – whose work he knew

well from the four years he spent in New York: Jackson Pollock, Willem de Koning

and Robert Matherwell; as well as closer ones, such as Moshe Gershuni, Raffi

Lavie, Michael Gross and Avidgor Steimatzky (who also freed himself at old age

from Zaritsky’s heavy influence, creating an especially wonderful ‘late painting’

chapter). These are painters of the pictorial gesture, of dynamic momentum and

color fields, of sensuous tactility and well-present object-ness. Segal draws

inspiration from them and uses both the generous American gestures and the

Israeli excoriating scribbling and glowing void. He never loses his personal mix,

though, which veers between the refined and the savage, gambling between

absolute liberty and invisible boundaries.

Selig Segal: Beyond Time and ProfessionTali Tamir

77 Beyond Time and Profession-- Tali Tamir

“Selig Segal cares about ethics no less than he cares about aesthetics,”

ascertained Yigal Zalmona when writing about the groups of minimalist sculptures

that Segal Created in 80-1979. The austere minimalism and his desire for a naked

concreteness that reveals the characteristics of material and form, his avoidance

of any ornament or twist and his renouncement of color became what Zalmona

identified as “the central values of a moral conception that guides Segal’s work.”

As a designer specializing in Modern Judaica, Segal also stressed an economical,

straightforward line, a line of festive, serious simplicity. The same austere,

moral Segal whose guiding light is the “truth of matter” and who acknowledges

the arbitrariness of the chosen action, however, gazed at the Modernist ethos

from both ends and transformed the moral equation. Modernism’s duality –

simultaneously attracted to progress and futurism and longing for the primitive

and the native, acknowledging both austerity and expressivity – leads Segal to

view discipline and liberty as equal poles in one equation: diametric oppositions

of authentic gestures maintaining their connection to a basis of absolute internal

truth.

The later Segal, now in his late 70’s, continues to long for the “secrets of material

bare” as Zalmona put it; but the matter itself has been replaced: no longer wood,

paper or metal, but masonite, paint and pigment. Not dry, hard materials, but

rather moist, fluid ones. Not a solid object that offers resistance, but a flexible,

yielding mixture… Segal remains well within the confines of the abstract language.

He is also still true to a stock of recurring actions, still an avid Modernist in search

of a kernel of truth. But rather than surveying Modernism from the heights of

its disciplined purity, as he did before, Segal has opted in his later years for a

space of internal liberty with whose force he vacillates freely between momentous

pictorial associations, devoting himself to the one element that had been left out

of his works’ scope, namely color. The new pictorial period of grace that Segal

is enjoying after recuperating from a severe heart attack is blatantly colorful,

demanding its pound of color. If his minimalist sculpture was perceived as moral,

monochromatic and austere, his later painting can be identified as “wild, colorful,

sensuous…” But does that make it also ‘immoral’? If ‘morality’ is interpreted as

an unremitting demand of absolute truth, then Selig Segal’s later, colorful and

wild painting seems to actualize his moral way. Simultaneously, there is an

element of ‘breaking free’ in it, not only in its undeniable sensuality but also in its

undeniable refusal to take responsibility for any pictorial law, technique, style or

material practical. The platform here is not stretched, well-proportioned canvases

or pure white paper, but standard-issue smooth, white Formica tablets (200X100

cm. each). His painting utensils are rags, his hands, a spatula, sticks and some

brushes; sometimes Segal paints on the white Formica, sometimes he exposes

the masonite’s cheap, brown surface. Whatever the surface, though, he paints

urgently, with great joy, on anything that reads color and writes painting. He lays

color patches, placing or flinging them, etches, draws, spins, hops, moves and

trucks, leaves empty spaces, dots, blows commas, anoints, gathers up, dilutes,

touches, squeezes, releases – remaining fresh, quick and surprising in any

variation, acting as a homo ludens, gambling and taking a chance.

Many have written recently about the subject of the “late style” in the context of

the last chapters of the work of Michelangelo, Titian or Rembrandt. Speculation

over the omission of details in Michelangelo’s late sculpture, the technical and

pictorial freedom of -90 year-old Titan’s work and old Rembrandt’s philosophical

gaze on himself and his subjects have been the subject matter of many researches

on the connection between old age and artistic creativity. Martin Lindauer, who

wrote a book on the subject, described the late style of these masters as “intense,

economical, thick, freely executed, bold, rough, spontaneous, suggestive, skill and

effort not obvious… technique... impatient.”1 He opposes this to the youthful style,

which, contrary to its rebellious image, is on the contrary “refined, stylistic, skilled,

finicky… well formed, composed, follows rules, pictorially structured.”2 Not every

Kishon GalleryK +

“Masonite”

Zelig SegalCurated by Sigalit Landau

2010

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kishonartgallerycontemporary

+a y

Zelig Segal -- “Masonite”Curated by Sigalit Landau23 April - 8 May 2010

ExhibitionCurator: Sigalit LandauSpace Design: Dan HassonProduction: Roy Raz

CatalogueDesign and Production: clementina.net/ Renana KishonText: Tali TamirPhotography: Michael AmarEditor: Renana KishonEnglish translation: Ishai Mishory

Printing and plates: Halfi print

AknowledgmentAviv Segal, Shahar Segal, Edo Segal, Eyal Shani,Roy Raz, Yotam From, Rufina Valsky, Nethanel Breton, Lior Vilenchik

Cover: The Big Bang, Oil on Masonite, 120 ,2009x240Measurements are given in centimeters, height x width, right to left

© 2010 All rights reserved, Zelig Segal and Renana Kishon

Kishon Gallery | 31 Frug st., Tel AvivTel 5225069 3 972+ | www.kishongallery.com

Zelig Segal | www.bmuse.com/zeligsegal

��

“Masonite”

Zelig SegalCurated by Sigalit Landau

2010

zelig segal mazonit exhibition feat. sigalit landau

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