Nadav Weissman 2007-2015 There is No Such Place Ups and Downs Landscape Late Excavations Winds Sleeping Boy Ground Floor
[On front cover and previous page] Ground Floor, Installation view Petach-Tikva Museum of art
Thanks Tal Shushan for the huge support, my parents, Nira Itzhaki and Chelouche Gallery team: Adi Artsi and Dafna Falk, Tali Tamir, Keren Goldberg, Uri Lifshitz, Avshalom Suliman, Michel Hurwitz, Karina Belilty, Dana Tagar Heller, Juana de Aizpuru, Drorit Gur Arie, Avi Hay, Ayala Linav for the design and for the infinity patience. Dimensions are given in centimeters: height x width x depth
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Graphic Design :: Ayala Linav Texts :: Tali Tamir, Keren Goldberg Photographs :: Pablo Blazquez, Avraham Hay, Nimrod P. Saunders, Wehrftig Venizian Studio ltd, Nadav Weissman, Barak Zemer Language editing and English translation :: Noam Ben Ishie Print :: Emanuel Offset Printing ltd Binding :: S.Lifshitz Bookbindery ltd รล 2015, Nadav Weissman www.nadavweissman.com www.chelouchegallery.com Special thanks :: Ann and Ari Rosenblatt Thanks to the Technionรข€™s Faculty of Architecture and Town Planning for their support in publishing this book. The exhibition There is No Such Place was produced with the support of The Yehoshua Rabinovich Foundation for the Arts. The book was published thanks to the support of MiFal HaPayis.
2007-2015
Nadav Weissman Chelouche Gallery for Contemporary Art :: Tel Aviv
This book was designed right- to-left, after the Hebrew writingรข€™s direction. All write-ups appear in English, opposite the Hebrew.
The Sorrow of Your Great Playthings :: Tali Tamir Of the disassembled body and the mechanization of passion in Nadav Weissmanโs installations
Never shall the sorrow of your great playthings Be plucked from me, O our God. (Nathan Alterman, โMoonโ; Translation: Lewis Glinert)
The emergence of the human body in Nadav Weissmanโs sculptural installation is marked by a radical imbalance: the head is enlarged, blatantly distended, while the body tapers down towards the tips of the feet. The disproportionate โtadpolesโ are no aberrations of nature, no freak show of human genetics, but rather human bodies that formally react to the shaping, disturbing power of inner processes: excessive ambition, thoughts and passions. Unlike the Freudian move, these impulses are not repressed away in the โdark chamberโ of the subconscious, but rather operate actively, growing into an extreme display. The โheadโ acquires its own independent, intensified existence, which drives the plot, similarly to the heroes of David Cronenbergโs films, one of Weissmanโs sources of information. Referring to his heroes, with their inability to switch off their mind and excessive addiction to thought processes, Cronenberg once said that maybe itโs a transformation, rather than a disease. Weissmanโs heavy-headed creatures navigate through an urban space that has neither focus nor aim, naked, holding on to attributes that attest to their origin in the modern bourgeois culture: a rifle in the manโs hands, a purse and red boots for the woman.
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Unlike the metaphysical void marking the Beckettian space of the absurd,
Weissman positions his characters in inhabited spaces, wherein they are engaged in an ongoing activity: some are immersed in a game around different playthings, while others march to nowhere. Weissman builds urban landscapes made of modernist icons of housing projects, garages and trains, but nevertheless, all these arrangements have a medieval allegoric undertone to them, in the spirit of theological morality plays, with an โeverymanโ character at their heart. Weissman seems to weave a narrative of sorts around his naked heroes, played out in some โlandscapeโ, yet despite the fact that the landscapes, seemingly, sample reality, the narrative functions as a Trojan horse in the plot: it unravels it from within. Weissmanโs Man without Qualities, the modern incarnation of the medieval everyman, watches over life as if it were a game board, as he casts a bundle of huge pick-up sticks, gambling on his fate. Due to the changing scale between man and his playthings, the pick-up stick is converted into a spear, leading to a change in the figureโs characterization โ the playing child transmutes into a fighting adult, yet both are wrapped up by the same bodily shroud.
The visions in Weissmanโs installations seem like a toy theatre made of cardboard sceneries, or a dissembled childhood world with a surreal, orange-pink or yellowblue colour plate. Wondering about among them, one gets an ambivalence sense of part dream, part reality, producing a consciousness divide. A pulsing daytime activity makes way for landscape moonrise paintings. Medium-wise too, Weissman employs the dual tactics, combing together two-dimensional painting and 3D sculptural arrangements, hybridity of style that condenses his divided thinking. Zigzagging between times and scales, between one consciousness to another, this fantasy further distils the insight into Weissmanโs arrangements: they are founded on the principle of allegorical thinking that has a child/adult
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playing/marching at its heart. The Sorrow of his Great Playthings hints at his end: his LEGO blocks, which he piles onto his truck to build his home from, are scattered bones and teeth.
โFor the only diversion the melancholic permits himself, and it is a powerful one, is allegoryโ1, Walter Benjamin wrote in his discussion into the difference between symbol and allegory. In his renowned The Origin of German Tragic Drama, composed in the late 1920โs, Benjamin sheds light on the twofold, dual-layered structure necessary for allegorical expression to break forth; allegory is a multiplicity of times and consciousness, it dredges up the ghost of the past into the presence, floating an โarousing instant, which claims our entire beingโฆโ. Allegorical sense surfaces from the โdepths which separate visual being from meaningโ, stirring, with the valour of a trespasser venturing foreign territories, a โviolent dialectic movementโ between the two territories. Benjamin attributed to allegory a particular affinity with moments of destruction and death, tracing in it a fundamental attraction to fragmentation and imperfection. Modernism rejected the allegorical impulse, yearning as it did for transcendental unity and identifying allegory, derisively, with โhistorical paintingโ, carrying didactic import. Yet the โallegorical impulseโ resurfaced in the postmodern age, from the 1980โs onwards, as comprehensively articulated in the two-part article by American theoretician Craig Owens. Owens viewed the โallegorical impulseโ a characteristic sign in the artistic thought of his time, as a shaping force that affects political and social perceptions as well.2
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In the allegorical state, โthe fragment does not constitute a defined piece which adjusts itself to the overall pattern, puzzle-fashion, but rather as a piece in its
Ground Floor #5, fiberglass polyester, polymer clay, color 80x200x100 cm
,5# โซืงืืืช ืงืจืงืขโฌ โซ ืก"ืโฌ80x200x100 ,โซ ืฆืืขโฌ,โซ ืืืืจ ืคืืืืืจืโฌ,โซืคืืืจืืืก ืคืืืืืกืืจโฌ
own rights, unbound by synthesis.โ3 The absence of continuity, the reflection of the past (childhood) in the present (adulthood), fragmentation and hybridity โ all these attributes are reflected in Weissmanโs complex installations, which call for an allegorical reading. Rather than joining together in a decipherable plot or narrative, the upside-down trees, the landscape segments, buildings, posts, lawns and figures are left to themselves, standing for a world deprived of its illusion of unity. In Weissmanโs inventory of images, based in the 2000โs, the original, complete copy does not exist. The world he constructs is fragmentary, straddling reality and delusion, as a product of an onslaught of images in a
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technological world that no more distinguishes narrative from script.
Trauma and the absence thereof The postmodern allegoryโs uniqueness lies in the suppression of its traumatic dimension. Similarly, the transition in Weissmanโs installations from bodily integrity to a state of disassembly occurs as a metaphor for play, with neither bleeding nor pain. Unlike Cronenbergโs โhorror aestheticsโ, Weissman opts for formal tidiness and elaborate constructions. In his films, Cronenberg dreams up gory flesh pistols that spit sharpened human teeth (eXistenZ), while Weissman builds cogwheels made of filed human teeth or the contour of a house weaved together from strings of bleached bones. Cronenberg perforated the human body, creating within electronic joints, while Weissman carves a ladder or staircase into a sculptured head or fuses body and multi-story building together. Nevertheless, the โmetamorphosisโ in Cronenbergโs films or in Weissmanโs sculptures is never a complete, mythological one, like Kafkaโs human-beast โmetamorphosisโ. The transformative process stops at the intermediary phase: a human body embedded with a mechanical mechanism or hardened into an architectonic setting. It is in fact no interim metamorphosis, but rather a fateful mutation, incurable hybridity.
Despite the pronounced melancholic aspect and the constant engagement with morbid โdeath playthingsโ, Weissman refrains from any forthright illustration of trauma, leaving it as a subtle allegory that subsists in the depth dimension. His approach to the human body circumvents the pain of tearing and fragmenting, adopting tactics of distancing, playing and mock-diversion. This mechanical/ playful spirit is all the more evident in his animation films (2011), where the 121
body features as a mechanical site with independently operating organs, far-
removed from their original function: the teeth, like the bones, form strings that move through space, the nails alternately grown and clipped, while the ears become pregnant and the mouth turns into a tunnel of surprise. The body is perceived as an autonomous functional system that runs commands between organs, tunnels and cavities, with products issued from their ends: secretions, organs, children.
The body as a mechanical site is a lonely one, indifferent to its sexuality. With no erection, ovaries or orgiastic outlet, whole babies are emitted, conveyor-belt fashion, as long as they have the right cavity to be issued from. The feminine uterus is rendered all but superfluous. Even the aural cavity in the manโs head is a possible birth canal for the babies, just like his oral cavity. The body and its cavities produce a full circularity between construction and disassembly: the ear emits bones, while the mouth issues teeth. Cue another cycle: the mouth issues babies, while the ear emits teeth. Rather than chewing and grinding, the teeth cheerfully materialize from the mouth, lining up in a long, rolling caravan. Perhaps an archetypal nightmare-dream, perhaps computer game.
A female head and a male head, babies issued from the ear, together creating a family unit. Individual bodies built anew as a family body, creating a primary โcivilization unitโ โ a monad ready to be duplicated. Rather than a romanticsentimental fabric, Weissman offers the โfamily machineโ as a mechanical joint by which civilization regulates and sorts the human natural increase. The โfamily machineโ hovers like a cloud in an open undulating space, calling for a reference to Duchampโs โbrideโ, floating as she does in the Large Glass (1917), watching the โbachelorsโ and teetering chocolate grinder from her lofty position. Duchampโs renowned mechanistic metaphor, translating erotic passion
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into a system of pipes and tunnels, is referred to by Moira Roth as โaesthetics of indifferenceโ.4 Roth applies this definition to Duchampโs general treatment of objects, referred to as โreadymadesโ โ reducing meaning to nought, in order to extract a new associative stream and fresh poetics thereof. Duchampโs early โbrideโ, oil on paint (1912), is but a cluster of well-lubricated pipes, just as Nude Descending a Staircase is a mechanical mechanism of the human skeletonโs progression through space. Weissmanโs Nude Marching through Space similarly moves about with resolve, while the production mechanisms of the family unit hold within the sexual tension, passion and love. The family is โproducedโ, computer game fashion, as circular mechanism that cannot be stopped.
In his poem Moon, delivered from the observing wayfarerโs point of view, Alterman refers to the cypress, sky, pool and city as โgreat playthingsโ in Godโs world; Nadav Weissmanโs great playground teems with playthings and humans alike โ children/adults who have never left behind the game of life.
References: 1
Walter Benjamin, The Origin of German Tragic Drama, NLB, London 1977, p. 185.
2
Craig Owens, The Allegorical Impulse: Towards a Theory of Post-Modernism, part I, II. In: October, vol. 12, 13, 1980
3
From Encyclopaedia of Ideas, co-edited by David Gurevitch and Dan Arav, Babel, 2012 [Hebrew]. Entry: Allegory/Symbol, p. 120.
4
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Roth Moira, The Aesthetic of Indifference, In: Dancing Around The Bride, Ed. Carlos Basualdo and Erica F. Battle, Philadelphia Museum of Art, 2013. Pp. 209 โ224
No Place like Home :: Keren Goldberg
Nadav Weissmanโs installations are marked by a coherent language and unique aesthetics. They generate a sealed, distinct world of images, teeming with recurring motifs, which have been undergoing transformations over the years: human figures with a large-scale head and a small, child-like body, as well as horses, dogs, pianos, boats, bones, cogwheels, fences, trucks and trees. All these are fashioned in a child-like, colourful, seductive style, together creating some dreamy and horrific situations. Yet of all these, the home constitutes the ultimate starting point. It recurs in different configurations, whether as an immaculate home icon โ four walls topped by a triangular roof โ as a simple child scribble, or as serial apartment blocks. It is from this home that the hero, the artist, the man, that distended head, sets out on non-linear journeys, embarking on dissembled narratives, obscure states of consciousness.
The home interior appears as early as Weissmanโs initial painting series. In "Loverโs House" (2000-2001), a series of paintings on plywood, single perspective lines mark a barrier between the floor and wall. The homeโs walls and ceilings are in fact painted on individual pieces of plywood, joined together to turn the sheltering home space into a dissembled patchwork structure. In "Flooding", 2001, a series of paintings depicting the interior of a home from an overhead view, the perspective is reminiscent of architectural plans, but the aesthetics are altogether different. In a depthless drawing, Weissman depicts furniture and assorted objects: a toilet seat, toilet paper holder, a bed, a radiator, a sink, a shower curtain, piano and table โ all seen at the frameโs margins. Taking over the picture, over the living space, is a flat background, its colour a phosphorous,
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almost toxic kind of green. The inside of the home, its evisceration and the architectural perspective are to prove a leitmotif in Weissmanโs works.
Even the titles of these works are sometimes evocative of architectonic elements. For instance, a 2007 installation where Weissman took over the entire gallery space is called "Ground Floor", a term combining the โfloorโ and โgroundโ elements. Multi-story buildings are a recurring theme in this installation, but it is actually the solid ground that can nowhere be found in it: one white building is carried in a red wheelbarrow by one of the naked figures, trying to find himself a permanent spot among cruising bone-laden boats and railway tracks. Another figure lies in the pink boat skeleton, brandishing a green building and a bone mast. A ship carrying a grey building was frozen in an enlarged snowball, just before sinking down to the bottom of an ocean.
โThe privileged role of the homeโ, declares Emmanuel Levinas in his masterpiece Totality and Infinity, โdoes not consist in being the end of human activity but in being its condition, and in this sense its commencement.โ1 He goes on to state that โWith the dwelling the separated being breaks with natural existence, steeped in a medium where its enjoyment, without security, on edge, was being inverted into care. Circulating between visibility and invisibility, one is always bound for the interior of which one's home, one's corner, one's tent, or one's cave is the vestibule. The primordial function of the home does not consist in orienting being by the architecture of the building and in discovering a site, but in breaking the plenum of the element, in opening in it the Utopia in which the โIโ recollects itself in dwelling at home with itself. But separation does not isolate me, as though I were simply extracted from these elements. 117
It makes labour and property possible.โ2 Levinas refers here to an optimal,
almost bourgeois state of affairs, where one has a home, a full, sheltering, containing โ functioning kind of home. From this place one can go out into the world, yet Weissmanโs homes are the complete opposite of this state. They go up in flames, drowning, eviscerated, exposed and distorted; they are mobile and vulnerable.
Mobility is a key point, not just because it undermines the home as a steady, permanent place, but also because it turns it into an object, a portable one. As far as Levinas is concerned, โConcretely speaking the dwelling is not situated in the objective world, but the objective world is situated by relation to my dwelling.โ3 That is, the separation between the dwelling and objects in this world is essential if the subject is to function. Weissman obsessively disrupts this separation. The private home becomes the familiar two walls-and-roof icon, while the building becomes a mobile cube. One way or the other, both become distorted objects, devoid of roots and affiliation, like the other objects in the artistโs nightmare-haunted worlds.
One particularly nightmarish Weissmanian environment is undoubtedly "Black Lawn" from 2005, featuring a whole neighbourhood. White knee-high apartment blocks protrude from a black vegetation, in the midst of cistern-like, green puddles. Ferns, designed to drop from the houseโs balconies, dangle from the galleryโs ceiling, threatening to swallow the neighbourhood and illustrating the distorted scale. Weissman crushes the securest of all spaces โ the residential neighbourhood. The neighbourhood is abandoned, while the residents themselves feature as absent-present entities. The child-adult figures, a trademark of Weissmanโs art, have become a different kind of hybridization in this work, huge brown pupae with pinkish human heads, lying helplessly on the floor.
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Projected on the wall, the animation film features people, or rather mere heads, swept away in a muddy river, and suggests an impending or actual disaster.
Most of Weissmanโs environments can be said to be universal, a-local, exploring psychic states of consciousness, but here and there the private and specific rears its head, in the form of the artistโs home โ images of Israeli architecture. For instance, the buildings that feature in "Black Lawn" are propped up on posts, their interior decorated with spray plaster while their exterior is painted with Polysid coating, a pronouncedly 1970โs Israel architectural style. The artist in fact created the buildings as a cross between those he grew up in in 1970โs Haifa and the Tel Aviv buildings that serve as his current dwellings. The construction on poles and the similarities shared by the homes evoke modern architectureโs aspiration for a universalism devoid of local identity, specifically Le Corbusierโs five points of modern architecture. Yet the fact that the buildings can be easily traced to an Israeli housing project neighbourhood attests to modern architectureโs failure to realise its universal aspiration. Similarly to modern architecture, Weissmanโs installations too seem to aspire for a universal appearance, yet succumb to the power of concreteness.
Hebrew too makes the occasional appearance in these installations. "Behind the Fence", 2003, one of Weissmanโs early installations, features a doghouse, in itself a scaled-down house topped by a triangular roof, a home for humansturned-the stronghold of the beast, whose name stars over the entrance in childish letters: โSpitzโ. Spitz the dog himself is nowhere to be found, but his name and being are present in the enlarged, pointy pick-up sticks, the toy 115
weapons used by the male figures for diversion, as well as in the triangular
genitalia and pointy stilettoes of their female counterparts. All these become aggressive, cultural and universal sexual characteristics, donned by adults who are trapped in childrenโs physiques. Yet the โspitzโ (Hebrew colloquial for sharp point) remains Hebrew, a decidedly Israel slang. The installation titled "Riding Lesson" features a structure inscribed with the hand-written, oh-so-Israeli name, โYossi and Sonsโ. Red trucks carrying a load of bones are deployed around the gallery floor, seemingly going in and out of the building. Under the Hebrew inscription, the red trucks, reminiscent of fire engines, are evocative of a certain Israeli emergency experience, and yet it is also a personal, specific address, and its alternative existence sparks the same tension between local and universal.
This very tension also plays out in the installation titled "Ground Floor", which features a scaled-down, wine-coloured structure, inscribed with the name Haifa in Hebrew and Latin letters, with rounded arches and a railway truck passing through. The structure is modelled after Haifaโs first railways station, built in the cityโs downtown during the early 1900โs by the Ottoman rule (todayโs Haifa East station, no longer in service). The structure has an Arabic architectonic design, including regal, rounded arches. Little bone-carrying boats, similarly to the emergency truck in "Riding Lesson", cruise towards the structure. Thus Weissman combines the Haifa railway station with its nearby port, turning it into an architectonic hybrid of sorts. Here too you can find a local trauma, the trauma of building Haifaโs downtown on the ruins of Arab homes, present in the mixed architectonic style. Extremely alien to Weissmanโs world as it may seem, it is this style, like the Hebrew inscriptions, that represents his home more than anything else.
A further reading suggests that the same tension between local and universal
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found in the installations is by no means played out between contradictions in term, but rather stands for a process of relative construction. That is, history repeats itself, patterns are being reproduced, and thus the national and local become universal and general. The universal is forever relative, forever existing in a concrete space, and thus the specific and national that make the occasional appearance in Weissmanโs works stem from a general humanist motivation, rather than being sparked by pure political impulse.
The concrete appears yet again in "Winds" (2009), where for the first time in Weissmanโs corpus, the iconic image of the home features in a real-life 1:1 scale. The skeleton of a home, its contour lines made of bone sculptures, is positioned in an olive plantation. Locality is present in the Hebrew title of the work, โRuchotโ, which means in English โwindsโ, โspiritsโ and โghostsโ. This multiplicity of meanings is lost in translation. It is also present in the workโs situation at a settlement that during the mid-1950โs, turned from the Arab village of Ein Hawd to the Jewish artist village of Ein Hod. Moreover, the immaculate home, a square topped by a triangular roof, is made of bones, calling to mind the placeโs former residents and the previous incarnations of the land that it stands upon. Weissman added a couple of floor tiles to the structure, made of bones as well, over the exposed earth inside the home, just like those bone contour lines, as if the tiling work were interrupted midway through. The choice of bones as building materials means the home acquires personal attributes and is therefore a mortal too. The viewers enter the house of spirits. The house encompasses them, yet deprives them of the most essential function of any home: protection and hiding. On the contrary โ it strips the viewer of his/her skin. The viewer thus undergoes a tactile, phenomenological experience. 113
In this sense, one can read the home in light of the phenomenological concept, Genius Loci, โthe wisdom of the placeโ, coined by architectural theoretician, Christian Norberg-Schultz.4 Originally, in the ancient Roman religion, the term signified a spirit of sorts, protecting the place, just like the ghosts in Weissmanโs house of spirits. Norberg-Schultz employed the concept to define architecture that sprouts organically from the earth on which it is founded, while the matter of which it is made belongs to the place wherein it stands. It is only thus that the visitor can have a physical experience of the structure. Here too Weissmanโs home grows on the seam line between national local trauma on the one hand, and phenomenological universal experience on the other. This projection of the artistโs subjective identity on the environments he builds, as well as the personalisation of the structure through the body organs, can also be read through another concept that subsists in the connection between man and his environment. Theodor Adorno, in an article dedicated to architecture, argues that the living being equates himself with his built surroundings by means of the mimetic impulse. Mimesis in this sense does not signify imitation down to the last detail, but rather a creative connection of subject and object, the same connection relied upon by artistic representation.5 A living being can โfeel at homeโ by means of mimetically equating himself with the building in which he lives. The bone house offers an extreme illustration of this mimetic impulse.
The same bone house recurs in "Late Excavations" (2011), one of Weissmanโs most ambitious installations. It is displayed on the wall as a big relief, alongside another relief that traces the architectural plan of a vague structure, from the same bony contour lines. Here Weissman employs again the overhead view, for the first time incorporating numbers, as if to signify measures and calculations in architectural blueprints or rather archaeological dates. Similarly to the proportion
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that forms between architectural blueprint and the construction of the threedimensional building, Weissman too operates in the gap between the blue print, relief and space. In the house of spirits that features in "Late Excavations", for instance, life is breathed in as he breaches the reliefโs boundaries. One of the homeโs contour lines, the bone string, detaches from the wall and breaks into the gallery space. Once there, it joins a little ship, wherein two rows of teeth are lined, like a virtual open jaw cruising through the galleryโs floor. Teeth double as the building blocks of the homeโs balcony and there, just like in the perfect childrenโs painting, a little puppy stands. The cogwheels too, made of human teeth, are a constant theme in this exhibition, appearing to be in perpetual motion. It is actually the archaeological excavations, from the past, that give rise to movement, and a journey commences. "Late Excavations" sustains in fact a life after death โ the remains come to life, allowing creation out of the post-trauma. While in Weissmanโs early works, a dissonance forms between the tempting colourfulness and the nightmarish content, here the tension is played out between a catastrophe and its restored movement.
As in many of Weissmanโs installations, here too a short animation footage is included, where the journey develops in a time-based medium. For the first time, the same human head, synonymous with the artist, emerges concretely and subjectively โ displayed as a profile photograph of the artistโs face itself. The artist builds himself a home, the same iconic house of spirits, while the building blocks are bones issued from his ear. Cue the female figure โ emitting teeth from her mouth and becoming a human cogwheel herself. The images and sounds alike are marked by a commanding tactility โ the popping noises accompanying the emitted bones, as well as the noises of teeth emitted from 111
the womanโs mouth. But these are in fact produced by the artist himself. The
cogwheel that the woman formed around her initializes movement, prompting the man to set out of the home on a journey. He puts together a bony boat, which falls apart to become a tail of sorts, a disassembled body, and joins a community of tadpoles โ fellow floating heads, facing a vague direction. It is later the man, rather than the women, that issues children from his mouth, and together they build a conventional cogwheel โ a father, a mother and three children, boys. The building, the quest, the journey, the family โ all these are created from within the body itself, from raw matter of bones and teeth. A mythical family structure is suggested here as a genesis story, an inherent physiological part of the human being.
This is the culmination of Weissmanโs exploration of the man from the gender perspective. The video portrays the male construct of embarking on a journey versus settling down, domestication and starting a family. The house of spirits is no mere image, but rather a work of art made by Weissman, issued here from his mouth, organically, delivery-fashion. That is, delivery and home-building are mediated here as a male work of art, while the man is portrayed as an artist, creator, procreator. According to Levinas, the feminine aspect is essential for the existence of a home: โAnd the other whose presence is discreetly an absence, with which is accomplished the primary hospitable welcome which describes the field of intimacy, is the Woman. The woman is the condition for recollection, the interiority of the Home, and inhabitation.โ6 It could be that Weissman engages here with the feminine space within man himself, just as he has engaged in the past with the child-like space within the adult.
Similarly to previous video art by Weissman, the film is displayed in a loop. The loop is critical, as the short film represents a clear-cut narrative, with a
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beginning and end, while the loop renders the archetypal family-starting story a never-ending, nightmarish process, a continuing journey, where ongoing existential impulses stand in oneโs way of reaching the proverbial rest and inheritance. The bones constructing the story compound the sense of loss, as the journey commences with death to begin with. The filmโs title, "Home as Will and Representation", highlights the artistโs present yearn for a classic home representation, a vacant construct, a mythical passion- turned-nightmare. In addition, the home, the same iconic home, is presented as an evolutionary machine, representation all the more reinforced by the endless loop. This is Le Corbusierโs Machine dโHabitation (habitation machine), where it is not only the home that seems to have been assembled on a conveyor belt; even the family inhabiting it is a product of industrial seriality.
This process, where the body itself becomes a focus of construction, an architectural eventuation, culminates in Weissmanโs latest installation, from 2015, paradoxically titled, "There is No Such Place". Buildings and ladders towering above, willowy, with a figure that seems to have been pulled up and down to expose its skeleton, while the crumbling plaster reveals the sculptureโs wooden construction. Inside a human head, a stairwell is carved and his facial features are replaced by the face of a horse, protruding as if it were taken over the inside of the human figure. A ladder towers from his ear and a track painted black, with a boat carrying a scaled-down figure inside, is launched thereof. Brown horses recur in Weissmanโs works. Like the boats and trucks, they too subsist in a space of male journey, an allegory of sort on a comingof-age process. Another human sculpture stands in the centre of a square at a crossroads, as a monumental public sculpture. It is covered with a patchwork 109
of quadrangles, as if it were a residential building too, replete with standard
equidistant windows. All these elements are both linked together and unlinked. Bridges and tracks join them together, yet are interrupted abruptly. The up and down, the sea, land and air, are inverted here: a yellow apartment block, its foundation posts elongated, towers up to heaven, serving as a container for a large, airborne rock. Tall ladders, made of discordant beams, retracting gradually. The installation as a whole looks like a playground gone awry, a human luna park built in a space of magic realism.
The link between body and building in Weissmanโs last installation is reminiscent of works by Dutch sculptor Mark Manders. Mandersโ sculptures, mostly made of rough-hewn clay, ceramics or wood, combine together human figures, body parts and animals on the one hand, and furniture, tables, chairs and lanterns on the other. Many of his figure are halved by wooden boards or furniture and his sculptures as a whole are part of an ongoing series titled "Self Portrait as a Building". In the connections formed between the different components in Mandersโ installations and in the corresponding development of objects and people in his works, a dream-like, surreal quality prevails. It is safe to say that Weissman, like Manders, strikes a delicate balance between surrealism and realism, though in a different manner. Weissmanโs sculptures, particularly those featuring in his latest project, call to mind surrealistic images where human bodies whirl inside drawers, tables, chairs and animals. But a surrealistic reading of his work may prove too reductive. Realistic staples are necessary if surrealism is to be generated. For reality to be challenged, reality itself must exist. On the scale of mimetic imitation, Mandersโ figures, reminiscent of Egyptian or classic Greek sculptures, are more realistic than Weissmanโs, indeed, and therefore they too can be diagnosed with surrealistic qualities. In Weissman, on the other hand, images exist in another sphere to begin with. They are suggestive, rather
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than realistic. Even when evoking reality, they are marked by a decidedly proportional or aesthetical distortion, as evident in all the other hybridisations he produces.
Weissman typically creates whole environments, where the viewer enters and walks around, though in fact watching them from above, as the artistรข€™s figures and structures mostly remain knee-high. That is, a clear proportional ratio is maintained between figures, structures and viewers. The link between body and architecture is set in a proportional system, as buildings and objects are after all made directly relative to human proportions รข€“ another mimetic equating of sorts, deeply set in our understanding of built environment from as early as Renaissance times. Yet in "There is No Such Place", the non-existent place, normal proportions are distorted, while the mimetic impulse reaches an extreme: the figures and buildings receive the same size, the same representational translation. The body merges with the building, the track, the road and the staircase; man becomes a construction site. As soon as the home merges with its resident, the same separation cited by Levinas cannot persist, hence no functioning takes place. The home owner cannot set out to the world, as he is already inside it. Equating with still objects, with an environment, means turning still, coming to a full-stop. And indeed, the mimetic impulse incorporates within the death impulse as well. The bones image and archaeological theme reinforce this reading.
Nevertheless, it seems Weissmanรข€™s latest installations have withdrawn altogether from a static, full-stop kind of state. In "Late Excavations", the home and journey began from the body or from the archaeological tomb, of all places, 107
while in "There is no Such Place" everything grows, towering up to heaven,
and a perpetual motion is present in the tracks and flying ways, reminiscent of utopic architecture simulations. Here, the a-linear, aimless journey of the Weissmanian hero is already inherent in his body, his home, himself. He does not venture far out, but rather digs deep down, inside his distended head.
References: 1
Emmanuel Levinas, Totality and Infinity, translated by Alphonso Lingis, Duquesne University Press, Pittsburgh, Pennsylvania, 2011, p. 152.
2
Ibid, p. 156.
3
Ibid, p. 153.
4
Christian Norbergรข€“Schulz, Genius Loci: Towards a Phenomenology of Architecture, Rizzoli, New York, 1980.
5
Theodor W. Adorno, Functionalism Today, http://isites.harvard.edu/fs/docs/icb.topic1412058. files/Week%201/AdornoFT.pdf, p. 7.
6
Levinas, Totality and Infinity, 2011, p. 155.
106
Curriculum Vitae Nadav Weissman :: B. 1969 :: Lives and works in Tel-Aviv.
Solo Exhibitions (selected) 2015
There is No Such Place, Oscar Hendler Award, Kibbutz Lohamei HaGeta'ot Gallery, Israel.
2012
Ups and Down Landscape, KaBe Contemporary gallery, Miami.
2011
Late Excavations, Chelouche Gallery for Contemporary Art, Tel-Aviv.
2007
Ground Floor, Juana de Aizpuru Gallery, Madrid.
2006
Behind the Fence, Project Rooms - ARCO '06, Madrid.
2004
Riding Lesson, Chelouche Gallery for Contemporary Art, Tel-Aviv.
2002
Play for One, Artist' House, Tel-Aviv.
2001
The Loverรข€™s House, Ha'kibbutz Gallery, Tel-Aviv.
Group Exhibitions (selected) 2015
Cross-Pollinated: Hybrid Art Abuzz, Center for the Arts Gallery, Center for the Arts, Towson University, USA.
2014
Journeys, Israel Museum, Jerusalem.
2013
Impression V, Drawing Biennale, Jerusalem.
2012
Good Night, Israel Museum, Jerusalem. Art Any Way, Tel-Aviv Museum.
105
2011
Single Place, Binyamin Gallery, Tel-Aviv.
2010
Relocation, Chelouche Gallery for Contemporary art, Tel-Aviv.
2009
Wild Exaggeration, Haifa Museum of Art, Israel. On the Spot, Ein Hod's olive grove, Israel.
2007
Have You Eaten Yet?, Asian Biennale, National Taiwan Museum of Fine Arts, Taichung, Taiwan. The Space Between, Petach Tikva Museum of Art, Israel.
2006
A Tale of Two Cities: Busan-Seoul, Busan Biennale, Busan Museum of Modern Art, South Korea. Inside Out, MARCO, Museum of Contemporary Art, Vigo, Spain. Storytellers, the Art Gallery, University of Haifa. Trial Balloons, MUSAC, Museum of Contemporary Art, Leon, Spain. Prizes in Art from the Ministry of Education, Culture and Sport: 2005, Israel Museum, Jerusalem. Mini Israel, Israel Museum, Jerusalem. Preparation for Heaven, Chelouche Gallery for Contemporary Art, Tel-Aviv.
2005
Biography /Autobiography, Herzliya Museum OF Contemporary, Israel.
Grants/Scholarships 2014
Oscar Hendler Award.
2005
Prizes in Art from the Ministry of Education, Culture and Sport, Israel.
2002
First Portrait, Scholarship for young artists, Mifal Hapais, Israel.
1997
Hecht Award for young artists, Hecht Museum, Haifa.
104
โซืืืืื ืคืจืืืชโช ,โฌืืืืืืื ืืืคืโช.โฌโฌ โซืขื ืืืงืืโช ,โฌืืื ืืืืชืื ืืขืืโช-โฌืืืโช.โฌโฌ โซโช2007โฌโฌ
โซโช"?Taichongโฌโฌ โซโช,AsianArtโฌโฌ โซโชArtBiennaleโฌโฌ โซโชBiennalevโฌโฌ โซโช,"Haveโฌโฌ โซโชYouโฌโฌ โซโชEatenโฌโฌ โซโชYetโฌโฌ โซโชTaichung ,Asianโฌโฌ โซโช,Haveโฌโฌ โซโชYouโฌโฌ โซโชEatenโฌโฌ โซ?โชYetโฌโฌ
โซืืืืืืืื ืืืืืื ืืืื ืืชโช ,โฌืืืืืืืโช.โฌโฌ โซืืจืื ืืื ืืืโช ,โฌืืืืืืื ืคืชื ืชืงืื ืืืื ืืชโช.โฌโฌ โซโช ,A Tale of Two Cities: Busan-Seoul 2006โฌืืืืื ืื ืฉื ืืืกืโช ,โฌืืืืืืื ืืืื ืืชโฌ โซืืืืจื ืืชโช ,โฌืืืกืโช ,โฌืืจืื ืงืืจืืืโช.โฌโฌ โซโช ,Inside Outโฌืืืืืืื โช ,MARCOโฌืืืืโช ,โฌืกืคืจืโช.โฌโฌ โซืืกืคืจื ืกืืคืืจืืโช ,โฌืืืืจืื ืืืื ืืชโช ,โฌืืื ืืืจืกืืืช ืืืคืโช.โฌโฌ โซโช,Trial Balloonsโฌืโช,MUSACโฌืืืืืืืื ืืืื ืืช ืืชโช-โฌืืื ื ืโช ,Lion ,โฌืกืคืจืโช.โฌโฌ โซืืื ื ืืฉืจืืโช ,โฌืืืืืืื ืืฉืจืืโช ,โฌืืจืืฉืืืโช.โฌโฌ โซโช 2005โฌืืืืืจืคืืโช/โฌืืืืืืืืืจืคืืโช ,โฌืืืืืืื ืืจืฆืืืโช.โฌโฌ โซืฆืืจืืช ืืืืคืฉโช ,โฌืืื ืืช ืืฉืจืืืืช ืฆืขืืจืโช ,โฌืืืืืืืื ืืืื ืืช ืข"ืฉ ืืืืื ืืืจืืจื ืงืื ื ืงืโช,โฌโฌ โซืงืืืโช ,โฌืืืงืจืืื ืโช.โฌโฌ โซืคืจืกืื ืืืืืืชโฌ โซโช 2015โฌืงืจื ืืืืฉืข ืจืืื ืืืืฅ ืืืื ืืช ืชืืืื ืืชืขืจืืืโช.โฌโฌ โซโช 2014โฌืืืืช ืชืืืื ืฉื ืืคืขื ืืคืืก ืืืืฆืืช ืงืืืืโช.โฌโฌ โซโช 2014โฌืคืจืก ืข"ืฉ ืืืกืงืจ ืื ืืืจโช.โฌโฌ โซโช 2005โฌืคืจืก ืขืืืื ืืืฆืืจืโช ,โฌืืฉืจื ืืืื ืืโช ,โฌืืชืจืืืช ืืืกืคืืจืโช.โฌโฌ โซโช 2002โฌืืืืงื ืจืืฉืืโช ,โฌืคืจืก ืืคืขื ืืคืืก ืืืื ืฆืขืืจโช.โฌโฌ โซโช 1997โฌืืืื ืืืืฆืจืื ืฆืขืืจืืโช ,โฌืงืจื ืข"ืฉ ืืืโช ,โฌืืืืืืื ืืืโช.โฌโฌ โซโช103โฌโฌ
โซืงืืจืืช ืืืืโฌ โซื ืื ืืืกืื โช ::โฌื โช :: 1969.โฌืื ืืืืฆืจ ืืชืโช-โฌืืืืโช.โฌโฌ โซืชืขืจืืืืช ืืืื ื ืืืจืืชโฌ โซโช 2015โฌืืื ืืงืื ืืืโช ,โฌืชืขืจืืืช ืคืจืก ืืืกืงืจ ืื ืืืจโช ,โฌืืืจืื ืงืืืืฅ ืืืืื ืืืืืืชโช.โฌโฌ โซโช ,Ups and Downs Landscape 2012โฌืืืจืื โช ,KaBe Contemporaryโฌืืืืืโช.โฌโฌ โซโช 2011โฌืืคืืจืืช ืืืืืจืืชโช ,โฌืืืจืื ืฉืืืฉ ืืืื ืืช ืขืืฉืืืืชโช ,โฌืชืโช-โฌืืืืโช.โฌโฌ โซโช 2007โฌืงืืืช ืงืจืงืขโช ,โฌืืืจืื ืืืื ื ืืโช-โฌืืืืคืืจืโช ,โฌืืืจืืโช.โฌโฌ โซโช 2006โฌืืืืืจื ืืืืจโช ,ARCO O6- Project Room ,โฌืืืจืืโช.โฌโฌ โซโช 2004โฌืฉืืขืืจ ืจืืืืโช ,โฌืืืจืื ืฉืืืฉ ืืืื ืืช ืขืืฉืืืืชโช.โฌโฌ โซโช 2002โฌืืฉืืง ืืืืโช ,โฌืืืช ืืืื ืืโช ,โฌืคืจืืืงื "ืกืฃ"โช ,โฌืชืโช-โฌืืืืโช.โฌโฌ โซโช 2001โฌืืืชื ืฉื ืืืืืืชโช ,โฌืืืจืื ืืงืืืืฅโช ,โฌืชืโช-โฌืืืืโช.โฌโฌ โซืชืขืจืืืืช ืงืืืฆืชืืืช ื ืืืจืืชโฌ โซโช2015โฌโฌ
โซโชCenter for the Arts ,Center for the Arts Gallery ,Cross-Pollinated: Hybrid Art Abuzzโฌโฌ
โซืืื ืืืจืกืืืช ืืืืกืืโช ,โฌืืจื"ืโช.โฌโฌ โซโช 2014โฌืืกืขืืชโช ,โฌืืืืืืื ืืฉืจืืโช ,โฌืืจืืฉืืืโช.โฌโฌ โซืขืฅ ืืืืชโช ,โฌืืืืจืื ืืืื ืืช ืืืื ืืโช-โฌืคืืโช.โฌโฌ โซโช 2013โฌืจืฉืืื โช ,Vโฌืืืืื ืื ืืจืืฉืืโช ,โฌืกืื ืช ืืืืคืกโช ,โฌืืจืืฉืืืโช.โฌโฌ โซโช 2012โฌืืืื ืืืโช ,โฌืืืืืืื ืืฉืจืืโช ,โฌืืจืืฉืืืโช.โฌโฌ โซืืืื ืืช ืืื ืืืคืโช ,โฌืืืืืืื ืชื ืืืืโช.โฌโฌ โซโช 2011โฌืืงืื ืืืโช ,โฌืืืจืื ืื ืืืืโช ,โฌืชืโช-โฌืืืืโช.โฌโฌ โซโช ,Relocation 2010โฌืืืจืื ืฉืืืฉ ืืืื ืืช ืขืืฉืืืืชโช ,โฌืชืโช-โฌืืืืโช.โฌโฌ โซโช102โฌโฌ
โซโช 2009โฌืืืข ืืืืโช ,โฌืืืจืื ืื ืโช ,โฌืงืืืืฅ ืื ืืจืืืโช.โฌโฌ
Ground Floor :: 2007 :: List of Works [p.86-87] Installation view Juana de Aizpuru Gallery [p. 88-89] Installation view Juana de Aizpuru Gallery [p. 90-91] Ground Floor #1 (the boat), 2007, wood, charcoal, fiberglass polyester, color, polymer clay, metal, varnish, 280x450x150cm [p. 92-93] Preparation for Heaven #1, 2007, oil and charcoal on plywood, 122x180cm [p.94] Preparation for Heaven #3, 2007, oil and charcoal on plywood, 122x180cm [p.95] Installation view Juana de Aizpuru Gallery [p.96] Ground Floor #3 (man with wheelbarrow), 2007, fiberglass polyester, wood, plywood, color, 155x180x60cm [p.97] Preparation for Heaven #2, 2006, acrylic and charcoal on paper, 23x25cm [p. 98] Ground Floor #4 (green piano), 2007, plywood, wood, color, 110x132x60cm [p. 99] Preparation for Heaven #4, 2006, oil and charcoal on plywood, 115x73cm
101
โซืงืืืช ืงืจืงืข โช:: 2007 ::โฌโฌ
โซืจืฉืืืช ืขืืืืืชโฌ
โซ[ืขื' โช]86-87โฌโฌ โซืืจืื ืืฆืื ืืืจืื ืืืื ื ืืโช-โฌืืืืคืืจืโฌ โซ[ืขื' โช]88-89โฌโฌ โซืืจืื ืืฆืื ืืืจืื ืืืื ื ืืโช-โฌืืืืคืืจืโฌ โซ[ืขื' โช]90-91โฌโฌ โซืงืืืช ืงืจืงืข โช( 1#โฌืืกืคืื ื)โช ,2007 ,โฌืขืฅโช ,โฌืคืืโช ,โฌืคืืืจืืืืก ืคืืืืืกืืจโช ,โฌืืืืจ ืคืืืืืจืโช ,โฌืืจืืโช ,โฌืืืโช ,โฌืฆืืขโช 280X450X150 ,โฌืก"ืโฌ โซ[ืขื' โช]92-93โฌโฌ โซืืื ื ืืื ืขืื โช ,2007 ,1#โฌืฉืื ืืคืื ืขื ืขืฅ ืืืืโช 122X180 ,โฌืก"ืโฌ โซ[ืขื' โช]94โฌโฌ โซืืื ื ืืื ืขืื โช ,2007 ,3#โฌืฉืื ืืคืื ืขื ืขืฅ ืืืืโช 122X180 ,โฌืก"ืโฌ โซ[ืขื' โช]95โฌโฌ โซืืจืื ืืฆืื ืืืจืื ืืืื ื ืืโช-โฌืืืืคืืจืโฌ โซ[ืขื' โช]96โฌโฌ โซืงืืืช ืงืจืงืข โช( 3#โฌืืืฉ ืขื ืืจืืฆื)โช ,2007 ,โฌืคืืืจืืืืก ืคืืืืืกืืจโช ,โฌืขืฅโช ,โฌืขืฅ ืืืืโช ,โฌืฆืืขโช 155X180X60 ,โฌืก"ืโฌ โซ[ืขื' โช]97โฌโฌ โซืืื ื ืืื ืขืื โช ,2006 ,2#โฌืืงืจืืืืง ืืคืื ืขื ื ืืืจโช 25X38 ,โฌืก"ืโฌ โซ[ืขื' โช]98โฌโฌ โซืงืืืช ืงืจืงืข โช( 4#โฌืคืกื ืชืจ ืืจืืง)โช ,2007 ,โฌืขืฅ ืืืืโช ,โฌืขืฅโช ,โฌืฆืืขโช 110X132X60 ,โฌืก"ืโฌ โซ[ืขื' โช]99โฌโฌ โซืืื ื ืืื ืขืื โช ,2006 ,4#โฌืฉืื ืืคืื ืขื ืขืฅ ืืืืโช 115X73 ,โฌืก"ืโฌ
โซโช100โฌโฌ
99
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88
Ground Floor
โซืงืืืชโฌ โซืงืจืงืขโฌ 2007 Juana de Aizpuru Gallery :: โซืืืืคืืจืโฌ-โซืืืจืื ืืืื ื ืืโฌ Petach Tikva Museum of Art :: โซืืืืืืื ืคืชื ืชืงืืื ืืืื ืืชโฌ
Winds :: 2009 :: List of Works Winds, a site-specific project on the lands of Ein Hod, a Jewish artist colony and Ein Hawd, an Arab village .The Hebrew title, Ruhut, means winds, spirits and ghosts, all bound into one word. [p. 78-81] Winds, 2009, site-specific, fiberglass polyester, metal, color, 380x340x540 cm
83
โซืจืืืืช โช:: 2009 ::โฌโฌ
โซืจืฉืืืช ืขืืืืืชโฌ
โซืจืืืืชโช -โฌืคืจืืืงื โช ,site-specificโฌืืืข ืืืืชืื ืืขืื ืืืโฌ โซืืืชืืืืก ืืืคืจ ืืืื ืื ืขืื ืืื ืืืืคืจ ืืขืจืื ืขืืโช-โฌืืืโช.โฌโฌ โซ[ืขื' โช]78-81โฌโฌ โซืจืืืืชโช ,2009 ,โฌืคืืืจืืืก ืคืืืืืกืืจโช ,โฌืืจืืโช ,โฌืฆืืขโช 380X340X540 ,โฌืก"ืโฌ
โซโช82โฌโฌ
78
โซ ืจืืืืชโฌWINDS 2009 Ein Hod Olive Grove :: โซืืืข ืืืชืื ืขืื ืืืโฌ
Sleeping Boy :: 2010 :: List of Works [p. 72-73] Sleeping Boy, 2010, fiberglass polyester, polymer clay, wood, metal, color, 60x130x160 cm
75
โซื ืขืจ ืืฉื โช:: 2010 ::โฌโฌ
โซืจืฉืืืช ืขืืืืืชโฌ
โซ[ืขื' โช]72-73โฌโฌ โซื ืขืจ ืืฉืโช ,2010 ,โฌืคืืืจืืืืก ืคืืืืืกืืจโช ,โฌืืืืจ ืคืืืืืจืโช ,โฌืขืฅโช ,โฌืืจืืโช ,โฌืฆืืขโช 60X130X160 ,โฌืก"ืโฌ
โซโช74โฌโฌ
72
Sleeping Boy
โซื ืขืจืืฉืโฌ 2010
Chelouche Gallery for Contemporary Art :: โซืืืจืื ืฉืืืฉ ืืืื ืืช ืขืืฉืืืืชโฌ Israel Museum, Jerusalem :: โซ ืืจืืฉืืืโฌ,โซืืืืืืื ืืฉืจืืโฌ
โซืืช ืืกืืืื ืืื ืืื ืขืื ืืืื ืืจื ืกื ืกโช .โฌืื ื"ืืื ืืงืื ืืื"โช ,โฌืืืงืื ืืื ืงืืืโช ,โฌืืชืขืืืชืโฌ โซืืคืจืืคืืจืฆืืืช ืื ืืจืืืืืช ืืืืืฃ ืืืืืื ืืืืข ืืงืืฆืื ืืืชโช :โฌืืืืืืืช ืืืื ืืื ืื ืงืืืื ืืืชืโฌ โซืืืืโช ,โฌืืืชื ืชืจืืื ืืืฆืืืโช .โฌืืืืฃ ืืชืืื ืขื ืืื ืืืโช ,โฌืขื ืืืกืืืโช ,โฌืขื ืืืืืฉ ืืขื ืืืืจืืืช;โฌ โซืืืื ื ืืคื ืืืชืจ ืื ืืืโช .โฌืืจืืข ืฉืืืืช ืืชืืื ืขื ืืืืืจ ืฉืืโช ,โฌืืืชื ืืคืจืื ืืื ืคื ืื ืืืืฅโฌ โซืฉืืืืจ ืขืืื ืืืื ืก ืืื ื ืืืืื ืืืชืงืืืโช ,โฌืืืชืืฆืื ืืื ืืื ืชืคืงืืโช .โฌืืขื ืืืืช ืืื ื ืืืืโฌ โซืืฆืืช ืืื ื ืื ืืขืืืโช ,โฌืื ืืื ืืืจ ื ืืฆื ืืชืืืโช .โฌืืืืืืช ืขื ืืืืืืงื ืืืืโช ,โฌืขื ืกืืืืโช,โฌโฌ โซืืฉืืขื ืืืืคืืืช ืืืืืโช ,โฌืขืฆืืจืโช .โฌืืืืโช ,โฌืืืืฃ ืืืืืื ืืขืจื ืืชืืื ืื ืืช ืืืฃ ืืืืืชโช.โฌโฌ โซืืืืื ืืขืฆืืืช ืืืชืื ืืืจืืืืืืืืืช ืืืืงืื ืงืจืืื ืืืชโช.โฌโฌ โซืขื ืืืช ื ืจืื ืฉืืืฆืืื ืืืืจืื ืื ืฉื ืืืกืื ืืชืจืืงื ืืืืืืื ืืืฆื ืกืืื ืฉื ืขืฆืืจืโช.โฌโฌ โซื"ืืคืืจืืช ืืืืืจืืช" ืืชืืืื ืืืืช ืืืืกืข ืืชืื ืืืืฃ ืื ืืืืงื ืืชืื ืืงืืจ ืืืจืืืืืืืืโช,โฌโฌ โซื"ืืืื ืืงืื ืืื" ืืืื ืฆืืืโช ,โฌืืืืงืจ ืืฉืืืโช ,โฌืืชื ืืขื ืืชืืืช ื ืืืืช ืืฉืืืืื ืืืืจืืืโฌ โซืืืขืืคืคืืชโช ,โฌืืืืืืจืืช ืกืืืืืฆืืืช ืฉื ืืืจืืืืืช ืืืืืคืืชโช .โฌืืื ืืืกืข ืืโช-โฌืืื ืืจื ืืืกืจโฌ โซืืืืจื ืฉื ืืืืืืจ ืืืืืกืื ื ืืืืข ืืืจ ืืชืื ืืืคืโช ,โฌืืชืื ืืืชืโช ,โฌืืชืื ืขืฆืืโช .โฌืืื ืืื ื ืืจืืืงโฌ โซืืืืฆืโช ,โฌืืื ืืื ืืืคืจ ืคื ืืืโช ,โฌืืืขืืงื ืจืืฉื ืืื ืืคืโช.โฌโฌ
โซืืขืจืืช ืืืงืืจืืชโช:โฌโฌ โซโช1โฌโฌ
โซืขืื ืืื ืืืื ืกโช ,โฌืืืืืืช ืืืื ืกืืฃโช ,โฌืชืจืืืโช :โฌืจืื ืืืืืืโช ,โฌืืืฆืืช ืืืื ืกโช ,โฌืืจืืฉืืืโช ,2010 ,โฌืข"ื โช.122โฌโฌ
โซโช2โฌโฌ
โซืฉืโช ,โฌืข"ื โช.125-126โฌโฌ
โซโช3โฌโฌ
โซืฉืโช ,โฌืข"ื โช.122โฌโฌ
โซโช4โฌโฌ
โซโช.Christian NorbergโSchultz, Genius Loci: Towards a Phenomenology of Architecture, Rizzoli, New York, 1980โฌโฌ
โซโช5โฌโฌ
โซโชTheodor W. Adorno, Functionalism Today, http://isites.harvard.edu/fs/docs/icb.topic1412058.files/โฌโฌ โซโช.Week%201/AdornoFT.pdf, p. 7โฌโฌ
โซโช6โฌโฌ
โซืืืื ืกโช ,โฌืืืืืืช ืืืื ืกืืฃโช ,โฌืข"ื โช.124-125โฌโฌ
โซโช69โฌโฌ
โซืืืชืื ืกืืชโช .โฌืืืืฆื ืืืื ื ืจืื ืืืขืื ืืืจืฉ ืืฉืืงืื ืฉืืฉืชืืฉโช ,โฌืืขืื ืืื ื ืคืืจืง ืื ืืฉืโฌ โซืื ืื ื ืืืจืื ืฉื ืจืืืืืื ืืืืโช.โฌโฌ โซืืงืฉืจ ืืงืืื ืืื ืืืืฃ ืืื ืืื ืืืืฆื ืืืืจืื ืฉื ืืืกืื ืืืืืจ ืืช ืขืืืืืชืื ืฉื ืืคืกื ืืืืื ืืโฌ โซืืืจืง ืื ืืจืก (โช .)Mandersโฌืคืกืืืโช ,โฌืืขืฉืืืื ืืจืื ืืืืจ ืื ืฉืจืืฃโช ,โฌืืงืจืืืงื ืื ืืขืฅโช ,โฌืืฉืืืืโฌ โซืืื ืืืืืืช ืืืโช ,โฌืืืงื ืืืฃ ืืืืืช ืืืื ืจืืืืืโช ,โฌืฉืืืื ืืชโช ,โฌืืืกืืืช ืืื ืืจืืชโช .โฌืจืืืช ืืืืืืืชืืโฌ โซืืชืืืืช ืืืฆืืื ืขื ืืื ืงืจืฉืื ืื ืจืืืืืโช ,โฌืืื ืคืกืืื ืื ืืืขืฉื ืืืง ืืกืืจืช ืืชืืฉืืชโฌ โซืืฉื โช . Self Portrait as a Buildingโฌืืงืฉืจืื ืื ืืฆืจืื ืืื ืืืจืืืืื ืืฉืื ืื ืืืืฆืืื ืฉืโฌ โซืื ืืจืก ืืืืชืคืชืืืช ืืืงืืืื ืฉื ืืืืืืงืืื ืืื ืฉืื ืืขืืืืืชืื ืืชืงืืืืช ืืขืื ืืืืืชโฌ โซืืืืืืชโช ,โฌืกืืจืืืืืกืืืชโช .โฌืืคืฉืจ ืืืืจ ืฉืืืืกืืโช ,โฌืืื ืื ืืจืกโช ,โฌืคืืขื ืืืจืื ืฉื ืืืืื ืขืืื ืืืโฌ โซืกืืจืืืืืื ืืจืืืืืืโช ,โฌืื ืืืืคื ืฉืื ืโช .โฌืืคืกืืื ืฉื ืืืกืืโช ,โฌืืืืืื ืืื ืืืคืจืืืงื ืืืืจืืโช,โฌโฌ โซืืืืืจืื ืืืืืืื ืกืืจืืืืืกืืืื ืฉืืื ืืืคื ืืื ืืชืขืจืืืื ืืืืืจืืชโช ,โฌืืฉืืืื ืืชโช ,โฌืืืืกืืืชโฌ โซืืืืืืชโช ,โฌืื ืงืจืืื ืกืืจืืืืืกืืืช ืฉื ืขืืืืืชืื ืชืืื ืจืืืงืืืืืช ืืืืโช .โฌืืื ืืืืฆืจ ืกืืจืืืืืืโช,โฌโฌ โซืืฉ ืฆืืจื ืืืจืืืื ืืกืื ืจืืืืืกืืืืโช .โฌืืื ืืขืจืขืจ ืขื ืืืฆืืืืชโช ,โฌืืฉ ืฆืืจื ืืืฆืืืืช ืขืฆืืโช .โฌืขืโฌ โซืกืืื ืืืืงืื ืืืืืื ืืืืืืชืื ืฉื ืื ืืจืกโช ,โฌืืืืืืจืืช ืคืกืืื ืืฆืจืืื ืื ืืืื ืืื ืงืืืกืืืโช,โฌโฌ โซืื ืืื ืจืืืืืกืืืืช ืืืื ืฉื ืืืกืืโช ,โฌืืืื ืืคืฉืจ ืื ืืืืืืจ ืืื ืืืืืืืช ืกืืจืืืืืกืืืืชโช.โฌโฌ โซืืฆื ืืืกืื ืืขืืืชื ืืืืืืืื ืืืืชืืืื ืืชืงืืืืื ืืกืคืจื ืืืจืชโช .โฌืื ืืื ื ืจืืืืืกืืืืโช,โฌโฌ โซืื ืื ืกืืืกืืืืืืโช .โฌืื ืืฉืื ืืืืืจืื ืืช ืืืฆืืืืชโช ,โฌืืฉ ืืื ืขืืืืช ืคืจืืคืืจืฆืืื ืื ืื ืืกืชืืโฌ โซืืืืืงโช ,โฌืืคื ืฉื ืืืจ ืืืื ืืื ืืืืืืืช ืืืืจืืช ืฉืืืฆืจ ืืืกืืโช.โฌโฌ โซืืจืื ืืืฆืจ ืืืกืื ืกืืืืืช ืฉืืืืชโช ,โฌืืืฆืืคื ื ืื ืก ืืืืื ืืืกืชืืื ืืชืืืโช ,โฌืื ืืืขืฉื ืืืโฌ โซืืกืชืื ืขืืืื ืืืืขืืโช ,โฌืฉืื ืืืืืืืช ืืืืื ืื ืฉื ืืืื ื ืฉืืจืื ืืจืื ืืืืื ืืืืชื ืืืโช.โฌโฌ โซืืืืืจโช ,โฌื ืฉืืจ ืืืก ืคืจืืคืืจืฆืืื ืื ืืจืืจ ืืืื ืืื ืืืืืืืชโช ,โฌืืืื ืื ืืืฆืืคืืโช .โฌืืงืฉืจ ืืื ืืืืฃโฌ โซืืืืจืืืืืช ืืงืืืข ืืืขืจืืช ืคืจืืคืืจืฆืืื ืืืชโช ,โฌืฉืืจื ืื ืืื ืื ืืืืืืืงืืื ื ืื ืื ืืืืก ืืฉืืจโฌ โซโช68โฌโฌ
โซืืคืจืืคืืจืฆืืืช ืฉื ืืืื โ ืืขืื ืืืืืืช ืืืืืืช ื ืืกืคืชโช ,โฌืฉืืงืืืขืช ืขืืืง ืืชืื ืืืื ื ืฉืื ืโฌ
โซืืืืื ืืขืืืืืช ืืืืืืื ืืงืืืืืช ืฉื ืืืกืืโช ,โฌืืกืจื ืืืฆื ืืืืคโช .โฌืืืืค ืงืจืืืโช ,โฌืืคื ื ืฉืืกืจืโฌ โซืืงืฆืจ ืืืืฆื ื ืจืืื ืืืืืงโช ,โฌืืขื ืืชืืื ืืกืืฃโช ,โฌืืืืื ืืืืค ืืืคื ืืช ืกืืคืืจ ืืงืืช ืืืฉืคืืโฌ โซืืืจืืืืืคื ืืชืืืื ืืื ืกืืคื ืืกืืืโช ,โฌืืกืข ืืืชืโช-โฌืคืืกืงโช ,โฌืฉืื ืืืคืื ืงืืืืืื ืืชืืฉืืืโฌ โซืืื ืขืื ืืืขื ืื ืืื ืืื ืืื ืื ืืืโช .โฌืืขืฆืืืช ืฉืืื ืืช ืืช ืืกืืคืืจ ืืืืงืืช ืืช ืชืืืฉืชโฌ โซืืืืืืโช ,โฌืืคื ื ืฉืืืกืข ืืจืืฉ ืืชืืื ืืชืื ืืืืชโช .โฌืฉืื ืฉื ืืกืจืโชHome as Will and ,โฌโฌ
โซโช ,Representationโฌืืืืืฉ ืฉืืืื ื ืืืจ ืืื ืืืจ ืืืฆืื ืงืืืกื ืฉื ืืืชโช ,โฌืงืื ืกืืจืืงื ืจืืงโช,โฌโฌ โซืชืฉืืงื ืืืชืืช ืื ืืคืืช ืืืืื ืืืืืชโช .โฌืืื ืื ืืืืชโช ,โฌืืืชื ืืืืช ืืืืงืื ืโช ,โฌืืืฆื ืืืืื ืโฌ โซืืืืืืฆืืื ืืชโช ,โฌืืืฆืื ืฉืืืืืง ืืืชืจ ืฉืืช ืขื ืืื ืืืืค ืืืื ืกืืคืโช .โฌืืืื ืืืื ืช ืืืืืจืื ืฉืโฌ โซืื ืงืืจืืืืืโช ,โฌืฉืื ืื ืจืง ืืืืช ืืืืื ืืืจืื ืขื ืคืก ืืืฆืืจโช ,โฌืื ืืืฉืคืื ืฉืืืืืกืช ืืืชืโฌ โซื ืืฆืจืช ืืชืื ืกืืจืชืืืช ืชืขืฉืืืชืืชโช.โฌโฌ โซืืชืืืื ืืืโช ,โฌืฉืื ืืืืฃ ืขืฆืื ื ืืคื ืืืืงื ืฉื ืื ืืืโช ,โฌืฉื ืืชืจืืฉืืช ืืืจืืืืืชโช ,โฌืืืืขโฌ โซืืฉืืื ืืืืฆื ืืืืจืื ืฉื ืืืกืืโช ,โฌืโช ,2015-โฌืืขื ืืืืชืจืช ืืคืจืืืงืกืืืช "ืืื ืืงืื ืืื"โช.โฌโฌ โซืื ืืื ืื ืืกืืืืืช ื ืืฉืืื ืืขืืโช ,โฌืืงืืงืื ืืชืืืจืืโช ,โฌืขื ืืืืช ืฉืืืืื ื ืืฉืื ืืขืื ืืืืโฌ โซืขื ืฉืืฉืื ืฉืื ื ืืฉืฃโช ,โฌืืืืืก ืืืชืคืืจืจ ืืืฉืฃ ืืช ืงืื ืกืืจืืงืฆืืืช ืืขืฅ ืฉื ืืคืกืโช .โฌืืชืืโฌ โซืจืืฉ ืืื ื ืืฆืื ืืืจืืืช ืืืช ืชืืื ืคื ืื ืืืืืคื ืคื ื ืกืืกโช ,โฌืฉืืืืืื ืืจืืฉื ืืืืื ืืฉืชืืืโฌ โซืขื ืคื ืืื ืฉื ืืืืช ืืืืโช .โฌืืืืื ื ืืืชืืจ ืกืืืโช ,โฌืืืกืืื ืฆืืืข ืืืื ืฉืขืืื ืกืืจื ืขื ืืืืชโฌ โซืืืงืื ืช ืืชืืื ื ืฉืื ืืื ื ืืืืืโช .โฌืกืืกืื ืืืืื ืืืืจืื ืืขืืืืืชืื ืฉื ืืืกืืโช .โฌืืื ืืกืืจืืชโฌ โซืืืืฉืืืืชโช ,โฌืื ืื ืืชืงืืืืื ืืชืื ืืจืื ืฉื ืืกืข ืืืจืโช ,โฌืืขืื ืืืืืจืื ืขื ืชืืืื ืื ืืืโช.โฌโฌ โซืคืกื ืืื ืืืจ ืขืืื ืืืจืืื ืฉื ืืืืจ ืืฆืืืช ืืจืืืโช ,โฌืืืขืื ืคืกื ืืืืจ ืืื ืืื ืืืโช .โฌืืืโฌ โซืืืืกื ืจืืืืขืืโช-โฌืจืืืืขืืโช ,โฌืืืืื ืืื ืื ืืื ืื ืืื ืืืืจืื ืืืื ืโช ,โฌืืื ืืืืื ืืช ืกืื ืืจืืืืโฌ โซืืจืืืืื ืฉืืืื ืื ืืืโช .โฌืื ืืืืื ืืื ืืืื ืงืฉืืจืื ืืื ืงืฉืืจืื ืื ืืื ืืขืช ืืืขืื ื ืืืชโช.โฌโฌ โซืืฉืจืื ืืืกืืืืื ืืืืจืื ืืื ืืืโช ,โฌืื ื ืงืืขืื ืืคืชืืืืืืชโช .โฌืืขืื ืืืืโช ,โฌืืโช ,โฌืืืฉื ืืืืืืจโฌ โซืืชืืคืื ืืืโช :โฌืื ืืื ืงืืืืช ืฆืืืโช ,โฌืฉืขืืืื ืืืกืืืืช ืฉืื ืืชืืจืืโช ,โฌืืืชืืจ ืืฉืืื ืืืฉืืฉโฌ โซืืขืื ืืื ืืกืืข ืืืื ืื ืืฉื ืืืืืืจโช .โฌืกืืืืืช ืืืืืื ืื ืืืื ืืงืืจืืช ืื ืืงืืืืืชโช ,โฌืฉืืืืืืชโฌ
โซโช67โฌโฌ
โซืงืืื ืืื ืืืจืืืืโช ,โฌืืงืืกืืจืืคืโช ,โฌืืืื ืืชืืืฉืืช ืืชื ืืขืโช.โฌโฌ โซืืื ืืจืืื ืืืืฆืืื ืฉื ืืืกืื ืื ืืื ื ืืื ืงืืข ืื ืืืฆืื ืงืฆืจ ืืื ืืืกืข ืืืฉืื ืืืชืคืชืโฌ โซืืืืืื ืืืืกืกโช-โฌืืืโช .โฌืืืโช ,โฌืืคืขื ืืจืืฉืื ืโช ,โฌืืชืืื ืืฆืืจื ืงืื ืงืจืืืช ืืกืืืืืงืืืืืช ืืืชืโฌ โซืจืืฉ ืืื ืืืืืื ืื ืื ืขื ืืืื โ ืืื ืืืฆื ืืฆืืืื ืคืจืืคืื ืฉื ืคื ื ืืืื ืขืฆืืโช .โฌืืืืโฌ โซืืื ื ืืขืฆืื ืืืชโช ,โฌืืืชื ืืืช ืจืืืืช ืืืงืื ืโช ,โฌืืืื ื ืืื ืืื ืื ืขืฆืืืช ืฉื ืคืืืืช ืืืืื ืโช .โฌืื ืืืืขืโฌ โซืืืืช ืืืืฉื โ ืืื ืคืืืืช ืืคืื ืฉืื ืืื ืื ืืคืืช ืืขืฆืื ืืืืื ืฉืื ืืื ืื ืืฉืโช .โฌืืืืืืืืโฌ โซืืืกืืื ื ืืืื ืืชืืคืืื ืื ืืืงืืืืืืช ืจืืชโช-โฌืขืืฆืื โช -โฌืจืขืฉื ืืงื ืืงืื ืฉืืืืืื ืืช ืืขืฆืืืชโฌ โซืื ืคืืืืช ืืืจืขืฉืื ืฉื ืคืืืืช ืืฉืื ืืื ืืคืื ืฉื ืืืืฉืโช ,โฌืฉืืืขืฉื ืืืคืงืื ืขื ืืื ืืืืโฌ โซืขืฆืืโช .โฌืืืื ืืฉืื ืืื ืฉืืฆืจื ืกืืืื ืืืืฉื ืืืชืื ืชื ืืขื ืืืขืืื ืืช ืืืืจ ืืฆืืช ืืชืืโฌ โซืืืืช ืืืกืขโช .โฌืืื ืืจืืื ืืขืฆืื ืกืืจืช ืขืฆืืืชโช ,โฌืฉืืชืคืจืงืช ืื ืืคืืช ืืืขืื ืื ืโช ,โฌืืืฃ ืืคืืจืงโช,โฌโฌ โซืืืฆืืจืฃ ืืงืืืืช ืจืืฉื ืื โ ืจืืฉืื ืืจืืคืื ื ืืกืคืื ืืืืชืโช ,โฌืคื ืืื ืคืื ืืช ืืขืืจ ืืืืื ืืโฌ โซืืืืขโช .โฌืืืืจ ืืื ืืืืจโช ,โฌืืื ืืื ืืืืฉืโช ,โฌืคืืื ืืืืื ืืคืืโช ,โฌืืืื ืื ืืื ืื ืืืื ืฉืื ืืืโฌ โซืงืื ืื ืฆืืื ืื โ ืืืโช ,โฌืืืื ืืฉืืืฉื ืืืืืโช ,โฌืื ืืโช .โฌืืื ืืืโช ,โฌืืืืคืืฉโช ,โฌืืืกืขโช ,โฌืืืฉืคืื โ ืืืืโฌ โซื ืืฆืจืื ืืชืื ืืืืฃ ืขืฆืืโช ,โฌืืืืืจื ืืื ืฉื ืฉืื ืืื ืืขืฆืืืชโช .โฌืืื ื ืืฉืคืื ืืืชื ืืืื ืืืโฌ โซืืกืืคืืจ ืืจืืืโช ,โฌืืืืง ืคืืืืืืืื ืืื ืืจื ืื ืืืืโช.โฌโฌ โซืืืงืืจื ืฉื ืืืกืื ืืช ืืืืจ ืื ืงืืืช ืืื ืืืืจืืช ืืืืขื ืืื ืืฉืืืโช .โฌืืกืจืืื ืืฉืจืื ืืชโฌ โซืืงืื ืกืืจืืงื ืืืืจื ืฉื ืืฆืืื ืืืกืข ืืขืืืช ืืชืืกืืืชโช ,โฌืืชืืืืชืืช ืืืงืืช ืืฉืคืืโช .โฌืืืชโฌ โซืืจืืืืช ืืื ื ืจืง ืืืืืโช ,โฌืืื ืขืืืืช ืืื ืืช ืฉื ืืืกืืโช ,โฌืืืื ืืื ืืื ืคืืื ืืืชื ืืคืืโช ,โฌืืืืคืโฌ โซืืืจืื ืโช ,โฌืืื ืืืืืโช .โฌืืืืืจโช ,โฌืืืืืื ืืื ืืืช ืืืืช ืืชืืืืืช ืืื ืืืฆืืจื ืืืจืืชโช ,โฌืืืืืจ ืืืฆื ืืืืโช,โฌโฌ โซืืืฆืจโช ,โฌืืืืืโช .โฌืืคื ืืืื ืกโช ,โฌืืืื ืื ืฉื ืืืจืื ืืงืืืื ืฉื ืืืชโช" :โฌืืืืืจ ืฉื ืืืืืชื ืืื ืืืขืืจโฌ โซืืืฆื ืขโช ,โฌืฉืืืกืืชื ืืชืงืืืช ืงืืืช ืคื ืื ืฉืืื ื ืืืื ืืื ื ืืฉืืชืืจืช ืืช ืฉืื ืืืื ืืืืืืชโช,โฌโฌ โซืืื ืืืืฉืโช .โฌืืืืฉื ืืื ืืชื ืื ืืืชืื ืกืืชโช ,โฌืืคื ืืืืืช ืฉื ืืืืช ืืืืืืจ"โช 6.โฌืืชืื ืฉืืืืกืืโฌ โซโช66โฌโฌ
โซืขืืกืง ืืื ืืืจืื ืื ืฉื ืืงืืื ืืืืจ ืขืฆืืโช ,โฌืืคื ืฉืืขืืจ ืขืกืง ืืืจืื ืืืืื ืืงืืื ืืืืืืจโช.โฌโฌ
โซืืืื ืืืืงืจ ืืืืืช ืืช ืืืื ื ืืฆืืจื ืืืคื ืืชโช .โฌืื ืืื ืฆืืื ืืืืช ืฉื ืืืกืื ืขื ืงื ืืชืคืจโฌ โซืฉืืื ืืจืืืื ืืงืืืืช ืืืืืืช ืืืืืื ืืื ืืืจืกืืืช ืคื ืืื ืืืืืืชโช .โฌืืืฉืืื ืืื ืฉื ืืืืโฌ โซืืช ืืืืชื ืืกืืืืืงืืืืืช ืขื ืืกืืืืืช ืฉืืื ืืื ืโช ,โฌืืืคืจืกืื ืืืืฆืื ืฉื ืืืื ื ืืจื ืืืืจืโฌ โซืืืืฃโช ,โฌืืืืืื ืืืืงืจื ืื ืืจื ืืืฉื ืืืจ ืืืชืงืืื ืืงืฉืจ ืืื ืืืื ืืกืืืืชืโช .โฌืชืืืืืืจโฌ โซืืืืจื ืโช ,โฌืืืืืจื ืืืืงืืฉ ืืืจืืืืงืืืจืโช ,โฌืืืขื ืื ืืืื ืืืืื ืขื ืกืืืืชื ืืื ืืื ืืชืืโฌ โซืืืฃ ืืืืืโช .โฌืืืืืืก ืืื ืืฉืืขืืชื ืืื ื ืืืงืื ืืื ืืืืโช ,โฌืืื ืืืืงื ืงืฉืจ ืืฆืืจืชื ืืืโฌ โซืืกืืืืืงื ืืืืืืืงืโช ,โฌืืืชื ืืงืฉืจ ืฉืืืืฆืื ืืืื ืืชื ืืชืืกืก ืขืืืโช 5.โฌืืืื ืืืื "ืืืจืืืฉโฌ โซืืืืช" ืืจื ืืืืืืช ืืืืืืช ืขื ืืื ืืื ืฉืืื ืืจ ืืโช .โฌืืืช ืืขืฆืืืช ืืืืืฉ ืืืฃ ืืืืื ืืโฌ โซืืฆืืจื ืงืืฆืื ืืชโช.โฌโฌ โซืืืชื ืืืช ืืขืฆืืืช ืฉื ืืืืืจ ื"ืืคืืจืืช ืืืืืจืืช" (โช ,)2011โฌืืื ืืืืฆืืื ืืฉืืคืชื ืืืโฌ โซืืืืชืจ ืฉื ืืืกืืโช .โฌืืื ืืืฆื ืืืขืื ืชืืืื ืืืื ืขื ืืงืืจโช ,โฌืืฆื ืชืืืื ืืืจ ืฉืืฉืจืื ืชืื ืืชโฌ โซืืืจืืืืืช ืฉื ืืื ื ืื ืืจืืจโช ,โฌืืืืชื ืงืืื ืืชืืจ ืฉื ืขืฆืืืชโช .โฌืฉืื ืืฉืชืืฉ ืืื ืืืกืื ืืืืโฌ โซืืขืโช ,โฌืืืจืืฉืื ื ืฉืืื ืืกืคืจืืโช ,โฌืืืืื ืืื ืืกืื ืื ืืืืืช ืืืืฉืืืื ืืฉืจืืืืื ืืืจืืืืืืโฌ โซืื ืชืืจืืืื ืืจืืืืืืืืืโช .โฌืืืืื ืืืืก ืื ืื ื ืืื ืจืืฉืื ืืืจืืืื ืืื ืืืช ืืื ืืื ืืชืืชโช-โฌโฌ โซืืืืโช ,โฌืื ืืืกืื ืคืืขื ืืคืขืจ ืฉืืื ืืจืืฉืืโช ,โฌืืชืืืืโช ,โฌืืคืกื ืืืืืโช .โฌืืืืช ืืจืืืืช ืืืืคืืขโฌ โซื"ืืคืืจืืช ืืืืืจืืช"โช ,โฌืืืืืืโช ,โฌืืืคืืื ืืืื ืืฉืืื ืคืืจืฅ ืืช ืืืืืืช ืืชืืืืโช .โฌืืื ืืงืืืโฌ โซืืืชืืจ ืฉื ืืืืชโช ,โฌืฉืจืฉืจืช ืืขืฆืืืชโช ,โฌื ืคืจื ืืืงืืจ ืืคืืจืฅ ืืชืื ืืื ืืืืจืืโช .โฌืฉื ืืื ืืชืืืจโฌ โซืืกืคืื ื ืงืื ืโช ,โฌืฉืืชืืื ืืกืืืจืืช ืฉืชื ืฉืืจืืช ืฉืื ืืืโช ,โฌืืืืื ื ืืคืื ืืืกืช ืคืชืืื ืืืฉืืืืชโฌ โซืขื ืจืฆืคืช ืืืืจืืโช .โฌืฉืื ืืื ืืชืคืงืืืช ืื ืืืื ื ืืื ืืื ืฉื ืืจืคืกืช ืืืืช ืืขืืืโช ,โฌืืืฉ ืืืโฌ โซืืฆืืืจ ืืืืืื ืืืืฉืืโช ,โฌืขืืื ืืืืื ืงืืโช .โฌืื ืืืืื ืฉืื ืืืโช ,โฌืขืฉืืืื ืืฉืื ื ืืืโช ,โฌืืืืจืืโฌ โซืฉืื ืืฉืื ืืชืขืจืืื ืื ืจืืื ืืชื ืืขื ืืชืืืชโช .โฌืืืืงื ืืชืื ืืืคืืจืืช ืืืจืืืืืืืืืืชโช ,โฌืืชืืโฌ โซืืขืืจโช ,โฌืืชืืืื ืชื ืืขืโช ,โฌืืชืืื ืืกืขโช .โฌืืืคืืจืืช ืืืืืจืืช ืืชืงืืืืื ืืืขืฉื ืืืื ืืืืจโฌ โซืืืืืช โช -โฌืืฉืจืืืื ืงืืื ืืืืื ืืืืคืฉืจืื ืืฆืืจื ืืชืื ืืคืืกืโช-โฌืืจืืืืโช .โฌืืขืื ืฉืืขืืืืืชืืโฌ โซืืืืงืืืืช ืฉื ืืืกืื ื ืืฆืจ ืืืกืื ื ืก ืืื ืืฆืืขืื ืืืช ืืืคืชื ืืืื ืืชืืื ืืืกืืืโช ,โฌืืื ืืืชืโฌ
โซโช65โฌโฌ
โซืืงืจืืื ื ืืกืคืช ืืคืฉืจ ืืืืจ ืฉืืืชื ืืชื ืืื ืืืืงืื ืืืื ืืืจืกืื ืืืืฆืืื ืืื ื ืืชื ืืืโฌ โซืืืจ ืืืืคืืื ืืื ืืืืโช ,โฌืื ืื ืชืืืื ืฉื ืืื ืื ืืืกืืชโช .โฌืืืืืจ ืืืืกืืืจืื ืืืืจืช ืขื ืขืฆืืโช,โฌโฌ โซืืคืืกืื ืืฉืืขืชืงืืโช ,โฌืืื ืืืืืื ืืืืงืืื ื ืืคืืื ืืืื ืืืจืกืื ืืืืืืโช .โฌืืืื ืืืจืกืื ืืืโฌ โซืืขืืื ืืืกืโช ,โฌืืขืืื ืืชืงืืื ืืืจืื ืงืื ืงืจืืโช ,โฌืืื ืืืืืืช ืืืืืช ืืกืคืฆืืคืืช ืืืืืืืืชโฌ โซืืฆื ืืืกืื ืืื ื ื ืืืขืืช ืืืืฃ ืคืืืืื ืืจืืืโช ,โฌืื ืื ืืืืืืืฆืื ืืืื ืืกืืืช ืืืืืชโช.โฌโฌ โซืืงืื ืงืจืื ืืืคืืข ืฉืื ืืขืืืื "ืจืืืืช" (โช ,)2009โฌืฉืื ืืจืืฉืื ื ืืขืืืืืชืื ืฉื ืืืกืื ืืืคืืขโฌ โซืืืืื ืืืืช ืืืืงืื ื ืืงื ื ืืืื ืืฆืืืืชื ืฉื โช .1:1โฌืฉืื ืฉื ืืืชโช ,โฌืฉืงืืื ืืืชืืจ ืฉืื ืขืฉืืืืโฌ โซืคืกืื ืขืฆืืืชโช ,โฌืืืฆื ืืืืข ืืืชืื ืืขืื ืืืโช .โฌืืืืงืืืืช ื ืืืืช ืืฉื ืืขืืืื ืืขืืจืโช" ,โฌืจืืืืช"โช,โฌโฌ โซืฉืชืจืืื ืืื ืืืืช ืืืืื ืืช ืจืืืื ืืืฉืืขืืืืช ืฉืืโช ,โฌืืืืื ืืช ืืืืืื โช Winds, Spiritsโฌืโฌ โซโช ;Ghostsโฌืืื ืืชืงืืืืช ืื ืืืืงืืื ืฉื ืืขืืืื ืืืืฉืื ืฉืืืืฆืข ืฉื ืืช ืืืืืฉืื ื ืืคืโฌ โซืืืืคืจ ืืขืจืื ืขืื ืืื ืืืคืจ ืืืื ืื ืืืืืื ืขืื ืืืโช .โฌืืืช ืืขืืโช ,โฌืืืืช ืืืืฉืืโช ,โฌืจืืืืข ืืืโฌ โซืืฉืืืฉโช ,โฌืื ืื ืืขืฆืืืชโช ,โฌืืืืืืจืืช ืืช ืืืืจืื ืืงืืืืื ืฉื ืืืงืื ืืืช ืืืืืืื ืืงืืืืืโฌ โซืฉื ืืืืื ืฉืืื ืขืืื ืขืืืโช .โฌืืืกืื ืืืกืืฃ ืืืื ื ืืกืคืจ ืืืืืชโช ,โฌืืฃ ืื ืืขืฆืืืชโช ,โฌืขืโฌ โซืืืืื ืืืฉืืคื ืืชืื ืืืืชโช ,โฌืืื ืืืชื ืงืืื ืืชืืจ ืืขืฆืืืชโช ,โฌืืืืื ืคืขืืืช ืืจืืฆืืฃ ืฉืโฌ โซืืืืช ืืืคืกืงื ืืืืฆืขโช .โฌืืืืืจืช ืืขืฆืืืช ืืืืืจื ืื ืืื ืืงืื ืืืืช ืชืืื ืืช ืื ืืฉืืืชโช ,โฌืืืืืโฌ โซืฉืืื ืืื ืื ืชืืืชืโช .โฌืืฆืืคื ื ืื ืก ืืชืื ืืืช ืืจืืืืชโช .โฌืืืืช ืืงืืฃ ืืืชืโช ,โฌืืื ืฉืืื ืืื ืโฌ โซืืช ืืคืื ืงืฆืื ืืืกืืกืืช ืืืืชืจ ืฉื ืืืชโช :โฌืืื ื ืืืกืชืจืโช .โฌื ืืคืื ืืื โ ืืื ืืคืฉืื ืืช ืืฆืืคืโฌ โซืืขืืจืโช .โฌืื ืขืืืจ ืืฆืืคื ืืืืื ืืงืืืืืชโช ,โฌืคื ืืื ืืืืืืชโช.โฌโฌ โซืืืืื ืื ืืคืฉืจ ืืงืจืื ืืช ืืืืช ืืืืจ ืืืืฉื ืืคื ืืื ืืืืื "ืืืืืช ืืืงืื" (โช)Genius Lociโฌโฌ โซืฉืืืข ืชืืืจืืืงื ืืืืจืืืืืชโช ,โฌืืจืืกืืืื ื ืืจืืจื ืฉืืืฅโช 4.โฌืืฉืืขื ืฉื ืืืืฉื ืืืงืืจโช ,โฌืืืชโฌ โซืืจืืืืช ืืขืชืืงืโช ,โฌืืื ืืขืื ืจืื ืืืืื ื ืขื ืืืงืืโช ,โฌืืืฉ ืืื ืืจืืืืช ืฉื ืืืช ืืจืืืืชโช.โฌโฌ โซื ืืจืืจื ืฉืืืฅ ืืฉืชืืฉ ืืืืฉื ืืื ืืืืืืจ ืืืจืืืืืช ืืฆืืืืช ืืืืคื ืืืจืื ื ืืชืื ืืืืืโฌ โซโช64โฌโฌ
โซืฉืืื ืืืฉืชืชืช ืขืืืโช ,โฌืืฉืืืืืจ ืฉืืื ืื ืืื ืืื ื ืฉืืื ืืืงืื ืฉืืื ื ืืฆืืช ืืโช .โฌืจืง ืืโฌ
โซืืืืฆืืื ืืื ืื ืืฉืคื ืืขืืจืืช ืืืืืื ืืขืชืืโช .โฌื"ืืืืืจื ืืืืจ"โช ,โฌืืื ืืืืฆืืื ืืจืืฉืื ืืโฌ โซืฉื ืืืกืืโช ,โฌืโช ,2003-โฌืืืคืืขื ืืืื ืโช ,โฌืืขืฆืื ืืขืื ืืืช ืืืงืื ืืขื ืื ืืฉืืืฉโช ,โฌืืืช ืืื ืโฌ โซืืื ืฉืืคื ืืืขืื ืืืืโช ,โฌืฉืฉืื ืืชื ืืกืก ืืขื ืืื ืืกื ืืืืชืืืช ืืืืืชืืืชโช" :โฌืฉืคืืฅ"โช .โฌืฉืคืืฅโฌ โซืืืื ืขืฆืื ืืื ื ืื ืืฆืโช ,โฌืื ืฉืื ืืืืืืืชื ื ืืืืื ืืืงืืืช ืืืืงืื ืืืืืืืื ืืืืืืืืืโช,โฌโฌ โซืืื ื ืฉืงโช-โฌืฆืขืฆืืข ืฉืืื ืืฉืืงืืช ืืืืืืืช ืืืืจืืืชโช ,โฌืืื ืืืืจื ืืืื ืืืฉืืืฉืื ืื ืขืืโฌ โซืืขืงื ืืืืืืืืช ืฉื ืืืืืืืช ืื ืฉืืืชโช .โฌืื ืืื ื ืืคืืื ืืกืืื ื ืืื ืืืช ืืืื ืืืโช ,โฌืชืจืืืชืืืโฌ โซืืืื ืืืจืกืืืืโช ,โฌืกืืื ืื ืฉืืืืืจืื ืืืืืืื ืืืืฃ ืฉื ืืืืื ืขืืืื ืขื ืขืฆืืโช .โฌืื ื"ืฉืคืืฅ"โฌ โซื ืืชืจ ืขืืจืโช ,โฌืกืื ื ืืฉืจืืื ืืืืืงโช .โฌืืืืฆื "ืฉืืขืืจ ืจืืืื" ืืืคืืข ืืื ื ืฉืขืืื ื ืจืฉื ืืืชื ืืโฌ โซืืฉื ืืืฉืจืืื ืื ืื "ืืืกื ืืื ืื"โช .โฌืืฉืืืืช ืืืืืืช ืื ืืฉืืืช ืขืืืื ืืฉื ืขืฆืืืช ืคืจืืฉืืชโฌ โซืขื ืจืฆืคืช ืืืืจืืโช ,โฌืืืืื ืืื ืืืฆืืืช ืื ืื ืกืืช ืื ืชืื ืืืื ืโช .โฌืชืืช ืืืืชืื ืืขืืจื ืืืฉืืืืชโฌ โซืืืืืืืชโช ,โฌืืืืืืจืืช ืืฉืืืืช ืืืื ืืฉโช ,โฌืืขืืจืจืืช ืืืืืฉืื ืืืืืืช ืืืจืื ืืฉืจืืืืชโช ,โฌืื ืื ืงืจืืืโฌ โซืืืฉืืชโช ,โฌืกืคืฆืืคืืชโช ,โฌืืงืืืื ืืืืืจื ืืืื ืืขืืจืจ ืฉืื ืืช ืืืชื ืืืชื ืืื ืืืืงืื ืืืื ืืืจืกืืโช.โฌโฌ โซืืชื ืื ืืชืงืืื ืื ืืืืฆื "ืงืืืช ืงืจืงืข"โช ,โฌืืื ื ืืื ืืื ื ืืืงืื ืืฆืืข ืืืจืื ืืขื ืงืฉืชืืชโฌ โซืืขืืืืืช ืฉืืจืืืื ืขืืืจืช ืืกืืืช ืจืืืช ืืขืืื ืืชื ืืกืก ืืฉื "ืืืคื"โช ,โฌืืืืชืืืช ืขืืจืืืช ืืืืื ืืืชโช.โฌโฌ โซืืืื ื ืืืืกืก ืขื ืชืื ืช ืืจืืืช ืืจืืฉืื ื ืืืืคืโช ,โฌืฉื ืื ืชื ืืขืืจ ืืชืืชืืช ืืชืืืืช ืืืืโฌ โซืืขืฉืจืื ืขื ืืื ืืฉืืืื ืืขืืช'ืื ื (ืืืื ืชืื ืช ืจืืืช ืืืคืโช-โฌืืืจืโช ,โฌืฉืืื ื ืืฉืืืืฉ)โช .โฌืืืื ืโฌ โซืืขืืฆื ืืกืื ืื ืืจืืืืงืืื ื ืขืจืืโช ,โฌืืืื ืงืฉืชืืช ืืขืืืืืช ืืืืืืชืืืชโช .โฌืกืืจืืช ืืืืืืช ืงืื ืืชโฌ โซืฉื ืืฉืืืช ืขืฆืืืชโช ,โฌืืืืื ืืืฉืืืืช ืืืืจืื ื"ืฉืืขืืจ ืจืืืื"โช ,โฌืืคืืืืืช ืืืืืื ืืืื ืโช .โฌืืโฌ โซืฉืืื ืืืกืื ืืื ืชืื ืช ืืจืืืช ืืืืคืืืช ืื ืื ืืกืืื ืืโช ,โฌืืืคื ืืืชื ืืืขืื ืืฆืืจ ืืืืืืโฌ โซืืจืืืืงืืื ืโช .โฌืื ืืื ืืคืฉืจ ืืงืจืื ืืจืืืื ืืงืืืืชโช ,โฌืืจืืืืช ืื ืืื ื ืฉื ืืขืืจ ืืชืืชืืชโฌ โซืืืืคื ืขื ืืจืืกืืช ืืชืื ืขืจืืืืโช ,โฌืื ืืืืช ืืกืื ืื ืืืืจืืืื ืืฉืขืื ืืโช .โฌืกืื ืื ืืืจืืืืืช ืืโช,โฌโฌ โซืืื ืื ืืืืชืืืื ืืขืืจืืชโช ,โฌื ืจืืื ืืจืื ืืืืชืจ ืืขืืื ืฉื ืืืกืืโช ,โฌืื ืืืขืฉื ืื ืฉืืืืฆืืืโฌ โซืืช ืืืชื ืฉืื ืืืชืจ ืืืืโช.โฌโฌ โซโช63โฌโฌ
โซืืกืจื ืฉืืจืฉืื ืื ืฉืืืืืชโช ,โฌืืฉืืจ ืืืืืืืงืืื ืืขืืืืืช ืจืืืคื ืืืืืืช ืฉื ืืืืโช.โฌโฌ โซืืืช ืืกืืืืืช ืืืกืืืืืช ืืืืืื ืฉื ืืืกืื ืืื ืืื ืกืคืง "ืืฉื ืฉืืืจ" ืโช ,2005-โฌืฉืืโฌ โซื ืื ืชื ืฉืืื ื ืฉืืืโช .โฌืื ืืื ื ืงืืืืช ืืื ืื ืืืืื ืืืืชื ืืื ืืืืงืจืื ืืื ืฆืืืืื ืฉืืืจืโฌ โซืืืื ืืขืื ืืงืืื ืืื ืื ืฉืืืืืืช ืืจืืงืืชโช .โฌืฆืืื ืฉืจืโช ,โฌืฉืืืืจืื ืืืคืื ืืืจืคืกืืช ืืืชืืโช,โฌโฌ โซืืฉืชืืฉืืื ืืชืงืจืช ืืืืจืืโช ,โฌืืืืืืื ืืืืืข ืืช ืืฉืืื ื ืืืืืืฉืื ืืช ืงื ื ืืืืื ืืืขืืืชโช.โฌโฌ โซืืืกืื ืืจืกืง ืืช ืืืื ืืืืื ืืืืชืจ โ ืืืจืื ืฉื ืฉืืื ืช ืืืืืจืืโช .โฌืืฉืืื ื ื ืืืฉืโช ,โฌืืืืืจืโฌ โซืืฉืืื ื ืขืฆืื ืื ืืืืงืช ื ืืืืืโช-โฌื ืขืืจืืโช .โฌืืืืืืช ืืืืืืจืืโช-โฌืืืืื ืืืืืืื ืขื ืืืกืืโฌ โซื ืืคืื ืืขืืืื ืืืืืจืื ืืกืื ืืืจโช ,โฌืืืืื ืขื ืง ืืืืื ืืขืื ืจืืฉ ืืื ืืจืืจืโช ,โฌืืืืืืื ืขืโฌ โซืืจืฆืคื ืืืืกืจ ืืื ืืโช .โฌืกืจื ืืื ืืืฆืื ืืืงืจื ืขื ืืงืืจ ืืื ื ืจืืื ืื ืฉืืโช ,โฌืื ืืืขืฉื ืจืงโฌ โซืจืืฉืืโช ,โฌื ืกืืคืื ืื ืืจ ืืืฆืโช ,โฌืืจืื ืขื ืืกืื ืฉืืืื ืืงืจืโช ,โฌืื ืฉืืืจ ืงืจืโช.โฌโฌ โซืืคืฉืจ ืืืืจ ืฉืจืื ืกืืืืืชืื ืฉื ืืืกืื ืื ืืื ืืืจืกืืืืชโช ,โฌืโช-โฌืืืงืืืืชโช ,โฌืืขืืกืงืืช ืืืฆืื ืชืืืขืโฌ โซืคืกืืืืืโช ,โฌืื ืคื ืืฉื ืฆืฅ ืืคืจืื ืืืกืคืฆืืคืโช ,โฌืืืืืช ืืืชื ืฉื ืืืื โ ืืืืืืื ืฉื ืืืจืืืืืชโฌ โซืืจืฅโช-โฌืืฉืจืืืืชโช .โฌืืืืืืโช ,โฌืืื ืืื ืื ืฉืืืคืืขืื ื"ืืฉื ืฉืืืจ" ืืืืืืื ืขื ืขืืืืืโช ,โฌืืขืืืจืืโฌ โซืืฉืคืจืืฅ ืืืืืฅ ืืฆืืืขืื ืืืคื ืื ืืคืืืืกืืโช ,โฌืืกืื ืื ืืืจืืืื ืืฉืจืืื ืืืืืง ืฉื ืฉื ืืชโฌ โซืืฉืืขืืโช .โฌืืืื ืืืขืฉื ืืฆืจ ืืช ืืื ืืื ืื ืืืืืื ืืื ืืื ืืื ืื ืฉืืื ืืื ืืืืคื ืฉืโฌ โซืฉื ืืช ืืฉืืขืื ืืืื ืืื ืืื ืื ืืชื ืืืืืืื ืฉืืื ืืื ืืชืืืจืจ ืืขืชโช .โฌืืื ืืื ืขื ืขืืืืืโฌ โซืืืืืืื ืืื ืืืชืื ืืืืืจืื ืืช ืฉืืืคืืชืื ืฉื ืืืืจืืืืืช ืืืืืจื ืืช ืืืื ืืืจืกืืืื ืืกืจโฌ โซืืืืช ืืงืืืืชโช ,โฌืืืืืคื ืกืคืฆืืคื ืืช ืืืฉืช ืขืงืจืื ืืช ืืชืืืืจืื ืืืืฉืืืืช ืฉื ืื ืงืืจืืืืืโฌ โซืืืืจืืืืืช ืืืืืจื ืืชโช ,โฌืื ืืขืืืื ืฉืงื ืืืงื ืืช ืืื ืืื ืื ืืฉืืื ืช ืฉืืืื ืื ืืฉืจืืืืชโฌ โซืืขืืื ืขื ืืืฉืืื ื ืฉื ืืืืจืืืืืช ืืืืืจื ืืช ืืืืฉ ืืช ืฉืืืคืชื ืืืื ืืืจืกืืืชโช .โฌืืืืืโฌ โซืืืืจืืืืืช ืืืืืจื ืืชโช ,โฌืื ืืืฆืืื ืฉื ืืืกืื ืืืืืื ืฉืืืคืื ืืืืืช ืืื ืืืจืกืืืชโช ,โฌืื ื ืื ืขืืโฌ โซืืขืืฆืืช ืืงืื ืงืจืืืืชโช.โฌโฌ โซโช62โฌโฌ
โซืื ืกื ืืืฆืื ืื ืืงืื ืงืืข ืืื ืกืืจืืช ืืฉืืืืืช ืืืืฉืืช ืืขืฆืืืช ืืืื ืคืกื ืจืืืชโช .โฌืืืืช ืืืจืชโฌ โซืฉืืืืช ืืชืื ืฉืื ืืจืื ืฉื ืกืืจื ืฉืขืืื ืืชื ืืกืกืื ืื ืืื ืืจืืง ืืชืืจื ืฉืขืฉืื ืืขืฆืืืชโช .โฌืื ืืืโฌ โซืืืจืช ืื ืืฉืืช ืื ืืื ืืคืืจ ืืืงืคืื ืืชืื ืืืืจ ืฉืื ืืืืืโช ,โฌืจืืข ืืคื ื ืฉืฆืืื ืืืฆืืืืชโช.โฌโฌ โซ"ืชืคืงืืื ืืืืขืื ืฉื ืืืืช ืืื ื ืืืืืช ืืืืจื ืฉื ืคืขืืืืช ืืืืโช ,โฌืืื ืืชื ืื ืืโช ,โฌืืืืืืโฌ โซืื โ ืืืชืืื"โช ,โฌืืฆืืืจ ืขืื ืืื ืืืื ืก ืืืฆืืจืช ืืืืคืช ืฉืื "ืืืืืืช ืืืื ืกืืฃ"โช .1โฌืืื ืืืฉืืโฌ โซืืืืืจ ืื "ืืชืื ืืืืืจืื ื ืืชืง ืืืืืชโช ,โฌื ืคืจื ืื ืืงืืื ืืืืขื ืืืืื ืืกืืืื ืฉืื ืื ืืชืโช,โฌโฌ โซืืกืจืช ืืืืืื ืืืชืืืโช ,โฌืืืคืืช ืืืืืโช .โฌืืื ืื ืืื ืื ืจืืืช ืืืโช-โฌื ืจืืืชโช ,โฌืืชืืื ื ืืื ืืฆืืช ืืโฌ โซืืคื ืื ืฉืืืชืโช ,โฌืื ืคืื ืชืโช ,โฌืื ืืืืืโช ,โฌืื ืืขืจืชืโช ,โฌืื ืืืืืื ืฉืืโช .โฌืืชืคืงืื ืืงืืื ืฉื ืืืืชโฌ โซืืื ื ืืื ืืืช ืืช ืืืืืช ืืขืืจืช ืืืจืืืืืช ืืืื ื ืืืืืืช ืืงืืโช ,โฌืืื ืืฉืืืจ ืืช ืืืืืชโฌ โซืืืกืื ืืืคืขืืจ ืืชืืื ืืช ืืืืืืคืืโช ,โฌืฉืื ื'ืื ื' ืืชืื ืก ืืชืื ืขืฆืื ืืืืืจืื ืืฆื ืขืฆืืโช.โฌโฌ โซืขื ืืืช ืืืคืจืื ืืื ื ืืืืืืช ืืืชืโช ,โฌืืืืื ืืืืชื ืคืฉืื ืชืืืฉ ืืืกืืืืช ืืืโช .โฌืืืคืจืืโฌ โซืืืคืฉืจืช ืืช ืืืขืืืช ืืืช ืืงื ืืื"โช 2.โฌืืืื ืก ืืืืจ ืคื ืขื ืืฆื ืืืคืืืืืโช ,โฌืืืจืื ื ืืืขืโช ,โฌืฉืืโฌ โซืืฉ ืืืื ืืืชโช ,โฌืืืืืช ืืื ืืืโช ,โฌืืืโช ,โฌืืืื โ ืืชืคืงืโช .โฌืืชืื ืืืงืื ืืื ืืืื ืืืื ืืฆืืชโฌ โซืื ืืขืืืโช ,โฌืื ืืืชืื ืฉื ืืืกืื ืื ืืืคืืื ืืืืืจ ืฉื ืืฆื ืืโช .โฌืื ืขืืืื ืืืฉโช ,โฌืืืืขืืโช,โฌโฌ โซืืจืืงื ืืโช ,โฌืืฉืืคืืโช ,โฌืืขืืืชืืโช ,โฌื ืืืืื ืืคืืืขืืโช.โฌโฌ โซืื ืืืืืช ืืื ื ืงืืืช ืืคืชืโช ,โฌืื ืจืง ืืฉืื ืฉืืื ืืขืจืขืจืช ืขื ืืืืชื ืฉื ืืืืช ืืงืื ืงืืืขโฌ โซืืืฆืืโช ,โฌืืื ืื ืืฉืื ืฉืืื ืืืคืืช ืืืชื ืืืืืืืงืโช ,โฌืืืืืืงื ื ืืฉืโช .โฌืืืืื ืช ืืืื ืกโช" ,โฌืืืื ืโช,โฌโฌ โซืืืืืจืื ืฉืืืืื ืืืขืฉื ืืขืืื ืฉื ืืืืืืงืืืโช .โฌืืืื ืฉืืืืืช ืื ืืื ื ืืืืืช ืืช ืืขืืืืโฌ โซืืืืจืขืชโช ,โฌืฉืื ืืชืืืืกืืช ืืืืืืืงืืื โ ืืืื ืืื ืืื ืื โ ืืชืจืืฉืช ืืชืื ืืืืจืืโช .โฌืืืืคืโฌ โซืงืื ืงืจืืโช ,โฌืืืืืจืื ืืื ื ืืืืงืืื ืืชืื ืขืืื ืืืืืืงืืืืโช ,โฌืืื ืืขืืื ืืืืืืืงืืืื ืืืืงืโฌ โซืืืืก ืืืืืจืื"โช 3.โฌืืืืืจโช ,โฌืืืคืจืื ืืื ืืืืืจืื ืืืืืืืงืืื ืืขืืื ืืืจืืืช ืืชืคืงืืื ืฉืโฌ โซืืกืืืืืงืโช .โฌืืืกืื ืฉืืืจ ืืคืจืื ืื ืืืืืกืกืืืืืชโช .โฌืืืืช ืืคืจืื ื ืืคื ืืืืงืื ืืืืืจ ืฉื ืฉื ืโฌ โซืงืืจืืช ืืืโช ,โฌืืืื ืืื ื ืืคื ืืงืืืืื ื ืืืืชโช .โฌืื ืื ืืโช ,โฌืฉื ืืื ื ืืคืืื ืืืืืืืงืืื ืืขืืืชืืโช,โฌโฌ
โซโช61โฌโฌ
โซืืื ืืงืื ืืื ืืืืช โช ::โฌืงืจื ืืืืืืจืโฌ โซืืืฆืืื ืฉื ื ืื ืืืกืื ืืชืืคืืื ืื ืืฉืคื ืงืืืจื ืืืช ืืืืกืชืืืงื ืืืืืืืชโช .โฌืื ืืืืฆืจืื ืขืืืโฌ โซืืืืืืื ืกืืืจ ืืืืืืโช ,โฌืืื ืืืืืืืื ืืืืจืืโช ,โฌืฉืขืืืจืื ืืจื ืกืคืืจืืฆืืืช ืืืืจื ืืฉื ืืโช :โฌืืืืืืชโฌ โซืื ืืฉ ืืขืืืช ืจืืฉ ืืืืโช-โฌืืืืื ืืืืฃ ืงืื ืืืืืโช ,โฌืกืืกืืโช ,โฌืืืืืโช ,โฌืคืกื ืชืจืืโช ,โฌืกืืจืืชโช ,โฌืขืฆืืืชโช ,โฌืืืืืโฌ โซืฉืื ืืืโช ,โฌืืืจืืชโช ,โฌืืฉืืืืช ืืขืฆืืโช .โฌืื ืืื ืืขืืฆืืื ืืกืื ืื ืืืืโช ,โฌืฆืืขืื ื ืืคืชืืื ืโช ,โฌืืืื ืื ืืืฆืจืืโฌ โซืกืืืืืฆืืืช ืืืืืืืช ืืืืจืืืืชโช .โฌืื ืืื ืืื ืืืืช ืืื ื ืงืืืช ืืืืฆื ืืืืืืืืืืืืชโช .โฌืืืโฌ โซืืืืจ ืืชืฆืืจืืช ืฉืื ืืชโช ,โฌืืื ืฉืืืืืงืื ืืืฉืื ืฉื ืืืช โ ืืจืืขื ืงืืจืืช ืืื ืืฉืืืฉ โ ืืจืืฉืืโฌ โซืืืืื ืคืฉืืโช ,โฌืืืื ืฉืืื ืืื ื ืงืืืืช ืกืืจืชืืืโช .โฌืืชืื ืืืืช ืืื ืืืฆื ืืืืืืจโช ,โฌืืืืโช ,โฌืืืืจโช ,โฌืืืชืโฌ โซืจืืฉ ืื ืืคืโช ,โฌืืืกืขืืช ืื ืืื ืืืจืืืโช ,โฌืื ืจืืืืื ืืคืืจืงืืโช ,โฌืืืฆืื ืชืืืขื ืขืืืืืโช.โฌโฌ โซืคื ืื ืืืช ืืืคืืข ืืืจ ืืกืืจืืช ืืฆืืืจืื ืืืืงืืืืช ืฉื ืืืกืืโช .โฌื"ืืืชื ืฉื ืืืืืืช" (โช2001-โฌโฌ โซโช ,)2000โฌืกืืจืช ืฆืืืจืื ืขื ืืืงืืืโช ,โฌืงืืื ืคืจืกืคืงืืืื ืืืืืื ืืกืื ืื ืืคืจืื ืืื ืจืฆืคื ืืงืืจโช.โฌโฌ โซืงืืจืืช ืืืืช ืืชืงืจืืชืื ืืฆืืืจืื ืืืขืฉื ืขื ืืืงื ืืืงืืื ื ืคืจืืื ืืืืืืจืื ืืืืื ืืืืคืืืโฌ โซืืช ืืื ืืืืช ืืืื ืืืื ื ืืคืืจืง ืืื ืื ืืืืืโช-โฌืืืืืโช .โฌื"ืืฆืคื"โช ,โฌืโช ,2001-โฌืกืืจืช ืฆืืืจืืโฌ โซืืืชืืจืช ืคื ืื ืืืช ืืืืโช-โฌืขืโช ,โฌืืคืจืกืคืงืืืื ืืืืืจื ืชืื ืืืช ืืืจืืืืืืชโช ,โฌืื ืืืกืชืืืงืโฌ โซืฉืื ื ืืืืืืืโช .โฌืืจืืฉืื ื ืืื ืขืืืง ืืชืืจ ืืืกืื ืจืืืืื ืืืืืืืงืืื ืฉืื ืืโช :โฌืืกืืโช ,โฌืืืืืงโฌ โซื ืืืจ ืืืืืโช ,โฌืืืืโช ,โฌืจืืืืืืจโช ,โฌืืืืจโช ,โฌืืืืื ืืงืืืชโช ,โฌืคืกื ืชืจ ืืฉืืืื โ ืืืื ื ืจืืื ืืงืฆืืืชโฌ โซืืคืจืืืโช .โฌืื ืฉืืฉืชืื ืขื ืืชืืื ืโช ,โฌืขื ืฉืื ืืืืืจืืโช ,โฌืืื ืจืงืข ืฉืืื ืืฆืืข ืืจืืง ืืจืื ืโช,โฌโฌ โซืืืขื ืจืขืืโช .โฌืคื ืื ืืืืชโช ,โฌืจืืงืื ื ืืืืืืช ืืืื ืืืืจืืืืืช ืืืื ืืช ืืืกืื ืืื ืขืืืืืชืืโช.โฌโฌ โซืื ืฉืืืช ืืขืืืืืช ืืืืืจืื ืืขืชืื ืืืื ืืื ืืจืืืืงืืื ืืืโช .โฌืืืืืืโช ,โฌืืืฆื ืโช 2007-โฌืืืโฌ โซืืฉืชืื ืืืกืื ืขื ืื ืืื ืืืืจืื ื ืงืจื "ืงืืืช ืงืจืงืข"โช ,โฌืืืฉื ืืืฉืื ืืช ืืืืื ืืื "ืงืืื"โฌ โซื"ืงืจืงืข"โช .โฌืื ืืื ืื ืจืืโช-โฌืงืืืืช ืืืืืื ืืืืจืื ืืืืคืืขืื ืืืืฆืโช ,โฌืื ืืืืงื ืืงืจืงืข ืืืฆืืืโฌ โซโช60โฌโฌ
โซื ืขืืจืช ืื ืืืืืืืโช :โฌืื ืืื ืืื ืืื ื ืืฉื ืืืจืืฆื ืืืืื ืขื ืืื ืืืช ืืืืืืืช ืืขืืจืืืืชโช,โฌโฌ
Late Excavations :: 2011 :: List of Works [p. 40-41] Late Excavations #1 (The Lovers), 2011, polyurethane, polyester filler, metal, color, 105x110x60 cm Late Excavations #2 (Body Towers), polymer clay, wood, color, dimensions variable [p.42-43] Installation View [ p. 44] Late Excavations #3 (body home piano), 2011, polyurethane, wood, metal, veneer, color, 260x320x230 cm [p. 45] Late Excavations #4 (head boat), 2011, polyurethane, wood, metal, veneer, color, 60x340x60 cm [p. 46] Late Excavations #5 (75), 2011, polyurethane, metal, color, 80x120x19 cm [p. 47] Late Excavations #6 (altar), 2011, polyurethane, wood, veneer, dental plaster, color, 140x65x60 cm [ p.48] Detail [p. 49] Late Excavations #7 (father and son), 2011, polyurethane, wood, plywood, metal, color, 130x200x25 cm [p. 50] Late Excavations #8 (231), 2011, polyurethane, metal, color, 122x150x33 cm [p. 51] top - Late Excavations #9 (head in teeth chain with a dog), 2011, polyurethane, metal, color, 37x71x5 cm below - Late Excavations #10 (floor plan), 2011, polymer clay, wood, metal, color, 140x160x2 cm [p. 52] Late Excavations #11 (body machine), 2011, polymer clay, color, 72x125x5 cm [ p. 53] Late Excavations #12 (head and ladder), 2011, polyurethane, wood, polymer clay, metal, color, 43x13x12 cm [ p. 54-55] Installation View [ p. 56-57] Images from Video-animation, 4:17'
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โซืืคืืจืืช ืืืืืจืืช โช:: 2011 ::โฌโฌ
โซืจืฉืืืช ืขืืืืืชโฌ
โซ[ืขื' โช]40-41โฌโฌ โซืืคืืจืืช ืืืืืจืืช โช( 1#โฌืืืืืืื) โช ,2011โฌืคืืืืืืจืชืโช ,โฌืืจืืโช ,โฌืคืืืืืกืืจ ืคืืืจโช ,โฌืฆืืขโช 105X110X60 ,โฌืก"ืโฌ โซืืคืืจืืช ืืืืืจืืช โช( 2#โฌืืืืื ืืืฃ)โช ,2011 ,โฌืืืืจ ืคืืืืืจืโช ,โฌืขืฅโช ,โฌืฆืืขโช ,โฌืืืืืช ืืฉืชื ืืชโฌ โซ[ืขื' โช ]42-43โฌืืจืื ืืฆืืโฌ โซ[ืขื' โช]44โฌโฌ โซืืคืืจืืช ืืืืืจืืช โช( 3#โฌืืืช ืืืฃ ืคืกื ืชืจ)โช ,2011 ,โฌืคืืืืืืจืชืโช ,โฌืขืฅโช ,โฌืืจืืโช ,โฌืคืืจื ืืจโช ,โฌืฆืืขโช 260X320X230 ,โฌืก"ืโฌ โซ[ืขื' โช]45โฌโฌ โซืืคืืจืืช ืืืืืจืืช โช( 4#โฌืจืืฉ ืกืืจื)โช ,2011 ,โฌืคืืืืืืจืชืโช ,โฌืืจืืโช ,โฌืขืฅโช ,โฌืคืืจื ืืจโช ,โฌืฆืืขโช 60X340X60 ,โฌืก"ืโฌ โซ[ืขื' โช]46โฌโฌ โซืืคืืจืืช ืืืืืจืืช โช ,2011 ,)75( 5#โฌืคืืืืืืจืชืโช ,โฌืืจืืโช ,โฌืขืฅโช ,โฌืฆืืขโช 80X120X19 ,โฌืก"ืโฌ โซ[ืขื' โช]47โฌโฌ โซืืคืืจืืช ืืืืืจืืช โช( 6#โฌืืืื)โช ,2011 ,โฌืคืืืืืืจืชืโช ,โฌืขืฅ ืืืื โช ,โฌืคืืจื ืืจโช ,โฌืืืก ืื ืืืโช ,โฌืฆืืขโช 140X65X60 ,โฌืก"ืโฌ โซ[ืขื โช ]48โฌืคืจืโฌ โซ[ืขื' โช]49โฌโฌ โซืืคืืจืืช ืืืืืจืืช โช( 7#โฌืื ืืื ื)โช ,2011 ,โฌืคืืืืืืจืชืโช ,โฌืขืฅโช ,โฌืคืืจื ืืจโช ,โฌืืืก ืื ืืืโช ,โฌืฆืืขโช 130X200X25 ,โฌืก"ืโฌ โซ[ืขื' โช]50โฌโฌ โซืืคืืจืืช ืืืืืจืืช โช ,2011 ,)231( 8#โฌืคืืืืืืจืชืโช ,โฌืืจืืโช ,โฌืฆืืขโช 122X150X33 ,โฌืก"ืโฌ โซ[ืขื' โช]51โฌโฌ โซืืืขืื โช -โฌืืคืืจืืช ืืืืืจืืช โช( 9#โฌืจืืฉ ืืฉืจืฉืจืช ืฉืื ืืื ืืืื)โช ,2011 ,โฌืคืืืืืืจืชืโช ,โฌืืจืืโช ,โฌืฆืืขโช 37X71X5 ,โฌืก"ืโฌ โซืืืื โช -โฌืืคืืจืืช ืืืืืจืืช โช( 10#โฌืชืื ืืช ืื ืืื)โช ,2011 ,โฌืืืืจ ืคืืืืืจืโช ,โฌืขืฅโช ,โฌืืจืืโช ,โฌืฆืืขโช 140X160X2 ,โฌืก"ืโฌ โซ[ืขื' โช]52โฌโฌ โซืืคืืจืืช ืืืืืจืืช โช( 11#โฌืืืื ืช ืืืฃ)โช ,2011 ,โฌืืืืจ ืคืืืืืจืโช ,โฌืฆืืขโช 72X125X5 ,โฌืก"ืโฌ โซ[ืขื' โช]53โฌโฌ โซืืคืืจืืช ืืืืืจืืช โช( 12#โฌืจืืฉ ืืกืืื)โช ,2011 ,โฌืคืืืืืืจืชืโช ,โฌืขืฅโช ,โฌืืืืจ ืคืืืืืจืโช ,โฌืืจืืโช ,โฌืฆืืขโช 43X13X12 ,โฌืก"ืโฌ โซ[ืขื' โช ]54-55โฌืืจืื ืืฆืืโฌ โซ[ืขื' โช]56-57โฌโฌ โซืืืืืืื ืืชืื ืืืืืโช-โฌืื ืืืฆืืโช 4:17 ,2011 ,โฌื'โฌ โซโช58โฌโฌ
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โซืืคืืจืืชโฌ
โซืืืืืจืืชโฌ Late Excavations
2011 Chelouche Gallery for Contemporary Art :: โซืืืจืื ืฉืืืฉ ืืืื ืืช ืขืืฉืืืชโฌ
Ups and Downs Landscape :: 2012 :: List of Works [p. 24-25] Installation View [p.26] The Numbers, 2012, Oil and charcoal on plywood, 148x60 cm [p. 27] Head in the Mountain, 2012, Oil and charcoal on plywood, 100x100 cm [p. 28] Ups and Downs Landscape #1, 2012, Wood, plywood, formica, color, 417x260x2 cm [p. 29] Black Head, 2012, Oil and charcoal on plywood, 100x100 cm [p. 30] Ups and Downs Landscape #2, 2012, plywood, linen oil, 272x12x70 cm [p. 30-31] Installation View [p. 32-33] The Staires, 2012, Oil and charcoal on plywood, 60x95 cm [p. 34] top - Landscape with Vane, 2012, Oil and charcoal on plywood, 42x105 cm middle - Lake and Three Suns, 2012, Oil and charcoal on plywood, 91x200 cm below - Head and Numbers in the Mountain, 2012, Oil and charcoal on plywood, 52x147 cm [p. 35] Sun Rise, 2012, Oil and charcoal on plywood, 75x148 cm
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โซโช:: 2012 :: Ups and Downs Landscapeโฌโฌ
โซืจืฉืืืช ืขืืืืืชโฌ
โซ[ืขื' โช]24-25โฌโฌ โซืืจืื ืืฆืืโฌ โซ[ืขื' โช]26โฌโฌ โซืืืกืคืจืืโช ,2012 ,โฌืฉืื ืืคืื ืขื ืขืฅ ืืืืโช 148X60 ,โฌืก"ืโฌ โซ[ืขื' โช]27โฌโฌ โซืจืืฉ ืืืจโช ,2012 ,โฌืฉืื ืืคืื ืขื ืขืฅ ืืืืโช 100X100 ,โฌืก"ืโฌ โซ[ืขื' โช]28โฌโฌ โซืงื ื ืืฃ โช ,2012 ,1#โฌืขืฅโช ,โฌืขืฅ ืืืืโช ,โฌืคืืจืืืืงืโช ,โฌืฆืืขโช 417X260X2 ,โฌืก"ืโฌ โซ[ืขื' โช]29โฌโฌ โซืจืืฉ ืฉืืืจโช ,2012 ,โฌืฉืื ืืคืื ืขื ืขืฅ ืืืืโช 100X100 ,โฌืก"ืโฌ โซ[ืขื' โช]30โฌโฌ โซโช,Ups and Downs Landscape #2โฌืโช ,2012โฌืขืฅ ืืืืโช ,โฌืฉืื ืคืฉืชืโช 272X12X70 ,โฌืก"ืโฌ โซ[ืขื' โช]30-31โฌโฌ โซืืจืื ืืืฆืืโฌ โซ[ืขื' โช]32-33โฌโฌ โซืืืืจืืืชโช ,2012 ,โฌืฉืื ืืคืื ืขื ืขืฅ ืืืืโช 60X95 ,โฌืก"ืโฌ โซ[ืขื' โช]34โฌโฌ โซืืืขืื โช -โฌื ืืฃ ืขื ืฉืืฉืืชโช ,2012 ,โฌืฉืื ืืคืื ืขื ืขืฅ ืืืืโช 42X105 ,โฌืก"ืโฌ โซืืืฆืข โช -โฌืืื ืขื ืฉืืืฉ ืฉืืฉืืชโช ,2012 ,โฌืฉืื ืืคืื ืขื ืขืฅ ืืืืโช 91X200 ,โฌืก"ืโฌ โซืืืื โช -โฌืจืืฉ ืืืกืคืจืื ืืืจโช ,2012 ,โฌืฉืื ืืคืื ืขื ืขืฅ ืืืืโช 52X147 ,โฌืก"ืโฌ โซ[ืขื' โช]35โฌโฌ โซืืจืืืโช ,2012 ,โฌืฉืื ืืคืื ืขื ืขืฅ ืืืืโช 75X148 ,โฌืก"ืโฌ
โซโช36โฌโฌ
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31
30
29
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27
UPSANDDOWNS
LANDSCAPE 2012
KaBe Contemporary Gallery
โซืืฉืื ืืื ืืฉื ืืืืโช .โฌืื ืื "ืืขืืจืื ืืฆืืขื ืืืื" ืฉื ืืืกืื ื ืข ืื ืืืฉืืช ืืืจืื ืืื ืื ืื ืโฌ โซืืืืฆืืจ ืฉื ืืชื ืืืฉืคืืชื ืืฆืคืื ืื ืืชืืื ืืช ืืืชื ืืืื ืโช ,โฌืืชืฉืืงื ืืืืืืโช .โฌืืืฉืคืืโฌ โซ"ืืืคืงืช" ืืื ืืืฉืืง ืืืฉืโช ,โฌืืื ืื ืื ืืขืืื ืฉืืโช-โฌืืคืฉืจ ืืขืฆืจืโช.โฌโฌ โซืืฉืืจ "ืืจื"โช ,โฌืฉื ืืชื ืื ืงืืืช ืืืื ืฉื ืืืื ืืืชืืื ืโช ,โฌืืื ื ืืืชืจืื ืืช ืืืจืืฉโช ,โฌืืฉืืืโช,โฌโฌ โซืืืื ืืืขืืจ "ืฆืขืฆืืขืื ืืืืืื" ืืขืืืื ืฉื ืืืืืื; ืืืืจืฉ ืืืฉืืงืื ืืืืื ืฉื ื ืืโฌ โซืืืกืืโช ,โฌืืฆื ืืฆืขืฆืืขืืโช ,โฌืจืืืฉืื ืื ืื ื ืืื โ ืืืืืโช/โฌืืืืืจืื ืฉืื ืกืืืื ืืขืืื ืืฉืืงโฌ โซืืืฉืืง ืืืืืโช.โฌโฌ
โซืืขืจืืช ืืืงืืจืืชโช:โฌโฌ โซโช1โฌโฌ
โซืืืืจ ืื ืืืืโช ,โฌืืืืจ ืืชืืืโช ,โฌืืจื ื'โช ,โฌืืืฆืืช ืืงืืืืฅ ืืืืืืโช ,1966 ,โฌืืชืืโช :โฌืืืืืืจืื ืืืืืโช-โฌืืชืืืโช ,โฌืขื' โช.28โฌโฌ
โซโช2โฌโฌ
โซโชCraig Owens, The Allegorical Impulse: Towards a Theory of Post-Modernism, part I,II. In: October,โฌโฌ โซโชvol. 12, 13, 1980โฌโฌ
โซโช3โฌโฌ
โซืืชืืโช :โฌืื ืฆืืงืืืคืืื ืฉื ืืจืขืืื ืืชโช ,โฌืขืืจืืืโช :โฌืืื ืืืจืืืฅ' ืืื ืขืจืโช ,โฌืืืฆืืช ืืืโช.2012 ,โฌโฌ โซืขืจืโช :โฌืืืืืจืืโช/โฌืกืืโช ,โฌืขื' โช120โฌโฌ
โซโช4โฌโฌ
โซโชRoth Moira, The Aesthetic of Indifference, In: Dancing Around The Bride, Ed. Carlos Basualdo andโฌโฌ โซโชErica F. Battle, Philadelphia Museum of Art, 2013. Pp. 209 โ224โฌโฌ
โซโช21โฌโฌ
โซืืคืืจืืช ืืืืืจืืชโช ,โฌืคืจืโฌ
โซโชLate Excavations, Detailโฌโฌ
โซืจืืฉ ืืืฉื ืืจืืฉ ืืืจโช ,โฌืชืื ืืงืืช ืฉื ืคืืืื ืืืืืื ืืื ืืืฆืจืื ืืื ืชื ืืฉืคืืชืโช .โฌืืืคืื ืืืืืืโฌ โซื ืื ืื ืืืืฉ ืืืืฃ ืฉื ืืฉืคืื ืฉืืื ืืืืฆืจืื "ืืืืืช ืฆืืืืืืืฆืื" ืจืืฉืื ืืช โ ืืื ืืืโฌ โซืืืื ื ืืฉืืคืืโช .โฌืืืกืื ืืฆืืข ืืช "ืืืื ืช ืืืฉืคืื" ืื ืืืืจื ืจืืื ืืโช-โฌืกื ืืืื ืืืโช ,โฌืืืโฌ โซืืืืืจ ืืื ื ืฉืืืืฆืขืืชื ืืกืืืจื ืืฆืืืืืืืฆืื ืืช ืืจืืืื ืืืืขื ืฉื ืื ื ืืืื ืืืืืื ืชโฌ โซืืืชืโช" .โฌืืืื ืช ืืืฉืคืื"โช ,โฌืืจืืคืช ืืขื ื ืืืจืื ืืื ืคืชืืโช ,โฌืืืงืฉืช ืืืืืจ ื"ืืื" ืฉื ืืืฉืืโช,โฌโฌ โซืืืจืืคืช ื"ืืืืืืช ืืืืืื" (โช ,)1917โฌืืฉืงืืคื ืืืจืื ืืืงืืื ืขื ื"ืจืืืงืื" ืืขื ืืืื ืชโฌ โซืืฉืืงืืื ืืืชื ืื ืืชโช .โฌืืืืคืืจื ืืืื ืืกืืืช ืืืืืขื ืฉื ืืืฉืืโช ,โฌืืืชืจืืืช ืชืฉืืงื ืืจืืืืชโฌ โซืืืขืจืืช ืฉื ืฆืื ืืจืืช ืืืืืืืชโช ,โฌืืืื ืืช ืืื ืื ืื ืืโช ,โฌืืืื ื ืขื ืืื ืืืืจื ืจืืช "ืืกืชืืืงื ืฉืโฌ โซืืืืฉืืช"โช .4โฌืจืืช ืืืืื ืืช ืืืืืจื ืืื ืขื ืืืคืืื ืืืืื ืฉื ืืืฉืื ืืืืืืืงืืืโช ,โฌืืืืืขืืโฌ โซืืืคืฆื "ืจืื ืืืื" โ ืืืจืืช ืืืฉืืขืืช ืืจืืช ืืคืกโช ,โฌืืื ืืืืฅ ืืชืืื ื ืืจ ืืกืืฆืืืืืื ืืืฉโฌ โซืืคืืืืืงื ืจืขื ื ืโช .โฌื"ืืื" ืืืืงืืืช ืฉื ืืืฉืืโช ,โฌืฉืฆืืืจื ืืฉืื ืขื ืื (โช ,)1912โฌืืื ื ืืืโฌ โซโช20โฌโฌ
โซืฆืืจ ืฆืื ืืจืืช ืืฉืืื ืื ืืืืโช ,โฌืืฉื ืฉื"ืขืืจืื ืืืจื ืืืืจืืืช" ืืื ืื ืื ืื ืืื ื ืฉื ืืชืงืืืืชโฌ
โซืืื ืืฉืืืคืืช ืื ืงืื ืืืจ ืฉื ืืืช ืฉื ืฉืืจ ืืฉืจืฉืจืืช ืฉื ืขืฆืืืช ืืืืื ืืชโช .โฌืงืจืื ื ืืจื ื ืืงื ืืชโฌ โซืืืืฃ ืืื ืืฉื ืืืฆืจ ืืชืืื ืืืืจืื ืืืงืืจืื ืืืโช ,โฌืืืืื ืืืกืื ืืืฆื ืกืืื ืื ืืจื ืืืจืืืช ืืชืืโฌ โซืจืืฉ ืืคืืกื ืื ืืืื ืืื ืืืฃ ืืื ืืื ืจืโช-โฌืงืืืืชโช .โฌืขื ืืืชโช ,โฌื"ืืืืื" ืืกืจืืื ืฉื ืงืจืื ื ืืจืโฌ โซืื ืืคืกืืื ืฉื ืืืกืื ืืขืืื ืืื ื ื ืืืืื ืืืโช ,โฌืืืชืืืืืโช ,โฌืืืืื ื"ืืืืื" ืืงืคืงืื ืืื ืืืโฌ โซืืืืโช .โฌืืชืืืื ืืืจื ืกืคืืจืืืืื ื ืขืฆืจ ืืฉืื ืืื ืืืโช :โฌืืืฃ ืืื ืฉืืืืืข ืืชืืื ืื ืื ืื ืืื ืโฌ โซืื ืืชืงืฉื ืืชืื ืืขืจื ืืจืืืืงืืื ืโช .โฌืืืขืฉื ืืื ืื ืืืืื ืืื ื ืื ืื ืืืืฆืื ืืืจืืืชโช,โฌโฌ โซืืืืจืืืืืช ืฉืืโช-โฌืืคืฉืจ ืืจืคืืโช.โฌโฌ โซืืืจืืช ืืืืื ืืืื ืืืื ืืืจืืจ ืืืขืืกืืง ืืชืืืื ื"ืฆืขืฆืืขื ืืืืช" ืืืจืืืืืืโช ,โฌืืืกืื ื ืื ืขโฌ โซืืืืืฉื ืืฉืืจื ืฉื ืืืจืืืื ืืืฉืืืจ ืืืชื ืืืืืืจืื ืืจืืืืช ืืงืืืืช ืืืื ืืขืืืงโช.โฌโฌ โซืืืกื ืื ืืืืฃ ืืื ืืฉื ืขืืงืฃ ืืช ืืื ืืงืจืืขื ืืืงืืืืข ืืืืืจ ืืืงืืืงื ืฉื ืจืืืืงโช ,โฌืืฉืืงโฌ โซืืฉืขืฉืืขโช-โฌืืืืืจืโช .โฌืจืื ืืื ืืชโช/โฌืืฉืืงืืช ืืื ืืืืืช ืืืืืื ืืกืจืื ืืื ืืืฆืื ืฉืื (โช,)2011โฌโฌ โซืฉืืื ืืืคืืข ืืืืฃ ืืืชืจ ืืื ื ืฉืืืจืื ืคืืขืืื ืืืืคื ืขืฆืืืโช ,โฌืืื ืงืฉืจ ืืชืคืงืืื ืืืงืืจืโช:โฌโฌ โซืืฉืื ืืืโช ,โฌืืื ืืขืฆืืืชโช ,โฌืืืฆืจืืช ืฉืจืฉืจืืช ืฉื ืขืืช ืืืืโช ,โฌืืฆืืคืืจื ืืื ืฆืืืืืช ืื ืืืจืืช ืืกืืจืืืืโช,โฌโฌ โซืืืืื ืืื ืืชืขืืจืืชโช ,โฌืืคื ื ืืคื ืืืืืืช ืืคืชืขืืชโช .โฌืืืืฃ ื ืชืคืฉ ืืืขืจืืช ืคืื ืงืฆืืื ืืืชโฌ โซืืืืื ืืืืช ืืืจืืฆื ืคืงืืืืช ืืื ืืืืจืืโช ,โฌืืืืืืช ืื ืงืืืโช ,โฌืฉืืกืืืื ื ืคืืืื ืชืืฆืจืืโช :โฌืืคืจืฉืืชโช,โฌโฌ โซืืืืจืืโช ,โฌืืืืืโช.โฌโฌ โซืืืืฃ ืืืชืจ ืืื ื ืืื ืืืฃ ืืืืโช ,โฌืืืืฉ ืืืื ืืืชืโช .โฌืืื ืืงืคืืชโช ,โฌืืื ืฉืืืืชโช ,โฌืืื ืคืืจืงืโฌ โซืืืจืืืืกืืโช ,โฌื ืคืืืื ืชืื ืืงืืช ืฉืืืืโช ,โฌืืื ืืงืฆืื ืฉื ืคืก ืืฆืืจ ืืืชื ืื ืฉืืืืฆื ืืื ืื ืงืโฌ โซืื ืืื ืืืืคืื ืืชืืืโช .โฌืจืื ืืืืฉื ืืชืืืชืจ ืืืืจืโช .โฌืื ื ืงื ืืืืื ืืจืืฉื ืฉื ืืืืจ ืืื ืขืจืืฅโฌ โซืืคืฉืจืโช ,โฌืืืืื ืืื ืืคื ืฉืืโช .โฌืืืืฃ ืื ืงืืื ืืืืฆืจืื ืืขืืืืืช ืืืื ืืื ืื ืืื ืืคืืจืืงโช :โฌืืืืืโฌ โซืคืืืืช ืขืฆืืืช ืืืคื ืคืืื ืฉืื ืืืโช .โฌืกืืืื ื ืืกืฃโช :โฌืืคื ืคืืื ืชืื ืืงืืชโช ,โฌืืืืื ืคืืืืช ืขืฆืืืชโช.โฌโฌ โซืืฉืื ืืื ืืื ื ืืืขืกืืช ืืืืื ืืชโช ,โฌืืื ืื ืืืฆืืืช ืืืคื ืืขืืืฆืืช ืืืชืืจืื ืืช ืืฉืืืจื ืืจืืืโฌ โซืืืชืืืืืชโช .โฌืกืคืง ืืืืโช-โฌืกืืื ืืจืืืืืคืโช ,โฌืกืคืง ืืฉืืง ืืืฉืโช.โฌโฌ
โซโช19โฌโฌ
โซืื ืืขืโช ,โฌืืชืขืืื ืฉื ืืฉืื ืืืื ืืืืืจ ืืืจืืืืจืืืช ืืจืืชโช" ,โฌืชื ืืขื ืืืืืงืืืช ืกืืขืจืช" ืืื ืฉืชืโฌ โซืืืจืืืืจืืืชโช .โฌืื ืืืื ืืืืก ืืืืืืจืื ืงืจืื ืืืืืืช ืืจืืขื ืืืจืื ืืืืืช ืืืืื ืื ืืฉืืื ืืกืืืืชโฌ โซืืคืจืืื ืืฆืื ืืืืืกืจ ืฉืืืืชโช .โฌืืืืืจื ืืื ืืื ืืช ืืืืฃ ืืืืืืจื ืืชืื ืืืืืชื ืืืืืืชโฌ โซืืจื ืกืฆื ืื ืืืช ืืืืืโช ,โฌืืืืโช ,โฌืืช ืืืืืืจืื ืขื "ืฆืืืจ ืืืกืืืจื"โช ,โฌืื ืืฉื ืืกืจืื ืืืืงืืืืโช.โฌโฌ โซืื ื"ืืืฃ ืืืืืืจื" ืฆืฃ ืืขืื ืืืืฉ ืืขืืื ืืคืืกืโช-โฌืืืืจื ืโช ,โฌืืฉื ืืช ืืฉืืื ืื ืฉื ืืืืโฌ โซืฉืขืืจื ืืืืืโช ,โฌืืคื ืฉื ืืกื ืืืืคื ืจืื ืืืงืืฃ ืืืืืจื ืืืคืื ืฉื ืืชืืืืจืืืงื ืืืืจืืงืืโฌ โซืงืจืืื ืืืื ืก (โช .)Owensโฌืืืื ืก ืจืื ื"ืืืฃ ืืืืืืจื" ืกืืื ืืืคืืื ืืืฉืืื ืืืื ืืชืืช ืฉืโฌ โซืืื ื ืืืื ืืขืฆื ืฉืืฉืคืืข ืื ืขื ืชืคืืกืืช ืคืืืืืืืช ืืืืจืชืืืชโช.2โฌโฌ โซืืืฆื ืืืืืืจื "ืืคืจืืื ื ืืื ื ืืืง ืืืืืจโช ,โฌืืืชืืื ืืช ืขืฆืื ืืชืื ืืช ืืืืืืช ืืื ืืชืฆืจืฃโฌ โซ(ืคืืื)โช ,โฌืืื ืืืง ืืขืืื ืืขืฆืืโช ,โฌืืื ืืืืืืืช ืืกืื ืชืื"โช .3โฌืืืขืืจ ืืจืฆืฃโช ,โฌืืฉืชืงืคืืช ืืขืืจโฌ โซ(ืืืืืืช) ืืชืื ืืืืื (ืืืืจืืช)โช ,โฌืงืืืืข ืคืจืืื ืืจื ืืืืืจืืืืืช โ ืื ืืชืืื ืืช ืืืื ืืฉืชืงืคืืชโฌ โซืืืืฆืืื ืืืืจืืืื ืฉื ืืืกืืโช ,โฌืืืืงืฉืื ืงืจืืื ืืืืืจืืชโช .โฌืืขืฆืื ืืืคืืืืโช ,โฌืงืืขื ืื ืืคืืโช,โฌโฌ โซืืื ืืื ืืโช ,โฌืืขืืืืืโช ,โฌืืืฉืืื ืืืืืืืืช ืืื ื ืืฆืืจืคืื ืืืื ืขืืืื ืื ื ืจืืื ืฉื ืืชื ืืคืืขื ืืโช,โฌโฌ โซืืื ืื ื ืืชืจืื ืืขืฆืืโช ,โฌืื ืฆืืืื ืฉื ืขืืื ืฉื ืืืื ืืื ื ืืฉืืืืช ืืืืืืชโช .โฌืืืื ืืื ืืจโฌ โซืืืืืืืื ืฉื ืืืกืืโช ,โฌืืืืคืขื ืืฉื ืืช ืืืืคืืืโช ,โฌืื ืืชืงืืื ืืขืืชืง ืืืงืืจื ืืืฉืืโช .โฌืืขืืืโฌ โซืฉืืื ืืื ื ืืงืืืข ืื ืข ืืื ืืฆืืืืช ืืืืืโช ,โฌืืชืืฆืจ ืฉื ืืชืงืคืช ืืืืืืื ืืขืืื ืืื ืืืืืโฌ โซืฉืืื ื ืืืืื ืขืื ืืื ืื ืจืืื ืืชืกืจืืโช.โฌโฌ โซืืืจืืืื ืืืืขืืจืโฌ โซืืืืืื ืฉื ืืืืืืจืื ืืคืืกื ืืืืจื ืืช ืฉืืื ืืื ื ืืืฉืคืช ืืช ืืืื ืืืจืืืืื ืฉืืโช.โฌโฌ โซืื ืื ืืืืฆืืื ืฉื ืืืกืื ืืืขืืจ ืืฉืืืืช ืืืืฃ ืืืฆื ืฉื ืคืืจืืง ืืชืจืืฉ ืืืืคืืจื ืฉืโฌ โซืืฉืืงโช ,โฌืืื ืืืืืโช ,โฌืืื ืืืโช .โฌืื ืืืื ื"ืืกืชืืืงืช ืืืืืขื" ืืขืืจืจืช ืืืืื ืฉื ืงืจืื ื ืืจืโช,โฌโฌ โซืืืกืื ืืขืืืฃ ื ืืงืืื ืฆืืจื ื ืืืื ืื ืืฉืืืืืืโช .โฌืงืจืื ื ืืจื ืืืื ืืกืจืืื ืืงืืื ืืฉืจ ืืืืืืโฌ โซโช18โฌโฌ
โซืฉืืืจืื ืฉืื ื ืืื ืืืืืืืช ("ืืงืืืกืื ืก")โช ,โฌืืืืื ืืืกืื ืืื ื ืืืืื ืฉืื ืืื ืฉืขืฉืืืื ืืฉืื ืโฌ
โซืื ืืกื ืืืืืช ืืืกืจ ืชืืืืืืืืโช ,โฌืฉืืืจืืื ืขืืืืช ืืืืชื ืฉื "ืื ืืื"โช .โฌืืืืืจื ืืืกืืโฌ โซืืืื ืกืืื ืืืืืจืื ืืขืืจืืืื ืืขืื ื ืจืืื ืืืชืจืืฉ ื"ื ืืฃ" ืืืฉืืโช ,โฌืื ืืฃโช-โฌืขืโช-โฌืคื ืฉืื ืืคืืโฌ โซืืืืืืโช ,โฌืืืืืจืโช ,โฌืืช ืืืฆืืืืชโช ,โฌืื ืจืืื ืืชืคืงื ื"ืขืืืื" ืืื ืกืืก ืืจืืืื ืโช :โฌืืื ืคืืจืโฌ โซืืืชื ืืืคื ืืโช .โฌื"ืืืฉ ืืื ืชืืื ืืช" ืฉื ืืืกืืโช ,โฌืืืืืื ืืืืืจื ื ืฉื "ืืโช-โฌืืื" ืืืืืืืืโช,โฌโฌ โซืืฉืงืืฃ ืขื ืืืืื ืืขื ืืื ืืฉืืงโช ,โฌืืืื ืฆืจืืจ ืฉื "ืึผืืงืื" ืขื ืงืืื ืืืืืจ ืขื ืืืจืืโช .โฌืืฉืโฌ โซืฉืื ืื ืืืืกื ืืืืื ืืื ืืืื ืืฆืขืฆืืขืื ืืืืจ ืืื ื"ืึผืืง" ืืืขืืจ ืืืืืืโช ,โฌืืืืจืจ ืืขืงืืืชืืโฌ โซืื ืฉืื ืื ืืืคืืื ืืืืืช โ ืืืื ืืืฉืืง ืืชืืืฃ ืืืืืืจ ืืืืโช ,โฌืื ืฉื ืืื ืฉืจืืืื ืืืืชืโฌ โซืืขืืคืช ืืืคื ืืชโช.โฌโฌ โซืืืืื ืืช ืืืืฆืืื ืฉื ืืืกืื ื ืืืื ืืชืืืืจืื ืฆืขืฆืืขืื ืฉื ืชืคืืืจืืช ืงืจืืื ืื ืืขืืื ืืคืืจืงโฌ โซืฉื ืืืืืช ืืฆืืขืื ืืืช ืืืืืโช ,โฌืืชืืืโช-โฌืืจืืื ืื ืืืืืโช-โฌืฆืืืืโช .โฌืืฉืืืื ืืื ืืขืืจืจ ืชืืืฉืโฌ โซืืืืืืืื ืืืช ืืื ืืืื ืืืฆืืืืช ืืืืฆืจ ืคืืฆืื ืชืืืขืชืโช .โฌืคืขืืืืช ืขืจื ืฉื ืืื ืืชืืืคืช ืืฆืืืจืโฌ โซื ืืคืื ืฉื ืืจืืืช ืืืจืโช .โฌืื ืืืืื ื ืืืืืืืืช ืืืกืื ืคืืขื ืืืงืืืงื ืืคืืืโช ,โฌืืืฉืื ืฆืืืจโฌ โซืืโช-โฌืืืื ืืืฆืืืช ืคืืกืืืืืช ืืชืืชโช-โฌืืืโช ,โฌืืืืจืืืืืช ืกืื ืื ืืช ืฉืืขืื ืืช ืืืฉืืื ืืืคืืฆืืชโฌ โซืฉืืโช .โฌืืชืขืชืืข ืืืืืื ืืื ืืื ืืื ืืโช ,โฌืงื ื ืืืื ืืชืืืขืืช ืืขืฆืื ืืช ืืชืืื ื ืื ืืืข ืืืฆืืืชโฌ โซืฉื ืืืกืืโช :โฌืื ืื ืืืืช ืขื ืขืืงืจืื ืฉื ืืฉืืื ืืืืืจืืช ืืืฆืืื ืืืจืืื ืืืโช/โฌืืืืืจ ืืฉืืงโช/โฌโฌ โซืฆืืขืโช ,โฌืฉืชืืืช ืฆืขืฆืืขืื ืืืืืืื ืืจืืืช ืขื ืงืฆืโช" :โฌืืื ื ืืืื" ืฉืืโช ,โฌืฉืืื ืขืืืก ืขื ืืฉืืืชืโฌ โซืืืื ื ืืื ืืช ืืืชืโช ,โฌืื ืขืฆืืืช ืืฉืื ืืื ืืคืืืจืืชโช.โฌโฌ โซ"ืืืืืืจืื ืืื ืืฉืขืฉืืข ืืืืื ืืืืืืจ ืืขืืื ืืจืฉืืช ืืืื ืืืืืงื"โช ,1โฌืืชื ืืืืจ ืื ืืืืโฌ โซืืืืื ื ืขื ืืืืื ืืื ืกืื ืืืื ืืืืืจืืโช .โฌืืืืืจื ืื ืืืข ืขื "ืืืฆืื ืฉื ืืืื ืืชืืืโฌ โซืืืจืื ื"โช ,โฌืฉื ืืชื ืืฉืืื ืฉื ืืช ืืขืฉืจืื ืฉื ืืืื ืฉืขืืจืโช ,โฌืืืืจ ืื ืืืื ืืช ืืืื ื ืืืคืืโช,โฌโฌ โซืืืโช-โฌืฉืืืชืโช ,โฌืืืืจืื ืืืคืฆืขืช ืืืืืื ืืืืืืจืโช :โฌืืืืืืจืื ืืื ืืคื ืืื ืื ืืืคื ืชืืืขืืชโช ,โฌืืืโฌ โซืืืจืจืช ืืช ืจืื ืืจืคืืื ืฉื ืืขืืจ ืืชืื ืืืืื ืืืฆืืคื "ืจืืข ืืขืืจืจโช ,โฌืืชืืืข ืืช ืื ืืฉืืชื ืโช."...โฌโฌ โซืืชืืืฉื ืืืืืืจืืช ืฆืคื ืืชืื "ืืชืืื ืฉืืื ืงืืืื ืืืืืื ืืืืืชื ืืขืืช ืืฉืืขืืช"โช ,โฌืืืืโฌ
โซโช17โฌโฌ
โซืชืืืช ืฆืขืฆืืขืื ืืืืืืื โช ::โฌืืื ืชืืืจโฌ โซืขื ืืืืฃ ืืืคืืจืง ืืขื ืืื ืืืฆืื ืฉื ืืชืฉืืงื ืืืืฆืืื ืฉื ื ืื ืืืกืืโฌ โซ"ืืขื ืื ืชืขืงืจ ืืื ืโช ,โฌืืืืืื ืโช,โฌโฌ โซืชืืืช ืฆืขืฆืืขืื ืืืืืืื"โฌ โซื ืชื ืืืชืจืืโช ,โฌืืจืโฌ โซืืืคืขืชื ืฉื ืืืืฃ ืืื ืืฉื ืืืืฆืื ืืคืืกืื ืฉื ื ืื ืืืกืื ืืืืคืืื ืช ืืืืกืจ ืืืืื ืจืืืงืืโช:โฌโฌ โซืืจืืฉ ืืืืโช ,โฌื ืคืื ืืืคืืืขโช ,โฌืืืืืฃ ืืืื ืืืฆืืืฆื ืืงืจืืช ืืืื ืืคืืช ืืจืืืืืโช .โฌื"ืจืึนืฉื ืื"โฌ โซืืกืจื ืืคืจืืคืืจืฆืื ืืื ื "ืคืจืืงืื" ืฉื ืืืืข ืื ืืืคืข ืืืืจืืืืช ืฉื ืืื ืืืงื ืืื ืืฉืืชโช ,โฌืืืโฌ โซืื ืืืคืื ืื ืืฉืืื ืฉืืืืืื ืืืืื ืืืขืฆื ืืืืืจืื ืฉื ืชืืืืืื ืคื ืืืืืโช :โฌืืืืืฆืืืช ืืชืจโช,โฌโฌ โซืืืฉืืืช ืืชืฉืืงืืชโช .โฌืื ืืืื ืืืืื ืืคืจืืืืืื ืโช ,โฌืืืคืื ืืื ืืื ื ืืืืืงืื ืื ืขืืืื ื"ืืฉืืโฌ โซืืืคืื" ืฉื ืืชืชโช-โฌืืืืขโช ,โฌืืื ืื ืคืืขืืื ืืืืคื ืืงืืืื ืืฆืืืืื ืืืืคืข ืงืืฆืื ืโช .โฌื"ืจืืฉ"โฌ โซืจืืืฉ ืืขืฆืื ืงืืื ืขืฆืืื ืืืืขืฆืโช ,โฌืฉืืคืขืื ืืช ืืขืืืืโช ,โฌืืืืื ืืืืืืจื ืืกืจืืื ืฉืโฌ โซืืืืืืื ืงืจืื ื ืืจืโช ,โฌืืืงืืจืืช ืืืฉืจืื ืฉื ืืืกืืโช" .โฌืืืื ืืืช ืื ืืืืโช ,โฌืืืื ืื ืฉืื ืื ืฆืืจื"โช,โฌโฌ โซืืขืืจ ืงืจืื ื ืืจื ืขื ืืืืืจืืโช ,โฌืฉืืืงืื ืืืืจืื ื"ืืืกืจ ืืืืืช ืืืืืช ืืช ืืืื" ืืืืชืืืจืืชโฌ โซืืชืจ ืืชืืืืื ืืฉืืืโช .โฌืืืฆืืจืื ืืืื ืืจืืฉ ืฉื ืืืกืื ื ืขืื ืืืจืื ืืืจืื ื ืื ืืืืงืโฌ โซืื ืขืืจ ืืืจืโช ,โฌืขืืจืืืืโช ,โฌืืืืืื ืืืืืงื ืืืจืืืืืื ืืืขืืืื ืขื ืืืฆืื ืืชืจืืืช ืืืืจืื ืืชโฌ โซืืืืืจื ืืชโช :โฌืจืืื ืืืืื ืฉื ืืืืจโช ,โฌืืจื ืง ืืืืคืืื ืืืืืื ืืืืฉืโช.โฌโฌ โซืื ืืืื ืืจืืง ืืืืคืืื ืืืืคืืื ืืช ืืจืื ืืืืกืืจื ืืืงืืืื ืโช ,โฌืืฆืื ืืืกืื ืืช ืืืืืืชืืโฌ โซืืืจืืืื ืืืืืืกืืโช ,โฌืกืคืง ืืจืืื ืืืืจืืโช ,โฌืกืคืง ืืืจืฉื ืืฉืืงืืโช ,โฌืืืชืื ืืจืืืื ืืื ืืโฌ โซืขืกืืงืืช ืืคืขืืืืช ืืชืืฉืืชโช :โฌืืื ืืื ืฉืงืืขืืช ืืืฉืืง ืกืืื ืฆืขืฆืืขืื ืฉืื ืืโช ,โฌืืืจืืชโฌ โซืฆืืขืืืช ืืฉืืโช-โฌืืงืืโช .โฌืืืกืื ืืื ื ื ืืคืื ืืืจืื ืืื ืืืืจืืืื ืืืืงืื ืืช ืืืืจื ืืกืืืืช ืฉืโฌ โซโช16โฌโฌ
โซืื ืืื ื ืฉืืืืโช ,โฌืืืกื ืืจืืืืชโช ,โฌืื ืืืจืืช ืืืช ืฉืืจื ืขื ืืืฆืืืช ืืืื ืจืื ืืืืืจืืช ืืืืืืืืชโช,โฌโฌ
There is No Such Place :: 2015 :: List of Works The installation was made for the Oscar Hendler Award and customized for the space of Kibbutz Lohamei Hagetaot Gallery. [p.6] There is No Such Place (human rising), 2015, polymer clay, plywood, color, 236X29X17 cm [p.6-7] Installation View [p.8] There is No Such Place (human building), 2015, polymer clay, color, 43X13X12 cm [p. 9] Installation View [p. 10-11] Installation View [p. 12] There is No Such Place (scene 3), 2015, polystyrene, polymer clay, plywood, wood, paper, color, 243X200X45 cm [p.13] There is No Such Place (scene 4), 2015, polystyrene, polymer clay, plywood, wood, color, 75X104X140 cm
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โซืืื ืืงืื ืืื โช:: 2015 ::โฌโฌ
โซืจืฉืืืช ืขืืืืืชโฌ
โซืืืืฆื ื ืืฆืจ ืืืืื ืคืจืก ืืืกืงืจ ืื ืืืจ โช ,2014โฌืืคื ืืืืืช ืืืจืื ืืืืื ืืืืืืชโช.โฌโฌ โซ[ืขื' โช]6โฌโฌ โซืืื ืืงืื ืืื (ืืื ืืชืจืืื ืืืขืื)โช ,2015 ,โฌืืืืจ ืคืืืืืจืโช ,โฌืขืฅ ืืืืโช ,โฌืฆืืขโช 236X29X17 ,โฌืก"ืโฌ โซ[ืขื' โช]6-7โฌโฌ โซืืจืื ืืฆืืโฌ โซ[ืขื' โช]8โฌโฌ โซืืื ืืงืื ืืื (ืืืฉ ืื ืืื)โช ,2015 ,โฌืืืืจ ืคืืืืืจืโช ,โฌืฆืืขโช 43X13X12 ,โฌืก"ืโฌ โซ[ืขื' โช]9โฌโฌ โซืืจืื ืืฆืืโฌ โซ[ืขื' โช]10-11โฌโฌ โซืืจืื ืืฆืืโฌ โซ[ืขื' โช]12โฌโฌ โซืืื ืืงืื ืืื (ืกืฆื ื โช ,)3โฌืคืืืืกืืืจืโช ,โฌืขืฅ ืืืืโช ,โฌืขืฅโช ,โฌื ืืืจโช ,โฌืฆืืขโช 243X200X45 ,โฌืก"ืโฌ โซ[ืขื' โช]13โฌโฌ โซืืื ืืงืื ืืื (ืกืฆื ื โช ,)4โฌืคืืืืกืืืจืโช ,โฌืืืืจ ืคืืืืืจืโช ,โฌืขืฅ ืืืืโช ,โฌืขืฅโช ,โฌืฆืืข โช 75X104X140โฌืก"ืโฌ
โซโช14โฌโฌ
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There is No Such Place
โซืืืืืงืืืืืโฌ 2015
Chelouche Gallery for Contemporary Art :: โซืืืจืื ืฉืืืฉ ืืืื ืืช ืขืืฉืืืชโฌ Kibbutz Lohamei HaGeta'ot Gallery :: โซืืืจืื ืงืืืืฅ ืืืืื ืืืืืืชโฌ
โซโช2007-2015โฌโฌ
โซื ืื ืืืกืืโฌ โซืืืจืื ืฉืืืฉ ืืืื ืืช ืขืืฉืืืืช โช ::โฌืชื ืืืืโฌ
โซ[ืขื ืืืจืืื ืืืืฃ ืืงืืื]โฌ โซืงืืืช ืงืจืงืขโช ,โฌืืจืื ืืฆืื ืืืืืืื ืคืชืโช-โฌืชืงืืื ืืืื ืืชโช.โฌโฌ โซ]โช[On front cover and previous pageโฌโฌ โซโชGround Floor, Installation view Petach-Tikva Museum of artโฌโฌ
โซืชืืืืชโฌ โซืื ืฉืืฉื ืขื ืืชืืืื ืืขืฆืืืโช ,โฌืืื ืืืืโช ,โฌื ืืจื ืืฆืืงื ืืฆืืืช ืืืจืื ืฉืืืฉโช:โฌโฌ โซืขืื ืืจืฆื ืืืคื ื ืคืืงโช ,โฌืืื ืชืืืจโช ,โฌืงืจื ืืืืืืจืโช ,โฌืืืจื ืืืคืฉืืฅโช ,โฌืืืฉืืื ืกืืืืืโช,โฌโฌ โซืืืื ืืืจืืืฅโช ,โฌืงืจืื ื ืืืืืืโช ,โฌืื ื ืชืืจ ืืืจโช ,โฌืืืื ื ืืโช-โฌืืืืคืืจืโช ,โฌืืจืืจืืช ืืืจ ืืจืืโช,โฌโฌ โซืืื ืืโช ,โฌืืืื ืืื ื ืขื ืืขืืฆืื ืืขื ืืกืืื ืืช ืืืื ืกืืคืืชโช.โฌโฌ
โซืื ืืืืืืช ืืกื ืืืืืจืื โช -โฌืขืืืง โช Xโฌืจืืื โช Xโฌืืืืโฌ
โซโช::โฌโฌ
โซืขืืฆืื ืืจืคื โช ::โฌืืืื ืืื ืโฌ โซืืงืกืืื โช ::โฌืืื ืชืืืจโช ,โฌืงืจื ืืืืืืจืโฌ โซืฆืืืื โช ::โฌืคืืื ืืืกืงืโช ,โฌื ืื ืืืกืืโช ,โฌืกืืืืื ืืจืืคืืื ืื ืฆืืื ืืข"ืโช,โฌโฌ โซืืจืง ืืืจโช ,โฌืืืจืื ืืโช ,โฌื ืืจืื ืคโช .โฌืกืืื ืืจืกโฌ โซืขืืจืืช ืืฉืื ืืชืจืืื ืืื ืืืืช โช ::โฌื ืืขื ืื ืืฉืโฌ โซืืคืืก โช ::โฌืขืื ืืื ืืคืืก ืืืคืกื ืืข"ืโฌ โซืืจืืื โช ::โฌืฉโช .โฌืืืคืฉืืฅ ืืจืืืื ืืข"ืโฌ โซยฉ ืชื ืืืืโช ,2015 ,โฌื ืื ืืืกืืโช.โฌโฌ โซโชwww.nadavweissman.comโฌโฌ โซโชwww.chelouchegallery.comโฌโฌ
โซืชืืื ืืืืืืช โช ::โฌืื ืืืจื ืจืืื ืืืโฌ โซืชืืื ืืคืงืืืื ืืืจืืืืงืืืจื ืืืื ืื ืขืจืื ืฉื ืืืื ืืื ืขื ืืชืืืื ืืืคืงืช ืืกืคืจโช.โฌโฌ โซืืชืขืจืืื ืืื ืืงืื ืืื ืืืคืงื ืืืืืช ืืชืืืื ืฉื ืงืจื ืืืืฉืข ืจืืื ืืืืฅ ืืืื ืืืืชโช.โฌโฌ โซืืกืคืจ ืืฆื ืืืืจ ืืืืืช ืืชืืืื ืฉื ืืืขืฆืช ืืคืืก ืืชืจืืืช ืืืื ืืชโช.โฌโฌ
โซโช2007-2015โฌโฌ
โซื ืื ืืืกืืโฌ