Alon kedem "TOUCH ME" Solo exhibition at Rosenbach Contemporary

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Alon Kedem โ€œTouch Meโ€

1.4 - 15.5.2016



TO U C H M E Solo exhibition: Alon Kedem 1.4 - 15.5.2016

16 King David St. (entrance on Hess St.) Jerusalem, Israel t - +972-507-516091 uri@rosenbach.co.il

www.rosenbach.co.il


โ€ซืœื”ืชื‘ื•ื ืŸ ื‘ืขื•ืœื ืžื ืงื•ื“ืช ื”ืžื‘ื˜ ืฉืœ ื”ืฆื™ื•ืจโ€ฌ โ€ซืฉืชื™ ืกื“ืจื•ืช ืฉืœ ืฆื™ื•ืจื™ โ€œื”ืชื‘ื—ื‘ืฉื•ื™ื•ืชโ€ ืฆื™ื™ืจ ืืœื•ืŸ ืงื“ื ื‘ืฉื ื™ืโ€ฌ โ€ซื”ืื—ืจื•ื ื•ืชโ€ช .โ€ฌื”ืจืืฉื•ื ื” ืžืกื•ื“ืจืช ื™ื—ืกื™ืชโ€ช :โ€ฌื‘ื›ืœ ืฆื™ื•ืจ ื‘ืกื“ืจื”โ€ฌ โ€ซืžื•ืคื™ืข ืื•ืกืฃ ื“ื—ื•ืก ืฉืœ ื›ืชืžื™ืโ€ช ,โ€ฌืงื•ื•ื™ื ื•ืฆื‘ืขื™ืโ€ช ,โ€ฌืกืคืง ื—ืœืงื™โ€ฌ โ€ซืื•ื‘ื™ื™ืงื˜ื™ืโ€ช ,โ€ฌืกืคืง ืžื—ื•ื•ืช ืฆื™ื•ืจื™ื•ืช ืžื•ืคืฉื˜ื•ืชโ€ช ,โ€ฌืฉื ืขืจื ืœื›ื“ื™ ื’ื•ืฉโ€ฌ โ€ซืฆื™ื•ืจื™ ื•ื›ื“ื•ืจื™ ื”ืžื•ืคื™ืข ื‘ืžืจื›ื– ื”ืชืžื•ื ื”โ€ช ,โ€ฌืื• ืœื—ืœื•ืคื™ืŸ ื ืžืจื— ืœืคืกโ€ฌ โ€ซืืจื•ืš ื”ื—ื•ืฆื” ืื•ืชื” ืœืจื•ื—ื‘ื”โ€ช .โ€ฌื›ืžื” โ€œื’ื•ืฉื™ืโ€ ื›ืืœื” ืžืฆื•ื™ืจื™ืโ€ฌ โ€ซื›ืฉื”ื ื ืขื™ื ืขืœ ื’ื‘ื™ ืžืกื™ืœื” ืฉืœ ืžื›ื•ื ืช ืฉื™ืงื•ืฃโ€ช ,โ€ฌื•ืื—ืจื™ื ืฉื˜ื™ืโ€ฌ โ€ซืขืœ ืกื™ืจื”โ€ช ,โ€ฌืžืจื—ืคื™ื ื‘ืื•ื•ื™ืจ ืื• ื ื—ื™ื ืขืœ ื”ืงืจืงืขโ€ช .โ€ฌืžืชื—ืช ืœื”ืโ€ฌ โ€ซืžื•ืคื™ืข ื›ืชื ื”ื ืจืื” ื›ืฆืœืœื™ืชื• ืฉืœ ื”ื’ื•ืฉโ€ช ,โ€ฌืืš ื’ื ื›ืฉืœื•ืœื™ืชโ€ฌ โ€ซื”ื ื™ื’ืจืช ืžืชื•ื›ื• ืื˜โ€ช-โ€ฌืื˜โ€ช ,โ€ฌืžืจื•ืงื ืช ืืช ื”ื’ื•ืฉ ืžื—ื•ืžืจื™ื• ื•ืžืคื–ืจืชโ€ฌ โ€ซืืช ืฉืืจื™ื•ืชื™ื• ืœื›ืœ ืขื‘ืจโ€ช .โ€ฌื’ื ื”ืฉืœื•ืœื™ืช ื”ื™ื ื’ื•ืฉ ื•ื’ื ื”ื•ื ืžืฆื•ื™ืจโ€ช,โ€ฌโ€ฌ โ€ซื•ื›ืšโ€ช ,โ€ฌื›ืžื• ืฉืขื•ืŸ ื—ื•ืœโ€ช ,โ€ฌื”ื’ื•ืฉ ื”ืฆื™ื•ืจื™ ืžืชืจื•ืงืŸ ื•ืžืžืœื ืืช ืขืฆืžื•โ€ฌ โ€ซื‘ืขืช ื•ื‘ืขื•ื ื” ืื—ืชโ€ช.โ€ฌโ€ฌ โ€ซื’ื ื‘ืกื“ืจื” ื”ืฉื ื™ื™ื” ืžื•ืคื™ืข ืื•ืกืฃ ื”ื›ืชืžื™ืโ€ช ,โ€ฌื”ืงื•ื•ื™ื ื•ื”ืฆื‘ืขื™ืโ€ช,โ€ฌโ€ฌ โ€ซืื•ืœื ื‘ื ื™ื’ื•ื“ ืœืžื™ืงื•ื“ ื•ื”ืกื“ืจ ื”ื™ื—ืกื™ ืฉืœ ื’ื•ืฃ ื”ืขื‘ื•ื“ื•ืช ื”ืงื•ื“ืโ€ช,โ€ฌโ€ฌ โ€ซื”ืคืขื ื“ื™ืžื•ื™ื™ ื”ืื•ื‘ื™ื™ืงื˜ื™ื ื•ื”ืžื—ื•ื•ืช ื”ืฆื™ื•ืจื™ื•ืช ืžืคื•ื–ืจื™ื ืขืœ ื›ืœโ€ฌ โ€ซืฉื˜ื— ื”ื‘ื“โ€ช ,โ€ฌื ื›ื ืกื™ื ืœืจื•ื•ื— ืฉื‘ื™ืŸ ื”ืฆื•ืคื” ื‘ืฆื™ื•ืจ ืœโ€ื ื•ืฉืโ€ ืฉืœื•โ€ฌ โ€ซื•ืžืกืชื™ืจื™ื ื“ื™ืžื•ื™ื™ื ืื—ืจื™ืโ€ช .โ€ฌืืœื• ื“ื™ืžื•ื™ื™ื ืžืคื™ืจื™ ืกื“ืจโ€ช .โ€ฌืืคืฉืจโ€ฌ โ€ซืœื—ืฉื•ื‘ ืขืœื™ื”ื ื›ืขืœ ื—ืœืงื™ ืขืจื™ืžื” ืžืื—ื“โ€ฌ โ€ซื”ืฆื™ื•ืจื™ื ื”ืงื•ื“ืžื™ื ืฉื”ืชื‘ืงืขื” ืžื‘ืคื ื™ืโ€ช,โ€ฌโ€ฌ โ€ซื ื™ืชื–ื” ืขืœ ื‘ื“ ืื—ืจโ€ช ,โ€ฌื•ื›ืขืช ืฉืจื™ื“ื™ื” ืžืจื—ืคื™ืโ€ฌ โ€ซื‘ืจื—ื‘ื™ ื”ืฆื™ื•ืจ ื”ื—ื“ืฉโ€ช ,โ€ฌืžืชืขืจื™ื ื•ืžืชื‘ื“ืœื™ืโ€ช.โ€ฌโ€ฌ โ€ซื‘ืจืืฉ ื•ื‘ืจืืฉื•ื ื” ื”ืฆื™ื•ืจ ืฉืœ ืืœื•ืŸ ืงื“ืโ€ฌ โ€ซืžื‘ื™ืข ืชืฉื•ืงื” ืœืฆื™ื•ืจโ€ช .โ€ฌื—ื“ื•ื•ืช ื”ืขืฉื™ื™ื”โ€ฌ โ€ซื ื™ื›ืจืช ื‘ืขื‘ื•ื“ื•ืชโ€ช ,โ€ฌื”ื—ื•ื’ื’ื•ืช ืืช ื”ื”ืชืคืœืฉื•ืชโ€ฌ โ€ซื‘ืฆื‘ืขื™ื ื•ื“ื™ืžื•ื™ื™ื ื•ืืช ื”ืžืฉื—ืง ื‘ื”ืโ€ช.โ€ฌโ€ฌ โ€ซโ€œื”ืขื•ืœื ืžืœื ื‘ื›ืœโ€ช-โ€ฌื›ืš ื”ืจื‘ื” ื“ื‘ืจื™ื ืฉืืคืฉืจโ€ฌ โ€ซืœืฆื™ื™ืจโ€โ€ช ,โ€ฌืžืฆื™ื™ืŸ ืงื“ื ื‘ืฉื™ื—ื” ื‘ืกื˜ื•ื“ื™ื•โ€ช ,โ€ฌื•ืžื‘ื™ืขโ€ฌ โ€ซืชื—ื•ืฉื•ืช ื”ื™ืงืกืžื•ืช ื•ืชืฉื•ืงื” ืฉื‘ืื•ืช ืœื™ื“ื™โ€ฌ โ€ซื‘ื™ื˜ื•ื™ ื‘ืฉืคืข ื•ื‘ืฆื‘ืขื•ื ื™ื•ืช ืฉืœ ื”ืฆื™ื•ืจื™ืโ€ช,โ€ฌโ€ฌ โ€ซืฉืžื–ื›ื™ืจื” ื—ื ื•ืช ืฆืขืฆื•ืขื™ื ืื• ืžืฉื—ืง ืžื—ืฉื‘ ื™ืฉืŸโ€ช .โ€ฌื‘ืกืงืืœืชโ€ฌ โ€ซื”ืฆื‘ืขื™ื ืฉืœ ื”ืฆื™ื•ืจื™ื ื™ืฉ ืžื™ื“ื” ืฉืœ ืžืœืื›ื•ืชื™ื•ืช ืขื“ื›ื ื™ืชโ€ฌ โ€ซื•ืžื›ื•ื•ื ืชโ€ช ,โ€ฌื›ื—ืคืฅ ืขืฉื•ื™ ืžืคืœืกื˜ื™ืง ื”ืžื•ืืจ ื‘ืžื ื•ืจืช ืœื“โ€ช ,โ€ฌื•ืื™ืœื•โ€ฌ โ€ซื‘ืงื•ืžืคื•ื–ื™ืฆื™ื•ืช ืฉืœื”ื ื ื™ื›ืจ ืžื‘ื˜ ืžืฉืชื•ืžื ืขืœ ื’ื‘ื•ืœ ื”ืคืœื™ืื”โ€ช.โ€ฌโ€ฌ โ€ซืื•ืœื ืžืฉื—ืงโ€ช ,โ€ฌื”ืฉืชื•ืžืžื•ืช ื•ืชืฉื•ืงืช ืžืœืื›ื” ื”ื ืจืง ืฆื“ ืื—ื“โ€ฌ โ€ซืฉืœ ื”ืขื‘ื•ื“ื•ืช ื”ืžื•ืฆื’ื•ืช ื‘ืชืขืจื•ื›ื”โ€ช .โ€ฌืฆื“ืŸ ื”ืื—ืจ ืขื•ืกืง ื‘ื ืกื™ื•ื ื•ืชโ€ฌ โ€ซืœื”ืงื ื•ืช ืžืฉืžืขื•ืช ืœืคืขื•ืœื” ื”ืฆื™ื•ืจื™ืช ื‘ืขื™ื“ืŸ ืฉื‘ื• ืžื•ืชื• ืฉืœ ื”ืฆื™ื•ืจโ€ฌ โ€ซื•ืชื—ื™ื™ืชื• ืžื—ื“ืฉ ื›ื‘ืจ ื”ืคื›ื• ืœืงืœื™ืฉืื” ืžื—ื–ื•ืจื™ืชโ€ช .โ€ฌืžืื” ื”ืฉื ื™ืโ€ฌ โ€ซื”ืื—ืจื•ื ื•ืช ื™ืฆืจื• ืื™ื ืกืคื•ืจ ืžื™ืชื•ืชโ€ช ,โ€ฌื”ืกืคื“ื™ื ื•ืœื™ื“ื•ืช ืžื—ื“ืฉ ืฉืœโ€ฌ โ€ซื”ืฆื™ื•ืจโ€ช ,โ€ฌื•ื”ืคื›ื• ื›ืœ ืฆื™ื™ืจ ื‘ืขืœ ื”ืฉื›ืœื” ื•ืžื•ื“ืขื•ืช ื”ื™ืกื˜ื•ืจื™ืช ืœืกื‘ืœโ€ฌ โ€ซื‘ืขืœโ€ช-โ€ฌื›ื•ืจื—ื• ื”ื ื•ืฉื ืขืœ ื’ื‘ื• ืืช ืžืฉื ื”ื”ื‘ื˜ื—ื•ืชโ€ช ,โ€ฌื”ื”ืฆืœื—ื•ืชโ€ช,โ€ฌโ€ฌ โ€ซื”ื›ื–ื‘ื™ื ื•ื”ื—ื•ืจื‘ื•ืช ืฉืœ ื”ืžื“ื™ื•ืโ€ช .โ€ฌื‘ื“ื•ืžื” ืœืฆื™ื™ืจื™ื ืจื‘ื™ื ื‘ื ื™โ€ฌ โ€ซื“ื•ืจื•โ€ช ,โ€ฌื’ื ืงื“ื ืžืชื—ื™ืœ ืืคื•ื ืืช ืขื‘ื•ื“ืชื• ื›ืฉื”ื•ื ืžืฉื•ื˜ื˜โ€ฌ โ€ซื‘ืžื—ืกืŸ ื”ื’ืจื•ื˜ืื•ืช ืฉืœ ื”ืฆื™ื•ืจ ื”ืžื•ื“ืจื ื™ืกื˜ื™ ื•ื”ืคื•ืกื˜โ€ช-โ€ฌืžื•ื“ืจื ื™ืกื˜ื™โ€ฌ โ€ซื’ื ื™ื—ื“โ€ช .โ€ฌื”ืฉื•ื˜ื˜ื•ืช ื‘ืžื—ืกืŸ ื”ื’ืจื•ื˜ืื•ืช ืžืืคืฉืจืช ืœืฆื™ื™ืจ ืœื—ืงื•ืจโ€ฌ โ€ซืืช ื”ื‘ืœื’ืŸโ€ช ,โ€ฌืื•ืœื ื‘ื”ืชื‘ื•ื ื ื•ืช ื‘ืฆื™ื•ืจื™ื ืงืฉื” ืœื˜ืขื•ืŸ ืฉื—ืงืจโ€ฌ โ€ซื”ื‘ืœื’ืŸ ืžืขื ื™ืง ืœื”ื ืกื“ืจโ€ช .โ€ฌื›ืš ืžืฆื™ื’ื™ื ื”ืฆื™ื•ืจื™ื ืžื—ื“ ื’ื™ืกืโ€ฌ โ€ซื”ืชื‘ื•ื ื ื•ืช ืžืžื•ืฉื›ืช ื•ืกื“ืจืชื™ืช ื‘ืื™โ€ช-โ€ฌื”ืกื“ืจ ื•ื‘ื‘ืœื‘ื•ืœ ื”ืžื–ื™ืŸโ€ฌ โ€ซืื•ืชื• ื•ื ื™ื–ื•ืŸ ืžืžื ื• ื’ื ื™ื—ื“โ€ช ,โ€ฌื•ืžืื™ื“ืš ื’ื™ืกืโ€ช ,โ€ฌืžืขืฉื” ื”ื”ืชื‘ื•ื ื ื•ืชโ€ช,โ€ฌโ€ฌ โ€ซื”ื”ืชื—ืงื•ืช ื•ื”ืคื™ืจื•ืฉ ื”ืฆื™ื•ืจื™ ืฉืœ ืื™โ€ช-โ€ฌื”ืกื“ืจ ื•ื”ื‘ืœื‘ื•ืœ ืื™ื ื• ืžืกื•ื’ืœโ€ฌ

โ€ซโ€“ ื•ืกืคืง ืื ื”ื•ื ื‘ืืžืช ืžื‘ืงืฉ โ€“ ืœื ืงื•ืช ืื• ืœื‘ื˜ืœ ืื•ืชืโ€ช.โ€ฌโ€ฌ โ€ซืื ื›ืšโ€ช ,โ€ฌืžื” ืžื‘ื™ืข ื—ืงืจ ื”ื‘ืœื’ืŸ ื”ืฆื™ื•ืจื™ ืฉืœ ืงื“ื?โ€ฌ โ€ซืชืฉื•ื‘ื” ืื—ืช ืœืฉืืœื” ื ื™ืชืŸ ืœืžืฆื•ื ื‘ืฉื™ื ื•ื™ ื ืงื•ื“ืช ื”ืžื‘ื˜โ€ฌ โ€ซื”ืžื•ืคื™ืข ื‘ืฉืชื™ ืกื“ืจื•ืช ืฆื™ื•ืจื™ ื”โ€ื”ืชื‘ื—ื‘ืฉื•ื™ื•ืชโ€ ืฉื”ื•ืฆื’ื• ืœืขื™ืœโ€ช.โ€ฌโ€ฌ โ€ซื–ื”ื• ืžืขื‘ืจ ืžืžื‘ื˜ ืขืœ ื”ืขืจื™ืžื” ืœืžื‘ื˜ ืžืชื•ื›ื”โ€ช .โ€ฌืื ื”ืกื“ืจื”โ€ฌ โ€ซื”ืžื•ืงื“ืžืช ื”ืฆื™ื’ื” ืืช ืขืจื™ืžืช ื”ืฆื™ื•ืจ ื‘ื“ืจื›ื” ืืœ ืžื›ื•ื ืชโ€ฌ โ€ซื”ืฉื™ืงื•ืฃโ€ช ,โ€ฌื”ืกื“ืจื” ื”ืžืื•ื—ืจืช ืžืขื‘ื™ืจื” ืืช ืžื‘ื˜ื• ืฉืœ ื”ืฆื•ืคื”โ€ฌ โ€ซืืœ ืคื ื™ื ื”ืขืจื™ืžื” ืขืฆืžื”โ€ช .โ€ฌื›ืขืช ื”ืฆื•ืคื” ืฉื•ื”ื” ื‘ืžืจื›ื–ื”โ€ช ,โ€ฌื•ืืโ€ฌ โ€ซืชื™ื›ื ืก ื”ืขืจื™ืžื” ืœืžื›ื•ื ืช ื”ืฉื™ืงื•ืฃโ€ช ,โ€ฌื™ื•ืคื™ืข ืขืœ ืžืกืš ื”ื‘ืงืจื” ืฉืœโ€ฌ โ€ซื”ืžื›ื•ื ื” ื’ื ืžื‘ื˜ื• ืฉืœ ื”ืฆื•ืคื” ืขืฆืžื•โ€ช.โ€ฌโ€ฌ โ€ซืœื”ื™ื•ืช ืžื‘ื•ื—ื‘ืฉโ€ช .โ€ฌื›ืš ื ื™ืชืŸ ืœื”ื‘ื™ืŸ ืืช ื”ืžืขื‘ืจ ื‘ื™ืŸ ืฉืชื™โ€ฌ โ€ซื”ืกื“ืจื•ืช ืฉื”ื•ืฆื’ื• ืคื”โ€ช .โ€ฌืงื“ื ืฆื•ืœืœ ืืœ ื”ื”ืชื‘ื—ื‘ืฉื•ืช ื”ืฆื™ื•ืจื™ืชโ€ฌ โ€ซืœื ื›ื“ื™ โ€œืœื˜ืคืœ ื‘ื‘ืขื™ื”โ€โ€ช ,โ€ฌืืœื ื›ื“ื™ ืœื”ื™ื•ืช ื‘ืขื™ื” โ€“ ืœื—ื•ื•ืช ืืชโ€ฌ โ€ซื”ื”ืชื‘ื—ื‘ืฉื•ืช ื‘ืžืœื•ื ื”ืชื‘ื—ื‘ืฉื•ืชื”โ€ช .โ€ฌื”ืชื•ืฆืื” ื™ื•ืฆืจืช ื”ื™ืคื•ืšโ€ฌ โ€ซื ืงื•ื“ื•ืช ืžื‘ื˜โ€ช ,โ€ฌื›ืืฉืจ ื‘ืžืงื•ื ื”ืชื‘ื•ื ื ื•ืช ื‘ืฆื™ื•ืจ ืžื ืงื•ื“ืช ืžื‘ื˜ื•โ€ฌ โ€ซืฉืœ ื”ืขื•ืœืโ€ช ,โ€ฌืžืชืงื‘ืœืช ื”ืชื‘ื•ื ื ื•ืช ื‘ืขื•ืœื ืžื ืงื•ื“ืช ืžื‘ื˜ื•โ€ฌ โ€ซืฉืœ ื”ืฆื™ื•ืจโ€ช .โ€ฌื–ื•ื”ื™ ืชืžื•ื ืช ืขื•ืœืโ€ช ,โ€ฌืคืฉื•ื˜ื• ื›ืžืฉืžืขื•โ€ช .โ€ฌื›ืžื• ืกืจื˜โ€ฌ โ€ซืงื•ืœื ื•ืข ืฉืžืฆื•ืœื ืžื ืงื•ื“ืช ืžื‘ื˜ื ืฉืœ ืื—ื“โ€ฌ โ€ซื”ืฉื—ืงื ื™ื ืื• ื—ืœืงื™ ื”ืชืคืื•ืจื”โ€ช ,โ€ฌื›ืžื• ื”ืื–ื ื”โ€ฌ โ€ซืœืžื ื’ื™ื ื” ืชื•ืš ื™ืฉื™ื‘ื” ื‘ื—ืœืงื” ื”ืคื ื™ืžื™ ืฉืœโ€ฌ โ€ซืชื™ื‘ืช ื”ืชื”ื•ื“ื”โ€ช ,โ€ฌื›ืš ื’ื ื”ืฆื•ืคื” ื‘ืฆื™ื•ืจื™ื• ืฉืœโ€ฌ โ€ซืงื“ื ืจื•ืื” ืืช ื”ืขื•ืœื ืžื‘ืขื“ ืœืฆื™ื•ืจ ื’ื•ืคื•โ€ช.โ€ฌโ€ฌ โ€ซืื™ื–ื” ืžื™ืŸ ืขื•ืœื ื ื™ื‘ื˜ ืžื‘ืขื“ ืœืฆื™ื•ืจ ืฉืœโ€ฌ โ€ซืงื“ื?โ€ฌ โ€ซื›ื“ื™ ืœืขื ื•ืช ืขืœ ื”ืฉืืœื” ืืคืฉืจ ืœื—ื–ื•ืจ ืืœโ€ฌ โ€ซืžืจื›ื™ื‘ื™ ื”ืฆื™ื•ืจ ืฉื”ื•ืฆื’ื• ื‘ืชื—ื™ืœืช ื”ื˜ืงืกื˜โ€ฌ โ€ซโ€“ ื”ื—ื•ืจื‘ื” ื•ืžื—ืกืŸ ื”ื’ืจื•ื˜ืื•ืชโ€ช ,โ€ฌืืš ื’ืโ€ฌ โ€ซื”ืžืฉื—ืงโ€ช ,โ€ฌื”ืคืœื™ืื”โ€ช ,โ€ฌื”ื‘ืœื’ืŸ ื•ื”ืชืฉื•ืงื”โ€ช.โ€ฌโ€ฌ โ€ซืฆื™ื™ื ืชื™ ื›ื™ ื‘ื“ื•ืžื” ืœืจื‘ื™ื ืžื‘ื ื™ ื“ื•ืจื•โ€ช ,โ€ฌื’ื ืงื“ื ืžืฉื•ื˜ื˜ ื‘ืžื—ืกืŸโ€ฌ โ€ซื”ื’ืจื•ื˜ืื•ืช ืฉืœ ื”ืฆื™ื•ืจ ื”ืžื•ื“ืจื ื™ืกื˜ื™ ื•ื”ืคื•ืกื˜โ€ช-โ€ฌืžื•ื“ืจื ื™ืกื˜ื™โ€ช .โ€ฌื›ื›ื–ื”โ€ฌ โ€ซื”ื•ื ืžื›ื™ืœ ื›ื‘ืจ ื‘ืจืืฉื™ืชื• ื”ืŸ ืืช ื—ื•ืจื‘ื•ืช ื”ืฆื™ื•ืจ ืฉืœ ื”ืžื—ืฆื™ืชโ€ฌ โ€ซื”ืจืืฉื•ื ื” ืฉืœ ื”ืžืื” ื”โ€ช 20-โ€ฌื•ื”ืŸ ืืช ืžื—ื•ื•ืช ื”ืฆื™ื˜ื•ื˜โ€ช ,โ€ฌื”ืงื™ื˜ื•ืขโ€ฌ โ€ซื•ื”ืคืกื˜ื™ืฉ ืฉื ื•ืฆืจื• ื‘ืžื—ืฆื™ืชื” ื”ืฉื ื™ื™ื”โ€ช .โ€ฌืื•ืœื ื”ื—ื•ืจื‘ื•ืชโ€ฌ โ€ซื”ืงื•ืจืกื•ืช ื•ืžืชื—ื“ืฉื•ืช ืœืกื™ืจื•ื’ื™ืŸ ื”ืŸ ืžืฆืข ื”ืฆื™ื•ืจ ืฉืœ ืงื“ืโ€ช ,โ€ฌืœืโ€ฌ โ€ซืชื•ืฆืื” ืฉืœ ืขื‘ื•ื“ืชื•โ€ช ,โ€ฌื•ืœื›ืŸ ื”ืฉื•ื˜ื˜ื•ืช ื”ืžื–ื™ื ื” ืืช ืขื‘ื•ื“ื•ืชื™ื•โ€ฌ โ€ซืื™ื ื” ืžืกืงื ื” ื‘ื™ื—ืก ืœืฆื™ื•ืจโ€ช ,โ€ฌื›ื™ ืื ื ืงื•ื“ืช ืžื•ืฆื ืฉืœื•โ€ช .โ€ฌื–ื• ืื•ืœื™โ€ฌ โ€ซื”ืกื™ื‘ื” ืœื›ืš ืฉื”ืขื‘ื•ื“ื•ืช ืžืฉื•ื—ืจืจื•ืช ืžืจื•ื— ืžืœื ื›ื•ืœื™ืช ื•ืชื—ื•ืฉื•ืชโ€ฌ โ€ซืื•ื‘ื“ืŸโ€ช ,โ€ฌืชืœื™ืฉื•ืช ื•ืคืชื•ืกโ€ช ,โ€ฌืืš ื’ื ืžืกืจืงื–ืโ€ช ,โ€ฌื–ืขื ืื• ืื›ื–ื‘ื”โ€ช.โ€ฌโ€ฌ โ€ซื”ืขื‘ื•ื“ื•ืช ืžืฆื™ื’ื•ืช ืขื•ืœื ื›ืื•ื˜ื™ ื•ืžืฉื•ืขืฉืขโ€ช ,โ€ฌืขื•ืœื ืฉืขืฉื•ื™โ€ฌ โ€ซืžืฉื‘ืจื™ื ืฉื›ืžื• ื”ืชืคื–ืจื• ืื—ืจื™ ื”ืชื‘ืงืขื•ืชโ€ช ,โ€ฌืืš ื”ื•ื ื’ื ืœื›ื™ื“โ€ฌ โ€ซื•ื‘ืขืœ ื”ื™ื’ื™ื•ืŸ ืžืืจื’ืŸ ืžืฉืœ ืขืฆืžื•โ€ช .โ€ฌื”ืฆื™ื•ืจื™ื ืžื–ื›ื™ืจื™ื ืกื™ืžืคื•ื ื™ื™ืชโ€ฌ โ€ซืฆืขืฆื•ืขื™ื ืฉื‘ื•ืจื™ื ื•ืžืงื•ืœืงืœื™ื ืฉื™ืฆืื• ืžืฉืœื™ื˜ื”โ€ช ,โ€ฌื•ื›ืขืช ื”ื ืกืคืงโ€ฌ โ€ซืžืชื‘ืœื’ื ื™ืโ€ช ,โ€ฌืกืคืง ืžืชืืจื’ื ื™ื ื‘ื›ื•ื—ื•ืช ืขืฆืžื ืœืชืฆื•ื’ื” ื—ื“ืฉื”โ€ช.โ€ฌโ€ฌ โ€ซื‘ืขื™ื“ืŸ ืฉื‘ื• ื”ืŸ ื—ื•ืจื‘ื•ืช ื”ืฆื™ื•ืจ ื•ื”ืŸ ื”ืžื‘ื˜ ื”ืžืขื•ื“ื›ืŸ ื•ื”ื‘ื™ืงื•ืจืชื™โ€ฌ โ€ซืขืœื™ื”ืŸ ื›ื‘ืจ ื”ืคื›ื• ืœื—ืœืง ืžืžืกื•ืจืช ื ื•ืงืฉื”โ€ช ,โ€ฌืฆื™ื•ืจื™ื• ืฉืœ ืงื“ืโ€ฌ โ€ซืžืฆื™ืขื™ื ืืช ื”ืืคืฉืจื•ืช ืœื”ื™ื•ืช ืžื‘ื•ื—ื‘ืฉโ€ช ,โ€ฌื”ืฆื•ืคื ืช ื‘ื—ื•ื‘ื” ืืชโ€ฌ โ€ซื”ืคื•ื˜ื ืฆื™ืืœ ื”ื ื•ื‘ืข ืžื”ื™ืชืžืžื•ืช ืžื—ื“ืฉโ€ช.โ€ฌโ€ฌ โ€ซื™ื•ื ืชืŸ ืืžื™ืจโ€ช ,โ€ฌืžืจืฅ โ€ช2016โ€ฌโ€ฌ


To observe the world from the perspective of the painting the work of Alon Kedem In recent years, Jerusalem artist Alon Kedem has added to his oeuvre two groups of paintings from the series entitled โ€œScramblesโ€. The first group is comparatively organized. In each painting appears a collection of random figures, lines and colors, perhaps pieces of objects or perhaps abstract gestures all bundled together in the center of the work or alternatively spread across the canvas. These scrambled bundles may appear at times traveling along a conveyer belt as if to pass through an X-ray machine for examination; others may float on a raft, surf in the sky, or at times lay to rest on earth. Beneath these scrambled images is visible a reflection, perhaps a silhouette of the scramble, or maybe a puddle slowly dripping, thereby emptying the scramble of its matter and arbitrarily scattering its remains. The puddle itself too is a scramble, a painted lump emptying itself like an hourglass, yet simultaneously filling itself with new being. In the second group also appear random figures, lines and colors, yet in contrast to the focus and order of the previous group, these bundled together images have suddenly โ€œtaken offโ€ and are now spread out loosely and fill the entire canvas. These objects invade the space between the viewer and the โ€œsubjectโ€, and subsequently hide otherwise visible objects. These images disrupt the usual order. One may view these figures as if a โ€œscrambleโ€ from the previous group burst as a balloon, its remnants splashed on a new canvas, and now float, transfused and transformed from its previous existence. First and foremost, Alon Kedemโ€™s painting expresses his passion for painting. His joy of creating is apparent throughout his work; celebrations of his indulging in colors and images and toying with them. โ€œThe world is full of so many subjects to paint,โ€ says Kedem during a conversation in the artistโ€™s studio. He expresses feelings of fascination and passion which come to life through the language and colors of his canvases, reminiscent of a toy store or an ancient computer game. In his palette exists an amount of intentional, yet relevant artificiality, as if a plastic object illuminated by a LED lamp; in contrast, through his compositions is noticeable a glimpse of wonder bordering on the marvelous. Yet, the game, the wonder and the passion of creating are only one side of the works on exhibit. Another side deals with the attempt to offer meaning to the act of painting in the era in which the death of painting and its resurrection have already become a cyclical clichรฉ. The past one hundred years have created countless deaths, obituaries and rebirths of painting, and have caused even the educated painter with historical awareness to carry, willingly or unwillingly, the bag of promises, of successes, of falsehood, and of the ruins of the medium. Like many artists of his generation, Kedem starts his work by wandering through the โ€œjunkyardโ€ of modernist and post-modernist painting. The visit to the junkyard allows the painter to investigate the disorderly; but it is difficult to claim by looking at the paintings that the artistโ€™s investigation of the disorder has in fact instilled order. As a result, the paintings show sequential prolonged contemplation of the chaos and

confusion that instills substance while creating within itself a new definition. This act of observation, exploration and picturesque interpretation of chaos and confusion, is unable and doubtfully desires - to cleanse nor to eliminate the disorder. As such, what is Kedem expressing through his exploration of picturesque disorder? One answer can be found in the difference of perspective as appears in the two series of Scrambles presented above. It is the transition from the external viewing of the โ€œpileโ€ to the viewing from within. If the earlier series presented the โ€œpileโ€ of the painting on its path through the X-ray machine, the later series transfers the viewerโ€™s attention to the internal of the โ€œpileโ€ itself. Currently the viewer exists in the internal; if the โ€œpileโ€ were to traverse the X-ray machine, the viewerโ€™s gaze would seemingly appear on the control screen. โ€œTo be scrambledโ€. This explains the transition between the two series of Scrambles presented here. Kedem delves into the picturesque Scramble not to โ€œaddress the problemโ€, but rather to cause it to be a problem - experience the Scramble in the utmost scramble. The result creates a reversed point of view, whereby rather than viewing the painting from the perspective of the world, the world is observed from the perspective of the painting. This becomes literally a picture of the world. Like a movie filmed from the perspective of an actor or parts of the set, like a melody vibrating from the inside of the sound box, the viewer experiences the world as if looking out from the painting itself. What kind of world is seen through Kedemโ€™s painting? To answer this question, we return to the components of the painting as above - the ruins and the junkyard, but also the game, the wonder, the disorder and the passion. I noted that similar to many of his contemporaries, Kedem wanders through the junkyard of modernist and post-modernist painting. As such, he contains within his works the ruins of the early 20th century yet also gestures citation, fragmentation and pastiche created in the latter half of the 20th century. The crumbling ruin and its intermittent rejuvenation form the basis of Kedemโ€™s painting, not the result of his work; as a result, the wandering that nourishes his work is not a conclusion in relation to the painting, but rather its starting point. Perhaps as a result, the works are free from a melancholy mood and feelings of loss, alienation and pathos, but also from sarcasm, anger and disappointment. The exhibition presents a chaotic and amusing world, like a world created of broken items as if dispersed after an explosion, but simultaneously coherent and organized according to its own logic. The paintings are reminiscent of a symphony of broken toys of which we have lost control, yet now perhaps they are disorganized or perhaps reorganize themselves to form a new display. In an era in which both the remnants of painting and the critical perspective upon them have become a rigid tradition, Kedemโ€™s paintings offer the possibility to be โ€œscrambledโ€, creating the potential resulting from a renewed innocence. Yonatan Amir March 2016


Meeting point, 2016 oil on canvas 140 x 160 cm



Image after image, 2016 oil on canvas 140 x 160 cm



Into the green, 2014-15 oil on canvas 180 x 200 cm



Floating, 2015 oil on canvas 110 x 120 cm



Exchange, 2015 oil on canvas 110x140 cm



Peeking, 2016 oil on canvas 40 x 45 cm



Do you like me, 2016 oil on canvas 40 x 45 cm


Scanning machine, 2015 oil on wood 17 x 30 cm


Scanning machine, 2016 oil on canvas 100 x 160 cm



Facing, 2014 oil on canvas 60 x 100 cm



Touch me, 2015 oil on canvas 80 x 70 cm



Garland (red,yellow, blue) oil on canvas 115 x 95 cm



Enlightenment, 2015 oil on paper 100 x 70 cm



Daylight, 2012 oil on canvas 120 x 160 cm



Asking images, 2012 oil on canvas, 110 x 160 cm



Proccesing, 2014-15 oil on canvas 180 x 220 cm



Moonlight Scramble, 2013 oil on canvas 150 x 150 cm



Scanning machine, 2015 oil on canvas 40 x 80 cm

Zikit, 2015 oil on paper 70 x 100 cm


Alon Kedem b.1982, Israel lives and works in Jerusalem EDUCATION 2012-14 MFA , Bezalel Academy of Art, Israel, Tel Aviv 2005-09 BFA, Bezalel Academy of Art and Design 2008 Exchange studies, Maryland Institute College of Art (MICA), Baltimore, MD, USA. SOLO\DUAL EXHIBITIONS 2016 โ€œTouch meโ€, Rosenbach Contemporary 2015 โ€œSelf Productionโ€, Feinberg Projects, Tel Aviv. 2014 Bezalel MFA show, Tel Aviv. 2012 โ€œAsking imagesโ€, The Osnat Mozes prize for a young painter exhibition, Artists House, Jerusalem. 2011 โ€œLoadingโ€, dual exhibition , Tavi Art Gallery, Tel Aviv, curated by Sagi Refael SELECTED GROUP EXHIBITIONS 2015 2014 2012 2010 2009

Silicon Valley Art Fair, San Francisco, USA. โ€œMercazโ€, Rosenbach Contemporary, Jerusalem โ€œAkhshavโ€, Stein Rose Fine Art, NY, NY, curated by Julianne Steindler โ€œ100 Painters of Tomorrowโ€, One Art Space, New York โ€œBe my guestโ€, Hagaf Gallery, Haifa โ€œWinter salonโ€, Feinberg Projects, Tel Aviv Fresh Paint, Tel Aviv, Young Artists Green House โ€œ2012- โ€œNew Spacesโ€, Mani House, Bank Leumi, Tel Aviv, curated by Smadar Sheffi โ€œSketchesโ€, The New Gallery at the Artistsโ€™ Studios, Teddy Stadium, Jerusalem, curated by Hedva Shemesh โ€œSearch Enginesโ€ group exhibition, Dollinger Gallery, Tel Aviv, curetted by Talia Israeli

AWARDS 2014 2011 2009

โ€œ100 Painters Of Tomorrowโ€, โ€œThames&Hudsonโ€, London, by Kurt Beers,. Bezalel Academy of Art and Design The Osnat Mozes Prize for a Young Painter, 2011 The Mitchell Presser Prize for Excellence in Painting

SELECT COLLECTIONS Bank Leumi collection Mitchell Presser collection (NY) Donald Rothfeld collection (NY\ Katzen Arts Center) Kobi Galor collection (TA) Sharon Barzelay collection (TA) Lebel Family Collection (Ranana) various private collections in Israel and overseas


16 King David St. (entrance on Hess St.) Jerusalem, Israel t - +972-507-516091 uri@rosenbach.co.il

www.rosenbach.co.il


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