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Jack Jano - Law of Superposition (12/05/2017 - 12/08/2017)



*hebrew at the bottom*

Jack Jano: The Law of Superposition
a Hebrew Installation

In commemoration of the end of the 500 year to the world’s first Jewish Ghetto, in Venice, and the 57th Biennale in the City, the Italian art organization “One Contemporary” has invited, the artist Jack Jano under the auspices of the Engel gallery, in cooperation with the curator Pier Paolo Scelsi, the Venetian town council and the Israel Embassy of Rome, to display his works in the exhibition which focuses on contemporary Hebrew art.

The participation of the artist Jack Jano in the Biennale, is a natural continuation to his exhibition in Israel, taking place in parallel both at the Engel Gallery Jerusalem & Tel-Aviv, called “The Journey: West”, an introduction to the installations in Venice – the city that stands “West of Here”.

This is the first Biennale since it was opened 500 years ago, rejoicing the creative freedom of spirit and man, in a sharp contrast to the Ghetto which tried to shut the spirit and abstract intellectual creative cycles of the Jewish people. This event reflects a saying of social and national importance.

At this exhibition, which is a non-profit, Jack Jano, taps into the Hebrew language and it's the roots to life from the ‘letter’ through to the ‘spirit’. Confronting the personal versus the group identity, the misbalance and transient versus the search for a ‘Home’, all correlating to the collective national human memory – while reflecting upon his personal roots, as one who made Aliyah with his parents from Morocco to Israel at the age of 7, like an uprooted tree versus a potted one.

Jano was invited to exhibit a large scale installation on the Isle of Giudecca during May-July, called “Law Of Superposition: A Hebrew Installation” (an external/internal installation on a 450 meter2 area).

In addition, Jano will take part in an Israeli exhibition at the Jewish Museum in Venice during the six months of the Biennale, which will also feature a performance piece in the Jewish Ghetto square as part of the same exhibition. This cooperation connects Jano’s exhibition to the story of the Jewish journey.

The Exhibition Law Of Superposition: A Hebrew Installation

The exhibition takes place in a wide space on the Isle of Giudecca, which was in the past, traditionally utilized for commercial Gondola building. There’s a theory that the name of the Isle, which is centrally located in the Bay of Venice, and is today one of the city’s neighborhoods, was given to it due to a Jewish settlement who’s abode it was prior to the inauguration of the Ghetto of Venice.

Law Of Superposition: A Hebrew Installation – is the law of layers and depths – meaning to document the age of the layers in geology as well as in the Hebrew Art world – as a chronological accumulation of coincidences and events creating the Hebrew reality – the collective narrative; all the while, the narrative of an artist, is made possible for research and documentation (layer-upon-layer).

Moreover, installing the exhibition on three different levels, as of “the law of layers and depths” together with the play on the masked and the revealed, demonstrates The Law of Superposition of the exhibition, and is part of the metaphor of the Journey of Life.

The exhibition is based on large scale installations, who were created specifically for the exhibition, a testament to the unique language of the artist.

In his investigation of matter during the creative process, Jano appropriates the qualities of the four elements: The branding of fire on metal; the transfiguration of materials in the metamorphosis of the creation by anointment of the metal in water thereby transfiguring it to rust and patina. The use of water as a mirror of reflection to creation and the environment, and the transfiguration of air from “non-concrete” to “concrete”, tangible and perceptible, cutting letters and shapes from inside the sculpture outwards, creating a space with a recognizble border, presence and shape. And finally, earth, from whom the materials of the Artist arise, connecting him as ‘The man who lives at the peak of the mountain’, interlaced inside the creation itself.

The Exhibit is on 3 Levels - Law of Superposition: A Hebrew Installation:

Level 1 – Entrance, Water, Fire, Metal: Zvulon, Metal, 2x5 m

One arrives at Giudecca by boat, directly to the exhibit, which was an artisan workshop for a Gondola maker, traditionally. In the corridor, as though through 'the birth canal' (from the water towards the creation), alongside ancient gondola's, is a metal boat carrying "a heap of homes" with round roofs like the graves of saints, synagogues or homes all on the wings of two images, cut from metal, in which the letters in Hebrew are cut as the work of a Jewish scribe together creating the sentence "Thou art fair, my flock with pigeon eyes" and in the other image the sentence "And man was created from the earth" both from The Book 'Song of Songs'.

These images carrying on their wings the weight which is for them 'home', as a metaphor or reality, are able to do that due to the construction on top of them that travel with them wherever they go.  The arrangement of images are compared to the two spies returning from Cnaan on whose wings is a bunch of grapes. Many draw a parallel between love of Israel and love of a woman – she's the Mother and the Nation, the Home. This creation is momentous in its message regarding local Italian Jewry (who are exiled from their land & native habitat) to the walls of the Ghetto to the continuum of the immigrant ships, searching the world for a new home and identity.

Level 2 – Earth and Man: A city overturned, Metal 2x5x5 m2 – heads, multiple techniques (140 portraits) and varied sizes (60x60 – 20x20 cm) creating a pyramid of 5x7 m

Rising to the second level, a pile of dark Galilean earth is discovered, a humungous pyramid – of 5m2 – in which letters are imprinted in Hebrew – as a testament to Law Of Superposition – layers and layers of meaning as one rises above the level itself, a creative base is discovered, as though a city were turned upside down.

This is an obscure vision of an "upside-down" world where the "home" appears as a traditional and familiar structure, while rounded roofs are piled in a jumbled heap in an untimely manner, their 'heads' facing down, while their base – the earth, is facing up. This installation awakens the detachment of a broken "identity", like a glider through the air without orientation, without orderliness or correct "gravity".

In the same upside-down language, immediately after the creation, is installed the pyramid of figures, self-portraits of the artist. These too are upside-down, and the base facing the sky, with a width of 7 m2, while the head is burrowed in the "earth" which is at the crown. This pyramid was assembled of 135 self-portraits of the artist, interwoven with paper-cuttings and "treated" photographs in addition to pieces of material, color and pieces of wood and metal.

The images – are Jano, "broken" and multi-faceted. Some are remnant of Rabi's, social icons, and humoristic finger-pointing or biographies. Jano's profile peeping through the face of a Venetian merchant of the 17 hundreds, his character as customary, is Spanish – a tribute to the righteous from his home town, as the figure of a man with a hat similar to himself, and more. As everyone are "friends" in an "upside-down" un. table community, in danger of "falling" – destruction. This work is rich in mediums and metaphors, with an intensity that awakens reactions.

When leaving this space to the third level, one passes "The Home of Genesis" (Metal, 40x40x40 cm2.), a narrow space (2x2x2 m2) separated from the main space with a Chuppah of material. Inside, a house on top of a basic structure, is revealed with a bountiful roof; it hovers in the air by a support beam, in which a "prestigious light" is shaded blue, from which Hebraic letters erupt creating in their reflection together, the first paragraph of Genesis,

[1:1] In the beginning when God created the heavens and the earth,
[1:2] the earth was a formless void and darkness covered the face of the deep, while a wind from God swept over the face of the waters.
[1:3] Then God said, "Let there be light"; and there was light.
[1:4] And God saw that the light was good; and God separated the light from the darkness.
[1:5] God called the light Day, and the darkness he called Night. And there was evening and there was morning, the first day.

The metal house – materials from the deep layers of earth, scorched by fire, hanging, installed in the air, lit by the first blue light of the genesis sky, attributes its meaning and shape not only by its Holy message, but also by its intimate space, compartmentalized, creating a feeling of relaxation, comfort, reliant on space and time.

In this case, a connection was created between the house and the CORE of man and society with the beginning of the universal and spiritual Genesis, correlating the four elements in Nature, dipped in blue sky and water illuminated – as a core experience, hugging nations and religions, dramatic and powerful.

Level 3 – Wall, bricks, sponge covered with mortar, size: 150x20 cm2 x 3.8 m2

With the move to the third and last level, the meaning of the Ghetto is uncovered in the perception of the artist. The installation is a wall of bricks, with narrow-rectangular peeking holes, like the firing-range cracks in ancient walls, through which to the beholder outside the Ghetto appear the backs of figures without an identity, meaningless. As a fable of outcasts and imprisonment, the Jews, as a collective, were penalized for their religion and vocation. With the loss of feeling of belonging, the brutal extraction to a closed space to the point of suffocation, basic and simply lacking any hint of Jewish identity externally – the identity is lost, personally and socially-religiously.

Only for the visitor who is interested in getting to know the building from "close", in relation to those walking around it and discovering the entrances, is there an opportunity to peep in and discover what is beyond the slim holes.  A unique interior, individual and representing a personal-community identity, of the imprisoned in the Ghetto.

This installation is a living, breathing social ambassador for the spirit of the Hebrew, whose winds continue to blow as winds of peace and comradeship, and as a messenger of multi-culturalism, during the biggest exhibition the world has ever seen giving tribute to the Spirit of Freedom & Creativity in all its forms.

During the exhibition, the artist will take part in an art exhibit at the Israeli Museum of Judiasm in Venice, where he will display the story of the Jews of Venice via his unique artistry using Metal, Wood, and Books. In addition, as part of the exhibition Jano will display a performance piece, where he will cut the metal letters in fire in the Jewish Ghetto plaza.

click here for the exhibition's event on facebook

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ז'אק ז'אנו: עקרון הסופרפוזיציה
הצבה עברית

לציון תום אירועי שנת ה- 500 לגטו היהודי הראשון בעולם בוונציה והביאנלה ה - 57 בעיר, הזמין ארגון האמנות האיטלקי "One Contemporary" בשיתוף האוצר פייר פאולו סלסי, מועצת העיר וונציה והשגרירות הישראלית ברומא, את האמן ז'אק ז'אנו וגלריה אנגל להציג את יצירותיו, בתערוכה המתמקדת באמנות עכשווית עברית. השתתפותו של האמן ז'אק ז'אנו באירועי הביאנלה, הינו המשך רצוף לתערוכותיו בארץ המתקיימות יחד בגלריות אנגל -בירושלים ותל אביב, בשם "המסע - ימה" המהוות מבוא והקדמה למיצבים בוונציה - היא העיר העומדת "מערבה מכאן".

זו היא הביאנלה הראשונה אחרי 500 שנים לסגירת היהודים בגטו הראשון בעולם ובכך מעלה על נס את היצירה החופשית ורוח האדם, מול הגטו בו ניסו לסגור את רוח החופש והמשכיות היצירה המופשטת אינטלקטואלית - יהודית.  אירוע זה משקף אמירה בעלת חשיבות תרבותית - לאומית.

בתערוכה זו, שאינה למטרות רווח, יעסוק ז'אנו בשפה העברית ובחיבורה ליסודות החיים מה"אות" ועד ה"רוח". בסוגיית הנדודים והזהות האישית והקבוצתית, בחסר היציבות והארעיות מול החיפוש אחר ה"בית" כל זאת מתוך הזיכרון הקולקטיבי לאומי - אנושי ושורשיו האישיים, כמי שעלה עם הוריו ממרוקו בגיל 7 לארץ - כעקור מול נטוע.

ז'אנו הוזמן להציג הצבה גדולת מימדים על האי ג'ודיקה (הצבות פנים וחוץ בשטח של 450 מ"ר לערך) במהלך החודשים מאי - יולי בשם "עקרון הסופרפוזיציה: הצבה עברית"  - " Law Of Superposition: A Hebrew Installation".

בנוסף, ייקח ז'אנו חלק בתערוכת אמנות ישראלית במוזיאון היהודי בוונציה במהלך ששת חודשי הביאנלה ואף יציג עבודת פרפורמנס ברחבת הגטו היהודי כחלק מתערוכה זו. שיתוף פעולה זה מחבר את תערוכתו של ז'אנו לסיפורו של המסע היהודי.

 

תערוכת "עקרון הסופרפוזיציה: הצבה עברית" - Law Of Superposition: A Hebrew Installation   

התערוכה, תתקיים במתחם רחב ידיים באי ג'ודיקה, אשר שימש בעבר לבניית גונדולות מסורתיות. ישנה סברה ששמו של האי, הממוקם במרכז מפרץ וונציה ומהווה כיום את אחת משכונות העיר, ניתן לו בשל ישוב יהודי באי, קודם להקמת הגטו של ונציה.

 

"עקרון הסופרפוזיציה: הצבה עברית" - היא תורת השכבות והרבדים - אם בגיאולוגיה לתיעוד גילן של השכבות או בהקבלה לעולם האמנות העברית - כהצטברות כרונולוגית של צרופי מקרים ואירועים המייצרים את המציאות העברית - קולקטיבית, כנרטיב לסיפור חיי האמן, הניתנים לחקירה ותיעוד (שכבות על גבי שכבות).

יתרה מכך, הצבת התערוכה בשלושה מפלסים שונים  כ"תורת השכבות והרבדים" בשילוב משחק בין הגלוי לנסתר, ממחיש את "עיקרון הסופרפוזיציה" של התערוכה ומהווה גם מטאפורה ל"מסע החיים".

התערוכה מבוססת על הצבות, של יצירות גדולות מימדים שהוכנו במיוחד לרגל האירוע, נאמנות לשפתו הייחודית של האמן. בעירוב מדיות שמקורן בחומרי גלם הנאספים בשדות "כליל" שבגליל, היא סביבתו הטבעית, הנבחרים כשיקוף ארבעת יסודות הטבע: האש הצורבת וחותכת במתכת, המים המשמשים למטמורפוזה בחומר על ידי טבילת המתכת והפיכתה לחלודה ופטינה - כתיארוך מחודש, כבריאה והפיכת ה"חדש" לישן". השימוש באוויר כחומר מוחשי וקונקרטי, בעל צורה ברורה וממוסגרת על ידי חיתוך אותיות וצורות מהיצירה החוצה כך שה"חסר" הוא החלל שנוצר, הופך לקונקרטי - ל"חומר". לבסוף, האדמה ממנה הגיע החומר ושאליה קשור ז'אנו בחיפוש שורשיו וזהותו  - המשולבת ביצירה.

מבנה תערוכת "עקרון הסופרפוזיציה: הצבה עברית"  בשלושה מפלסים:

 

מפלס ראשון - כניסה, מים, אש ומתכת: זבולון, ברזל , 2x5 מ'

לאי ג'ודיקה מגיעים עם סירה ישירות אל מתחם התצוגה, שבעבר שימש כבית מלאכת אומן גונדולות מסורתיות. במסדרון - כ"תעלת לידה" (מהמים אל עבר היצירה) לצד גונדולה עתיקה מוצבת סירת מתכת מאורכת הנושאת עליה "ערימת בתים" בעלי גג עגול כקברי צדיקים, בתי כנסת או מבני מגורים. כל אלה נישאים על כתפי 2 דמויות "גזורות" מתכת, מתוכן חתוכות באש אותיות עבריות כ"כתב סת"ם" היוצרות יחד את המשפט  "הנך יפה רעיתי, עיניך יונים" ובדמות השניה  את המשפט"יצר את האדם מן האדמה" שניהם מקורם בשיר השירים.



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