Photographed by Ami Erlich
Foster & Fenwick
Curated by Yham Hameiri
July 24 – August 23, 2014
Opening reception: Thursday, July 24, 8 pm
This exhibition deals with the situation of waiting. It is ‘waiting’ that appears to contain within it an expectation of change, it exists without beginning or end, so that this situation is static, spinning around itself and existing without any graph of progress whatsoever.
In the play “Waiting for Godot” by Samuel Beckett, the only certainty is uncertainty – the play does not portray any story, but rather a condition of stagnation. “Nothing happens, no one comes, and no one goes, horrible.” Didi and Gogo stand on the highway next to a tree, waiting. They remain in this situation throughout the play, despite declaring their intention to separate and leave. “Every day is like the one before, and when we die, we may not ever have existed.” “Waiting for Godot” creates a sense of uncertainty, from the arrival of Godot up to the play’s disappointment and frustration. Any effort to reach a certain, clear explanation by establishing the identity of Godot turns out to be useless. Samuel Beckett himself was asked who or what he meant by ‘Godot’. He replied, “If only I knew, I would have said so in the play.”
The concept of “Waiting List” refers to a situation in which a person who seeks to reach a particular place, to be accepted there, or (very differently) to receive a solution to a problem that troubles him, but does not receive what he needs. On the other hand, he isn’t permitted to go forward and leave the subject behind, since he is stuck in the middle between agreement and acceptance and disagreement and non-acceptance, and his hands are too tied up to influence the final outcome.
It would appear that the subject is a long waiting corridor with waiting rooms at its sides, that doesn’t lead to any destination. The waiting only accumulates different appearances and shapes that make it insufferable and influence the strength of faith in the possibility for change and progress. It seems that insight, a new motivating power, an outburst of compassion is necessary to bring about a dialogue and the sprouting forth of another possibility; otherwise, no such breakthrough is to be found at the moment.
In the exhibition, each of the artists relates differently to the situation of waiting:
Foster & Fenwich in their video, track the facial expressions of the audience listening to the preaching of a popular Californian guru. The listeners, whose faces on screen appear to be — through their faith — on the verge of a far-reaching change, hoping that more and more of the guru’s words will take them from the middle point to the yearned for condition of redemption and of happiness and tranquility.
Liron Kroll – produces a photomontage that creates a sort of “augmented reality”, a computer field that deals with combining virtual elements with actual surroundings in real time and interactively, figures that are found in awaiting situations. We look for example at a figure awaiting the arrival of someone on the veranda, and in another image a figure waiting impatiently for a meeting away from home in an American suburb. The atmosphere in the photograph is gothic and dramatic, but it is clear that the drama itself is delayed, and that the images are frozen in a sort of a time capsule.
Eitan Buganim presents in his stills ‘tied up’ images that have the potential for flight or discovery, but they are as though under a spell and frozen almost on the verge of movement. In his video work, Buganim discusses the relations between a man and a woman who are trying to get closer and to break through into a layer of intimacy but whose mutual efforts bear no fruit.
Tzachi Buchbut presents an installation made of curtains with a repeating pattern that looks like window bars. These “curtains” do not serve their functional purpose as dividers between inside and outside, between one space and another, or as protectors of a particular space, but rather remain just as indicators of these functions.
Orly Hummel‘s sculpture is a tire swing used by children in a playground, but in the exhibition it is motionless and even suggests future danger, as the chain links that fasten it to the ceiling are not connected.
In Gal Amiram‘s photographs, common, Sisyphean situations appear, like doing the wash and washing dishes. The washing party is frozen and sterile, accompanied by a fantastic touch of esthetics from design, celebrity and glamor magazines. The Sisyphean activity of washing dishes is accompanied by a longing for wild open spaces. The triangle symbolizes the decisive moment of expecting its ring, which is separated from the sounds of the entire orchestra, a moment that never arrives.
In the photograph of Daniel Tchetchik “Lost Roads”, the silhouette of a cowboy appears, leaning his head against a background of towels fluttering in the wind, on which symbols are drawn, that hint at parts of American history. The towels, objects taken from daily life, hint at gaps in time between the intermediate present that has no way out and the great hopes and pathos taken from the spirit of history, between which there is no bridge in order to reach completeness.
Yham Hameiri, July 2014