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Yehudit Sasportas YEHUDIT SASPORTAS Guardians of the Threshold Curated by Suzanne Landau Innenseiten-05.indd 1 21.05.2007 0:15:41 Uhr Yehudit Sasportas Guardians of the Threshold The Israeli Pavilion La Biennale di Venezia 52nd International Art Exhibition Curator The Israeli Council of Galerie EIGEN + ART Berlin Suzanne Landau Culture and Art Gerd Harry Lybke, Kerstin Wahala, Yulla and Jacques Lipchitz Visual Art Section Birte Kleemann, Ulrike Bernhard, Chief Curator of the Arts, Anne Schwanz, Sarah Miltenberger, The Landeau Foundation The Steering Committee Britta Grüter, Johanna Neuschäffer, Curator of Contemporary Art, Galia Bar-Or, Sergio Edelsztein, Leonie Pfennig, Fiona Geuß The Israel Museum, Jerusalem Yitzhak Livne, Michal Naaman, Galerie EIGEN + ART Leipzig: Meira Perry-Lehman Elke Hannemann, Astrid Hamm, Production Coordinator: Idit Amihai Anja Meinhold Production Manager: Diana Shoef Director of the Pavilion: Arad Turge- Ministry of Science, Culture The Center for Contemporary Art, man and Sport Tel Aviv Lighting: Yehuda Levi Culture and Arts Administration, American Friends of the Israel Assistants: Yifat Bezalel, Tal Peer, Museum & Visual Arts Department Museum Sharon Mantel, Noa Lehrner The Israel Museum, Jerusalem Carpentry: Amir – A. A. Scenery; Da- Ministry of Foreign Affairs Israel Cultural Excellence Foundation vid Alon, Tel Aviv; Edgar Reinke and Cultural & Scientific Affairs Division (IcExcellence) Raffi Leshem, Berlin Aviv Koriat 3D-Imaging and Technical Embassy of Israel in Italy Irad Kimchi; Shlomit Divinsky Consultant: Amos Wagon Doron Fitterman – Gravity Technical Planning: Nomi Lewin With support from Post Production Slide projection: Massimiliano Busato, Musicart ltd. founded by Mrs. Lily Avi Reik – Flying Cargo MB Audiovisivi, Padova Elstein Arc. Giovanni Boldrin, Padova; The Beracha Foundation Aurellio Rampazzo Srl. Impresa edile, Catalogue ifa – Institut für Auslands- Venezia Graphic Design: K. Marie Walter beziehungen e. V. Andrea Morandi, Padova Photographs: Uwe Walter Robert J. Franklin, Santa Monica Graphic Design in Hebrew: ACBP - The Andrea and Charles All works courtesy of Nadav Shalev Bronfman Philanthropies Sommer Contemporary Art, Tel Aviv Translations & Editing (Hebrew Lauren & Mitchell Presser, New York www. sommergallery.com & English): Daria Kassovsky Rivka Saker and Uzi Zucker Galerie EIGEN + ART Leipzig/Berlin Translation (German): Frank Süßdorf www. eigen-art.com Printing: Druckerei Conrad, Berlin Special thanks to Sommer Contemporary Art Gallery, © 2007 Yehudit Sasportas and Publishing Tel Aviv: Irit Mayer-Sommer, Ilan Fine, DuMont Verlag DuMont Literatur und Kunst Verlag, Tamar Zagursky, Ronili Lustig Amsterdamer Strasse 9 Gil Brandes and Doron Sebbag ISBN: 978 3 8321 7773 7 D-50735 Köln, Germany Shlomo Yitzhaki and Elena Lulko – Ministry of Science, Culture & Sport www. dumontliteraturundkunst.de Yona Marcu – Ministry of Foreign Affairs Innenseiten-05.indd 2 21.05.2007 0:15:41 Uhr 3 Innenseiten-05.indd 3 21.05.2007 0:15:41 Uhr G uardians of the T hreshold Innenseiten-05.indd 4 21.05.2007 0:15:50 Uhr G uardians of the T hreshold Site – specific installation Ink, acrylic, oil, chalk, Slide projection, Plywood, metal, MDF Dimension variable 5 Innenseiten-05.indd 5 21.05.2007 0:15:56 Uhr Innenseiten-05.indd 6 21.05.2007 0:16:02 Uhr 7 Innenseiten-05.indd 7 21.05.2007 0:16:06 Uhr 8 Innenseiten-05.indd 8 21.05.2007 0:16:12 Uhr 9 Innenseiten-05.indd 9 21.05.2007 0:16:16 Uhr 0 Innenseiten-05.indd 10 21.05.2007 0:16:21 Uhr 11 Innenseiten-05.indd 11 21.05.2007 0:16:26 Uhr 12 Innenseiten-05.indd 12 21.05.2007 0:16:31 Uhr 3 Innenseiten-05.indd 13 21.05.2007 0:16:36 Uhr 14 Innenseiten-05.indd 14 21.05.2007 0:16:41 Uhr 5 Innenseiten-05.indd 15 21.05.2007 0:16:46 Uhr 16 Innenseiten-05.indd 16 21.05.2007 0:16:51 Uhr 7 Innenseiten-05.indd 17 21.05.2007 0:16:55 Uhr 8 Innenseiten-05.indd 18 21.05.2007 0:17:01 Uhr 9 Innenseiten-05.indd 19 21.05.2007 0:17:05 Uhr 0 Innenseiten-05.indd 20 21.05.2007 0:17:11 Uhr 21 Innenseiten-05.indd 21 21.05.2007 0:17:15 Uhr 22 Innenseiten-05.indd 22 21.05.2007 0:17:21 Uhr 3 Innenseiten-05.indd 23 21.05.2007 0:17:25 Uhr 24 Innenseiten-05.indd 24 21.05.2007 0:17:31 Uhr 5 Innenseiten-05.indd 25 21.05.2007 0:17:35 Uhr 26 Innenseiten-05.indd 26 21.05.2007 0:17:40 Uhr 7 Innenseiten-05.indd 27 21.05.2007 0:17:45 Uhr 8 Innenseiten-05.indd 28 21.05.2007 0:17:50 Uhr 9 Innenseiten-05.indd 29 21.05.2007 0:17:55 Uhr 30 Innenseiten-05.indd 30 21.05.2007 0:18:00 Uhr 3 Innenseiten-05.indd 31 21.05.2007 0:18:04 Uhr 3 Innenseiten-05.indd 32 21.05.2007 0:18:10 Uhr 33 Innenseiten-05.indd 33 21.05.2007 0:18:14 Uhr 3 Innenseiten-05.indd 34 21.05.2007 0:18:21 Uhr Threshold and its Shadow (for YS) Andrew Renton The intention of one who contemplates an image is said the frame displaces what it contains and your eye wavers to go directly through the image, as through a window, between the window and some sort of generic view offered into the world it represents, and aims at an object … 1 in reproduction. Light enters your room, but the perspective beyond the The view from here makes you long for an absent scene. room casts little or no shadow upon where you stand. The Despite all reference and materialization, the work establishes light moves around the room so slowly that the day might a paradox of representation, where illusion can be understood come and go and you would hardly notice your own shadow as a device or strategy to distance the viewer from the scene. except when it obscured your sightline. It is always presented as illusion and is driven by a desire But the image of the thing incorporates the object and perpetually deferred and unfulfilled. The distance is defined its shadow into itself to such a degree that they become both in terms of the illusion itself, what it looks like to you, one. They belong to the same flat plane of illusion, even as from here, and also through the means of making, with what everything you know of the scene would mitigate against means you imagine it might have been put together. that flatness. You do not see what is represented, but rather see through An exaggerated image of the scene, more visible precisely a representation on the way towards it. There is no way to because it announces itself as a visual fiction of sorts, with forget that this is a constructed sightline, whose purpose saturated color. You unsee its frameless edges, dismissing is to ask the viewer to look beyond. But the means are any notion of a border to allow your eye to enter for one inadequate. They reveal their failure to represent. Absolute moment before it turns away. representation, after all, is invisibility or transparency. You But were you ever there? Did you ever step outside into would pass through the thing entirely. You would not see it this scene you are attempting to frame? for the illusion it was. To what extent, you wonder, is witnessing essential to the You come to rely upon the artifice as a device to alert you configuration of the landscape, or even to its understanding? to the limitations of looking. You need things to get in the way, You might think to mark your relationship by your memory of or to appear not quite right. You relish an idea of genre and it. But you were never there, and there is no return. Because its occasional failure for the opacity it produces. even were your memory without flaw or lapse, the landscape of your youth or the landscape of your father is never still. It ‹ ‹ ‹ moves on, displacing its own image to the point of no return. Virtual by another name, in that it would not cast a shadow. As in a desert, one can find no place to reside …2 ‹ ‹ ‹ You always carry something with you. Something of the old place. The old place as you remember it, or as you imagine And forgetting turns away from a past instant but keeps it might have been. a relationship with what it turns away from …3 Or another place, quite different, impossible to name. You were never there; you only believe you remember. Or you Or perhaps you are drawn to an act of removal, where construct an image of the place from the stories you have the space or gap that remains subsequent to that removal heard or absorbed over the years. And there came a time becomes the site or object of contemplation. when you could no longer distinguish between those old You cannot be sure where the space or hole begins or ends. stories and the recollections of unmediated experience. You have neither the terms of reference nor the instruments It is always a case of looking out of the window. But you to define the elements that prescribe it. You must approach are hardly able to take in the view, as your eye looks away, it from several perspectives. In material terms the space or perhaps to one side or another. You become aware of the hole signals an absence of something. But you might require window and the way that it frames the scene. Inadvertently confirmation of that absence; it materializes, paradoxically, 39 Innenseiten-05.indd 39 21.05.2007 0:18:31 Uhr only through its lack.
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