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Deceptive Multiplicity Print http://www.haaretz.com/hasen/objects/pages/PrintArticleEn.jhtml?item... w w w . h a a r e t z . c o m Last update - 12:07 26/03/2009 Deceptive multiplicity By Eli Armon Azulai Avner Ben-Gal wants his art to work on people like a virus, "whose effect you feel only some time after you've caught it." A solo show by Ben-Gal, a leading member of the intermediate generation of Israeli art, has just opened at the Tel Aviv Museum of Art. Ben-Gal is an artist of deception. He hankers after strangeness and investigates the tension of maliciousness. The current show was made possible when he won the 2008 Rappaport Prize for an Established Israeli Painter, which awards $35,000 for the artist and $35,000 to finance an exhibition of his work. This is Ben-Gal's first solo show in Israel in eight years (though his work has appeared in several group exhibitions). "I am delighted and excited by this opportunity," he says. "I am interested in seeing what my work will look like here, and also in the reactions of people whose opinions interest me." Forty of Ben-Gal's works from the last decade are on view in the extensive exhibition. The curator is Philipp Kaiser, chief curator of the Museum of Contemporary Art in Los Angeles, who also curated Ben-Gal's large exhibition at the Museum fur Gegenwartskunst in Basel last year. Ben-Gal, 43, graduated from Bezalel Academy of Art and Design in Jerusalem in 1993. Several of his classmates have gone on to become prominent artists - including Sigalit Landau, Ohad Meromi and Gil Marco Shani. Some of them are still part of Ben-Gal's milieu. He and artists such as Adam Rabinowitz, Ruti Nemet, Michal Helfman and Uri Dessau are a generation that differ from their predecessors. One major element that sets them apart is their ability to make the leap abroad, a faculty that stems in large measure from their awareness of the relations between the field of art and the art market. If eminent Israeli artists such as Rafi Lavie and Arie Aroch did not achieve international status, the same cannot be said of the leading members of the new generation. Since his first solo show, "Ethiopian Birthday Party," held at the Ramat Gan Museum of Art a year after his graduation (curator: Nahum Tevet), Ben-Gal has had more than 10 solo shows in Israel and abroad and has taken part in about 20 group exhibitions. The latter include the Armory Show in New York in 2001 and the Venice Biennale in 2003. In 2001 he received a 1 of 6 3/26/2009 1:29 PM Print http://www.haaretz.com/hasen/objects/pages/PrintArticleEn.jhtml?item... one-year scholarship from a U.S. foundation to spend a year in New York. He stayed two more years, during which he exhibited in several group shows. Ben-Gal prefers not to work with Israeli galleries - because of the limitations of the local market, he says. He works instead with Sadie Coles HQ, a gallery of contemporary art in London, and with the Bortolami Gallery in New York, and had solo shows there in 2005 and 2006. His first museum show, "Sudden Poverty," was held in 2007 in the Aspen Art Museum in Colorado. In addition to the sheer quality of Ben-Gal's work, his international recognition is also due to the fact that his style suits the zeitgeist in Western art. Although he has ties to a local tradition of expressive drawing, personified by Aviva Uri, Rafi Lavie and others, he invokes it in order to trash it and to sabotage more polished painting. Ben-Gal is fully in control of the secrets of painting and plays with them as he pleases. In addition, the local images that appear in many of his works have become universalized owing to the worldwide preoccupation with terrorism since the beginning of this decade. His major shows in Israel include "Curly Drugs," at the Tel Aviv Artists House in 1998, and "New Army," in 1999, at the now-defunct Mary Fauzi Gallery, in Jaffa. Shaky status Ben-Gal was born in Ashkelon and grew up in Ramat Hasharon. His parents are Esther and Avigdor ("Yanush") Ben-Gal, the latter a well-known retired major general. Following his army service, the young Ben-Gal moved to London and worked for El Al for a short time. Upon his return to Israel, his friend Ohad Meromi persuaded him to register for art studies at the Bezalel Academy, from which he graduated cum laude. Since 2003, when he returned from New York, he has lived in Tel Aviv with his partner, Yael Bergstein, formerly the editor of the art magazine Studio. Bergstein compiled the catalogue that accompanies his show at the Tel Aviv Museum of Art. Ben-Gal works in a large studio in an industrial building in eastern Tel Aviv, above the Ayalon bridge. His pace of work varies, he says, with relaxed periods giving way to bursts of activity. The new show occupies the museum's large space. Because of its size and also because of the exhibitions held there previously, his desire, he says, was to generate a challenging experience, created by degrees, with considerable space between the works. In regard to the great importance he attaches to the presentation - from the names of the works to 2 of 6 3/26/2009 1:29 PM Print http://www.haaretz.com/hasen/objects/pages/PrintArticleEn.jhtml?item... the way they are hung and the dialogue that ensues from the moment they are on display - he explains that his status as an artist today, both in Israel and internationally, is not self-evident. "You have to be really good," he says. "Many artists are too addicted to the medium and get into a rut. Interesting art talks about something that is beyond the object itself." Ben-Gal feels that he has reached the end of his participation in group shows, whether multi-participatory or small such as "Helena," in 2001, a show at the Helena Rubinstein Pavilion for Contemporary Art in Tel Aviv, with Gil Marco and Ohad Meromi, which drew favorable reviews. "The viewers, the culture consumers, are limited in their means of absorption, and it is very difficult to take in multi-participatory shows," he explains. "They work more like art-tasting exhibitions and accordingly are better suited to amateur viewers. My strength lies in solo shows; for me, that is the optimal way to exhibit." Painting as dirt In the Tel Aviv Museum show he tries to create several viewing tracks, none of which forms a distinct chronology or a linear story. He abhors a didactic approach and wants to leave loose ends, free himself from automatization and leave question marks. His works are characterized by a range of themes and techniques, from expressive paintings featuring large, dark stains or abstract forms reflecting a sense of liberation, to works containing figurative elements that evoke landscapes and figures. The drawings are graphic and meticulously done, whereas the collages are eclectic in appearance, neither orderly nor smooth. He himself avoids verbal commitment: "It's a decade's worth of works - it's hard for me to categorize the style." The style, as viewers of the show will find, has changed over the years. Lately, Ben-Gal's drawings have become dense and crowded, in both image and line. In both the paintings and the drawings, a change is apparent in the typology of the human figures, in the appearance of the animals and in the identity of the landscapes. For example, the figures of bearded men recurring in his works have undergone abstraction. If in earlier works, such as those in the show "Eve of Destruction" (2001), they looked like religious-fundamentalist Middle Eastern figures, as in "Public Telephone" and other works, since 2006 a less distinctive figure has appeared, neglected, who lives in darkness on the edge of society and culture. "I am interested in the strangeness and in the effect of 3 of 6 3/26/2009 1:29 PM Print http://www.haaretz.com/hasen/objects/pages/PrintArticleEn.jhtml?item... deception that arises from the works and is meant to undermine previous assumptions," Ben-Gal says. Indeed, quite a few of his works possess a seemingly tranquil surface appearance but are actually fraught with tension. Ben-Gal does not want to make things the least bit easier for the viewers. He does his thing, is not accountable and takes care to keep himself and his work from being categorized. "A type of survivability," as he puts it. Because Ben-Gal is loath to interpret his work, we can draw on the aid of his friend Uri Dessau, an artist, curator and writer who curated many of the group exhibitions in which Ben-Gal took part. According to Dessau, Ben-Gal creates a space that is a kind of living organism, human and conscious. "Fog becomes sand, gas, smoke. The landscape becomes a pulp that contains every possible state of being. The painting undergoes a certain inbuilt deconstruction, which gives rise to images that one moment look like stains and the next moment acquire a more dramatic tone." Ben-Gal: "The space in my works has lost its definition, due to a natural disaster or by human actions. It contains self-destruction but is devoid of self-pity. My work is driven by a sense of urgency, immediacy. There is no arrogance or calm.
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