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Gal Weinstein Sun Stand Still Gal Weinstein Sun Stand Still Curator: Tami Katz-Freiman The Israeli Pavilion Biennale Arte 2017 Gal Weinstein Exhibition Catalogue Additional Support Special Acknowledgments Sun Stand Still Commissioner and Producer: Design and Production: Magen Halutz The Israel Lottery Council for Culture & Art Arch. Manuela Lucà-Dazio, Managing Michael Gov – Productions Den Ltd. English Translation and Editing: Compagnie Bancaire Helvétique (CBH) Director, Visual Arts and Architecture The Israeli Pavilion at the 57th Commissioner and Manager of the Talya Halkin Israel Ministry of Culture and Sport Bracha and Roy Ben-Yami Department, la Biennale di Venezia International Art Exhibition – Israeli Pavilion, Venice: Arad Turgeman Hebrew Translation: Talya Halkin Minister of Culture and Sport: Ronny Douek Micol Saleri, Coordinator of National la Biennale di Venezia Construction Managers: Hebrew Editing: Orna Yehudayoff MK Miri Regev The Philip and Muriel Berman Pavilions, Biennale Institute Eytan Heidingsfeld, Sasha Serber English Translation of Poems: General Director: Yossi Sharabi Foundation, USA Arch. Giorgio Serrachiani, Venice May 13 – November 26, 2017 Construction Team: Tal Bar On, Vivian Eden Director of Culture: Galit Wahba Shasho Outset Contemporary Art Fund Annalisa Gianturco, Venice Tom Marcus, Ligal Sofer, Martin Kraus, Research Assistants: Luna Goldberg, Director of Museums & Visual Arts Artis Grant Program Shenkar – Engineering. Art. Design Curator: Tami Katz-Freiman Roni Raviv Lauren Shapiro Department: Shirit Keessen Moise Y. Safra Foundation Interetz Ltd. Production of El Al: Sasha Serber Photography: Elad Sarig (pp. 24–25, Director of Economic and Budget Wendy Fisher Amon Yariv, Gordon Gallery, Tel Aviv Production Assistant for El Al: Tavor Shefa 28–31, 34–35, 89–99, 122–123) Planning: Netanela Ben Naim Merav and Mudi Ben-Shach Riccardo Crespi, Galleria Riccardo Crespi, Architectural Planning and Consulting: Additional Photographs: Ilit Azoulay Deputy Director of Economic and ArtSeeker.com Milan Eyal Rozen (pp. 66–67); Lee Barbu (pp. 2, 6, 18–23, Budget Planning: Shlomo Yitzhaki Strauss Coffee Avi Keitelman, Keitelman Gallery, Technical Drawings: Ilan Potash 26–27, 32–33, 179); A. Bonsignori and Budget and Planning Coordinator: Luxembourg & Dayan Gallery Brussels Video Cameraman for Enlightenment: G. Onelia (p. 49); Eran Gal (p. 64); Viktor Elena Lulko Adi and Micky Tiroche Roman Plutschow, Plutschow Gallery, Guy Raz Kolibal (pp. 82–85); Dominique Libert The Israeli Arts Foundation, Tel Aviv Zurich Transportation: (p. 124); Ohad Matalon (pp. 88, 108, Chairman of the Israeli Council of University Allan and Roni Gilat-Baharaff, Tel Aviv Sonigo International Shipping 132–133); Rona Marmelstein (p. 87); Tom Culture and Art: Yigal Amedi Art Fund / Sharon and Gil Brandes Project Coordination: Pnini (pp. 78–79); Guy Raz (pp. 80–81, Chairperson of the Visual Art Section: Adi and Doron Sebbag Caren Rabbino, Diana Shoef, Tamar Elor, Arch. Giovanni Boldrin, Padua, and 86, 102, 106–107); Eduardo Ruegg Judit Abramovitz Ami and Orit Harlap Tal Yahas, Rotem Ruff, Mary Hoeveler, Arch. Giorgio Serracchiani, Venice (p. 65); Martin Rütschi (pp. 116, 119) Hadas Maor, Ombretta Agrò Andruff, Construction Company: Graphics: Alva Halutz Steering Committee Andrea Nhuch, Ayelet Alshtein, Sigal Zanchetto Simone Restauri SAS and Printing: Keter Press, Har Tuv, Israel Meir Aharonson, Dani Karavan, Mordechai, Jennifer Roth Accademia Restauri SRL, Venice Mira Lapidot, Michal Shamir, Engineer: Luigi Briseghella, Padua On the cover : From the series Simha Shirman Artist’s Acknowledgments Carpentry: Luca Tesin Falegnameria, "45 Rustings," 2011–2013 (pp. 122–123) To Rona, Tamar and Nimrod Padua Page 2: Ornament (work in progress), Pavilion Team Manager: 2017, bronze wool, steel wool, glue, and Natalia Sorokina calcium oxide on MDF Israel Ministry of Foreign Affairs Shipper and Customs Broker in Italy: Page 6: Untitled (work in progress), Division for Culture and Scientific Affairs Cutter Sas di Luca Niero & Co., Venice 2017, bronze wool, steel wool, glue, and Deputy Director General and Head of Lighting Consultant: calcium oxide on MDF Division: Raphael Gamzou Arch. Francesca Cremasco Page 179: Jezreel Valley in the Dark Director of Arts & Literature Department: Safety Engineer: (details of work in progress), 2017, Ofra Ben Yaacov Studio Boscaro Enrico, Padua Polyurethane, coffee, and sugar Head of the Visual Arts Unit: Yossi Balt Studio Managers: Eytan Heidingsfeld, Page 183: Persistent, Durable, and Director of the Management and Budget Ziv Tsfati Invisible (detail of work in progress), Department: Meira Sagy Assistant Manager: Kobi Even-Haim 2017, bronze wool, steel wool, and glue Studio Assistants: Tal Bar On, on MDF Embassy of Israel in Italy Martin Kraus, Tom Marcus, Ligal Sofer, Ambassador: Ofer Sachs Roni Raviv Dimensions are in centimeters, Cultural Attaché: Eldad Golan Italian Translation of Wall Texts: height precedes width precedes depth. Consul: Eitan Avraham Gordon Gallery ENGINEERING. DESIGN. ART Raffaella Scardi CNC: Adar Industries Meir Ltd. © 2017 Gal Weinstein and the writers Public Relations: Scott & Co. ISBN: 978-965-572-218-5 Contents 37 Stopping Time, Molding Mold Tami Katz-Freiman 100 Poems Eli Eliahu 103 Brain on Fire Anne Ellegood 109 Promises Stripped Bare Sabine Schaschl 117 Within the Night of Arrested Time Ofra Eshel 125 Sun Stand Still: The Metamorphosis of a Miracle Yair Zakovitch 134 Biographical Notes 137 About the Contributors 8 9 Studio mold, bathroom mold, domestic mold, Preparatory work for Persistent, Durable, and Invisible, 2017 parking-lot mold, 2015–2017, preparatory photos Top: Installation plan for Ornament, 2017 | Bottom: Preparatory work forOrnament , 2017 Plan for the entrance floor Persistent,( Durable, and Invisible), 2017 10 11 Preparatory work for Persistent, Durable, and Invisible (details), 2017 12 13 Preparatory work for Untitled (details), 2017 14 15 Top: Plan for second floor Untitled( ), 2017 | Bottom:Untitled (work in 16 progress), 2017, steel wool, bronze wool, glue, and calcium oxide on MDF 17 18 19 18–19 20–21 22–23 24–25 Jezreel Valley in the Dark (details of work in progress), Jezreel Valley in the Dark (detail of work in progress), Untitled (detail of work in progress), 2017, bronze Persistent, Durable, and Invisible (detail of work in progress), 2017, Polyurethane, coffee, and sugar 2017, Polyurethane, coffee, and sugar wool, steel wool, glue, and calcium oxide on MDF 2017, bronze wool, steel wool, and glue on MDF 20 21 22 23 26 27 26–27 28–29 Details of works in progress, 2017, coffee, sugar, Polyurethane, bronze wool, Moon over Ayalon Valley (detail of work in progress), 2017, steel wool, Diet Coke, felt, putty glue, and calcium oxide steel wool and felt on plywood 28 29 Moon over Ayalon Valley (details of work in progress), 2017, steel wool and felt on plywood 30 31 Sketches for Enlightenment (video), 2017, cotton wool on paper Details of working model for the pavilion, 2017 34–35 Ornament (detail of work in progress), 2017, bronze 32 wool, steel wool, glue, and calcium oxide on MDF 33 34 35 Stopping Time, Molding Mold Tami Katz-Freiman Thus conscience does make cowards of us all, Only through time time is conquered. 1 T.S. Eliot, Four Quartets, London: And thus the native hue of resolution − T. S. Eliot, Four Quartets1 Faber and Faber, 1944, n. pag. Is sicklied o'er with the pale cast of thought, And enterprises of great pith and moment The entrance to the ground floor of the Israeli Pavilion at the Venice Biennale With this regard their currents turn awry, provokes an immediate sense of astonishment, awakened by the transformation And lose the name of action. of the pristine exhibition space into an abandoned, mold-covered site. A second − William Shakespeare, Hamlet, Act III, Scene 1 glance beyond the patches of mold, which expand from the center of the floor out towards the corners and up the walls and columns, reveals pale traces of ornament, vestiges of a long-gone human presence. Insight then arrives in a flash through bodily sensations – feet touching the roughly textured floor, the scent of coffee combined with the odor of mold wafting down from the intermediate level: we have entered a deserted building. Yet before we can determine whether we are surrounded by real mold or by an image of mold laboriously created by the artist, the following becomes clear: this mold tells a story about wear and neglect, about the passage of time or about a time following a calamity. Welcome to the Israeli Pavilion! * * * "Sun Stand Still" (2017), Gal Weinstein's site-specific installation, structures the pavilion's internal space, which extends over three floors, into an ensemble shaped by a formal and thematic flow. Each part of the exhibition is directly related to works created by Weinstein over the past decade, so that his entire oeuvre seems to have been woven into a single, cohesive whole. This essay explores the conceptual connections between the different parts of this project, while examining them in relation to Weinstein's earlier works. When seen against the background of his previous projects, "Sun Stand Still" is clearly Weinstein's darkest body of works to date. His earlier works, which were concerned with either iconic images and symbols or representations of disaster and catastrophe, were usually imbued with an explicit ironic dimension. Here, 36 by contrast, if there is irony in the colonies of mold, the nocturnal landscape, the 37 2 burning brain, and the burst of flames left by the departed missiles, it is implicit modernism in pre-state and post-independence Israel. The International 3 Artists from Israel had already This title was borrowed from that and indirect. It is concealed in the gaping cracks between the dramatic themes Style – the gospel of modernist architecture imported to the country by participated in the 1948 Biennale, of an article about poisonous prior to the construction of a and the art-making process, between the intentional pathos and the materials European-Jewish architects – was highly compatible with the simple, functional mold spores that appeared in national pavilion.
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