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Gilad Ratman E Workshop Gilad Ratman !e Workshop THE ISRAELI PAVILION THE 55TH INTERNATIONAL ART EXHIBITION Gilad Ratman Ministry of Culture and Sport Main Donors !e Workshop Museums & Visual Art Department Artis Foundation Shimon Elkabetz, Director, Culture Administration Ronny Douek Curator: Sergio Edelsztein Idit Amihai, Director of Museums & Visual Art Department Zvi and Ofra Meitar Family Fund Shlomo Itzhaki, Director of Economic and Budget Division Outset Contemporary Art Fund Elena Lulko, Budget and Planning Coordinator Ostrovsky Family Fund Production Miki Gov—Productions’ Den Ltd., Tel Aviv Israel Ministry of Foreign A!airs Supporters Executive producer (Italy): Arad Turgeman Division for Cultural & Scienti"c A!airs Art Partners Foundation Architecture: Eldad Lev Ra! Gamzou, Deputy Director General & Head of Division Nancy Berman and Alan Bloch and Gallery sta#: Ya#a Braverman, Adi Gura Ofra Ben Yaacov, Director of Arts & Literature Department the Philip and Muriel Berman Foundation Coordination: Arch. Giovanni Boldrin Yossi Balt, Visual Arts Unit Mati Broudo Electricity: Alessandro Barison, Padova, Nira Staretz, Director of Budget Department Irit and Jonathan Kolber Ing. Luigi Briseghella, Padova Israel Lottery Council for the Arts Construction: Mattia Mion Embassy of Israel in Italy Leon Ko$er and Rachelli Mishori Sta#: Biatris Dmitrieva, Jacopo Gonzato, Naor Gilon, Ambassador of Israel in Italy Lauren and Mitchell Presser Amedeo Gheller, Aline Cendon Ofra Farhi, Cultural Attaché Lenny Recanati Audio-visual: Eidotech GmbH Avi Zairi, Consul PR: Scott & Co—Richard Scott, Additional Support Selina Jones, Olivia Cerio Chairman of the Israeli Council Aspect Ratio Gallery, Chicago of Culture and Art Des Moines Art Center, Iowa Catalogue Dr. Haim Perluk Rachel and David Grund Design and production: Nadav Shalev, Tal Stadler Susie Karkomi and Marvin Leavitt Photography: Shay-Lee Uziel, Eldad Lev, Chairman of Visual Art Section Gili Mezzan and Yossi Morgenstern Luciana Kaplun, Gilad Ratman Sigal Barnir Haifa Arts Foundation English text editing: Kathy Daymond Itay Strum Hebrew translation: Daria Kassovsky Steering Committee Jill and Jay Bernstein Italian translation: Barbara Casavecchia Chairman—Yigal Zalmona, Guy Ben Ner, Leslie and Russ Robinson Printing: A.R. Ltd., Tel Aviv Dr. Tal Ben Zvi, Ruth Direktor, Edna Moshenson %e Joshua Rabinovich Fund for the Arts Private donation All works courtesy of Special thanks: Braverman Gallery, Tel Aviv Mom and Dad, Adi and Doron Sebbag, www.bravermangallery.com Sharon and Gil Brandes, Rivka Saker, Vivian Ostrovsky, Candida and Zak Gertler, Esther Kim and Joseph Verat, 2013 © Copyright, Gilad Ratman Nathalie Cohen, Je#erson Godard, Vered Gadish, Luciana Kaplun, (BMMFSZ ISBN 978-965-7463-19-2 Atar Dekel, Adi Puterman, Noa Idan, Judith Assraf, Diana Shoef 15 97 !e Workshop, 2013 !ve-channel video insallation, Sergio Edelsztein Diego Trujillo HD video, 8:01 min, loop, 27 clay portraits (sculpted by !e Workshop ON GILAD CAVES, paricipants), wooden stands, microphones, cables, sound mixer kit RATMAN’S THE SUPERPOWERS WORKSHOP: AND CITIES PROD UCTION PA RTICIPANTS Producer: Eyal Vexler Jonathan Bergman MORE NOTES Director of photography: Asi Oren Ayala Fox 125 Executive producer and Atalia Golan FROM THE assistant director: Val Yavnitzky Emanuel Goldstein Pioter Shmugliakov Second camera: Avraham Levi Zohar Gotesman UNDERGROUND Ga"er: Tidhar Friedgut Joanna Jones THE WORKSHOP Assitant ga"er: Giordano Ciarchi Eldad Lev Assistant DP: Ron Haimov Natalie Levin 50 OF ARTWORK’S Casting director: Ruth Patir Oz Malul Costume designer: Hagar Ophir Tal Meirson Nicola Setari COMMUNITY: Wardrobe assistant: Yehonatan Efraim Passy Samantha Adler De Oliveir Keren Paz DEEPER GILAD RATMAN Props: Martha Firer Tchelet Ram Artistic designer: Gad Tzachor Shai Ramot UNDERGROUND TO AT THE VENICE Architect: Eldad Lev Amitai Ring Sound designer and composer: Daria Robichek THE FOUNTAIN OF BIENNALE Daniel Meir Yuval Robichek Sound advisor: Jonathan Silver Oleg Rodovilski ARETHUSA Additional dubbing: Maya Elran Elad Rosen 185 Sculpting advisor: Zohar Gottesman Lior Schwarzbart Shacar Sculptors: Julia Frank, Reut Shahar Biographical Notes Wendy Sempértegui Ira Shalit Still photographer: Shay-Lee Uziel Shir Shanaar Post producer: Tal Rom Hilla Sharvit Colorist: Ido Karilla Pioter Shmugliakov Production assistant: Ira Shalit, Joseph Shukrun Luciana Kaplun Jonathan Silver Pesach Slabosky Zeev Tene Alex Wein Sergio Edelsztein I say, gentlemen, hadn’t we better kick over the whole show and scatter ON GILAD rationalism to the winds, simply to send RATMAN’S THE these logarithms to the devil, and to enable us to live once more at our own WORKSHOP: sweet foolish will! MORE NOTES ––– Fyodor Dostoyevsky, Notes from the Underground FROM THE Gilad Ratman’s project for the 2013 UNDERGROUND Venice Biennale is a tangled web of trajectories—that is, an actual network or web rather than a work about such a system. Its visual roots, as well as its subject matter and modus operandi, may be traced to some of Ratman’s earlier works. His video Che Che the Gorgeous (2005), for instance, features two !gures lying on a cracked, barren desert. Odd creatures, their small bodies are wrapped like cocoons, their heads are disproportionately large, and they sport long, untidy hair. As the angle widens, we see more !gures scattered across the !eld. It is unclear whether they are in agony or waking from a long slumber. %eir cries are primitive, animal-like, but they seem to communicate; one calls out, the others reply. Before we are able to make sense of the scene, the screen fades to white. A home recording studio slowly emerges from the mist. A young man sings Alphaville’s 1980s hit “Forever É !e 588 Project, 2009, 8 min, HDV, two-channel installation Gilad Ratman The Workshop 14 - 15 Young.” A&er a few verses, the wails of the cocoons join the soundtrack. Just the crab into their mouths with their hands, coughing loudly. As they plug in as we start to enjoy the song’s sweet melody, the video cuts to another home more and more speakers, the volume of the “groove” increases until it becomes studio, or, perhaps, a di#erent view of the same room, where we now see a full-blown rave. %eir conduct grows wilder and their coughing becomes that the cocoons’ voices are being recorded. Several young men and women, vomiting. One couple can be seen having sex against a tree. Someone burns directed by the artist himself, use bottles and glasses to produce the eerie a hole in a tent with a cigarette in order to peep inside. Someone else pours sounds. A soundman, whose shaggy look echoes that of the cocoons, operates oil out of a can of tuna !sh onto a sleeping couple, then eats the tuna. Others the sound mixer. %e work concludes with a close-up of the singer, set against dance. Some are busy pouring water from bottles into the river. %ese noisy glittering pinpricks of light in the background, who repeats, “Do you really scenes are interspersed with silent views of the alligators 'oating down the want to live forever?” We see the cocoons one last time as members of the river. At some point, we notice that each alligator is being guided silently by crew enter the frame to “liberate” the actors from the ga#er tape in which a camou'aged man. %e cross-cutting between the revelers and the alligators they’re wrapped. makes it appear that the latter are stealthily approaching the party, but the %e next work encountered along Ratman’s journey is Alligatoriver, video ends inconclusively with the “alligators” climbing out of the river; no which was created in 2006. A single-screen video, it opens with a nocturnal evidence whatsoever connects the two scenes. scene in the woods, in which a small group of young people, dressed as Discussing Alligatoriver with Ratman a few years ago, he told me that hippies, play a song, or rather, produce a consistent “groove” of guitars and his dream had been to take “forty—more! sixty—people to the woods, at percussion. %e night is pitch-black, but silhouettes of people walking in the night.” He wanted to take this voyage with them. %at dream was ful!lled in river’s shallow water, picking up crabs, are visible. %en we see them carrying !e Workshop, Ratman’s video installation for the Israeli Pavilion at the 2013 boxes, which we subsequently realize are speakers; they move quietly, making Venice Biennale. an obvious e#ort to keep the noise down. From the night sounds emerges !e Workshop’s concerns are, in many ways, close to those of Che Che the another “groove”—the repetitive techno beat of a looped guitar emanates Gorgeous, Alligatoriver, and other of Ratman’s works. He once again introduces from the speakers. People come and go; there is a sense of something going a group of people, numbering about thirty—a community of non-actors, on, something being prepared. Intercut with these preparations are silent including some of his closest friends (who appear in other of his works as scenes of strange shadows—something in between aliens and monsters—and well). As he himself has said, it was important to him to take this voyage with a congregation of in'atable alligators dri&ing down the river. %roughout the his community of friends. It was even more important, however, that the group !lm, the behavior of the partyers becomes less and less “civilized”—they cram “look” like a community. Clearly, there is no hierarchy at work in this group, Sergio Edelsztein More Notes from the Underground Gilad Ratman The Workshop 16 - 17 Che Che the Gorgeous, 2005, 9 min, DV, single-channel Sergio Edelsztein More Notes from the Underground Gilad Ratman The Workshop 18 - 19 pp. 21-22 Ñ Alligatoriver, 2006, 20 min DV, single-channel which appears to operate in an organic way. Ratman quotes sociological and behavioral theories that study the pre-social behavior of humans in terms of both language and social structures.
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