Jerusalem Artists’ House: Four Upcoming Exhibitions

    Event Details

    June 5, 2021, 12:00PM – July 31, 2021, 2:00PM
    (this event is over)
    Jerusalem Artists' House
    12 Shmuel HaNagid St.
    Jerusalem, Israel

    Event Info

    Farideh Golbahar: From Landscape – Oil Paintings, Early and Recent
    Curator: Irena Gordon

    Farideh Golbahar’s work, presented in her comprehensive solo exhibition at the Jerusalem Artists’ House, unfolds as constant movement, both spiritual and material, to and from one and the same vision. In her paintings, she revisits the same garden, which is always different: an imaginary garden, a garden of memories, a garden that results from the work of art, made of the rhythm of brushstrokes, colors and hues that come together in an encounter of nuances; blankets of forms evolving as endless depth within a space of proclaimed flattening. The nature dominating her work does not stem from observation, but rather from introversion. Farideh’s path, constantly shifting between figuration and abstraction, the ornament and the abstract, relating to the local landscape and at the same time drawing away from it, has signified her work as quintessentially individualistic.

    A Tribute To Gimel Gallery, Jerusalem 1978–1996
    Curator: Irena Gordon

    During its period of activity, Gimel Gallery succeeded in identifying the innovative art and groundbreaking artists of the time. At the outset it was abstract, conceptual and minimalist work, and later, in the 1980s—figurative and expressive work, which indicated the return to painting in local art. Among the artists for whom Golbahar curated solo exhibitions were Asaf Ben Zvi, Gabriel Cohen, Pinchas Cohen Gan, Kochi Doktori, Moshe Gershuni, Michael Gitlin, Zvi Goldstein, Gabriel Klasmer, Moshe Kupferman, Yitzhak Livneh, Ryoram Merose, Joshua Neustein, Miriam Neiger, David Reeb, Osvaldo Romberg, Pamela Levy, and Aviva Uri. The selection of works in the current exhibition gives contemporary expression to Gimel Gallery’s historical activity in the city for 18 years—providing a space and a home for art and artists who led the local avant-garde in the 1980s and 1990s.

    Dina Yakerson: Moonstruck
    Curator: Bar Yerushalmi

    Dina Yakerson presents an intimate body of work in which mythology and horror stories are fused into a painterly jigsaw puzzle. The series of paintings on view invites us to face the childish fear of the unknown hiding behind the closet door. The exhibition consists of a series of oil paintings and chalk drawings depicting the journey of a man who wakes up in the night and finds himself in a mirage show reflected to him from the walls of his room. Yakerson juggles with archetypes of fear and the sublime, as allegorical hybrid creatures crawl out of the darkness. The show is centered on a large-scale oil painting, which corresponds with Titian’s painting The Flaying of Marsyas (ca. 1570), recounting the story of the satyr who challenged Apollo to a musical contest and lost. The god’s chosen punishment for the loser was to flay him alive. Yakerson transforms the flaying story into a painting that oscillates between the grotesque and the nightmarish. It is an allegory for the sin of hubris of those engaging in the art of painting; a bacchanalia emerging as a vision from the dark.

    Noa Friedland: Eyes in the Back of the Head
    Curator: Oren Eliav

    Friedland’s paintings were created in a time that everything stood still, and people were hiding in their homes in fear of the pandemic outside. Friedland, a teacher by profession, returned to the school between lockdowns, and painted the classrooms, halls, yard, and ceiling. It is a gaze that looks at the familiar, mundane spaces only to find them foreign, out of time.
    What does a teacher-painter, who has “eyes in the back of her head,” see? turning her eyes back, she encounters that which is absent, indicating what is missing. Now, as the pandemic subsides, we observe these paintings with a strange nostalgia; the reality of our lives just a few months ago. A situation we felt would never pass is now deconstructed in Friedland’s paintings into fragments of memory, into splinters of a gray dream.

    Appearing Artists