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Nahum Tevet & Gregor Schneider / Pension
Nahum Tevet & Gregor Schneider / Pension Irit Mor
30/4-9/6
Hezi Cohen Gallery
The name of the exhibition expresses aspects of the experience that it wishes to offer viewers. It points to a concrete location, a structure / institution of rest, where rest is the activity, and rest in the current context means being out of this world. The time, in the work of each of these artists, is the time of death, after things have lost their functionality.

The indication, via the exhibition's title, of the type of structure also emphasizes the architectural dimension of the work of each one of the artists, and Tevet and Schneider's occupation, each in his own way, with the reciprocal links between the body and the constructed and delimited space that encompasses it. On this backdrop, it is important to understand that the art of each one of them more than creating signs and symbols, creates an occurrence – an event that changes for each and every one of the viewers, with concrete reference to the physical presence of the viewer's body.

Another dimension that is embodied in the name of the exhibition is temporariness, a pension as a hotel, as a temporary accommodation space. Every exhibition that is not permanent refers to its temporariness, yet not every artist takes these exhibition conditions and transforms them into one of the motifs of his work. Temporariness is a crucial aspect of Tevet's work. Curator Sarit Shapira characterized his sculptural installations as a type of camp that does not integrate with specific architecture, but rather creates within it an unstable and therefore temporary constellation, that is to a great extent disconnected. Schneider's occupation with temporariness, since he took apart his home in 2001 and reconstructed it in the German pavilion at the Venice Bienale, is different and is linked to a perception of death as a continuing, ongoing event – not a final event – that is expressed through spreading and distributing the home, or parts of it, throughout the world. Until the house was disassembled, it was called House u r, and since it was rebuilt, Schneider calls it Dead House u r, and in many senses the death of the house has not ended to this very day.

The current exhibition is an intersection of two types of sensibilities, two approaches that set (in the past and present) the artistic tone in their countries, and offers the experience of an encounter with life and the day to day from their other side.

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