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Walking with the Moon
Walking with the Moon Irit Mor
Mira Maylor and Merav Sudaey Exhibition - Walking with the Moon. 11/29-12/22, Zaritsky Artists House. Curator: Daniela Talmor
At the center of the joint exhibition by Mira Maylor and Merav Sudaey entitled Walking with the Moon is the subject of memory. The name of the exhibition refers to a quote by Bertolt Brecht: I am like that person walking with the moon, to show the world what his home used to look like. The collective memory connects society to expanses of a place that have elapsed, exposing the constant changes that time produced. The identity of an entire society is defined, to a great extent, by its past, and therefore every culture necessarily returns and confronts, over and over again, its collective memory that is constantly forming. The personal memories of an individual are also an integral part of the collective memory, that is formulated in each person thought the connection between his personal identity and the identity of the society in which that person lives, because finally – memory enables the existence of identity.

The series Back Window and Self Service, created by Merav Sudaey, serve as her tool for tracing the history and roots of the kibbutz in which she chose to live, as she tries to connect, using artistic language, between the collective memory and her personal memory, in an attempt to charge the past with a new spirit, and make it currently present. Sudaey attempts to convey the impressions left on her by the structural, value and social changes that kibbutz society is undergoing, and to nurture her artistic creations.

Mira Maylor exhibits three dimensional works dealing with homes that were or that could have been – conceptual homes that were lost forever and their content wander with their carriers from place to place. Now, in the era of globalization, with borders becoming transparent, the conceptual home exists as a souvenir of the tangible world that was, that for Maylor exists under a glass dome. In her work Maylor uses basic archetypical materials, and her artistic language includes dealing with the narrative of the material: the massive iron, the sinewy wood and the thin and fragile glass threads.

In the act of recalling, the consciousness deals with what once was and is no longer, and now all that remains is, at most, a remnant. The home, which is crystalized in the joint exhibition by Mira Maylor and Merav Sudaey, is the space that exists between the perception of home and memory, the same imaginary space in the soul of the individual, composed of fragments of memories, of concrete and imagined reality, that all reflect the personality of the person bearing them.

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