Tuesday, July 8, 2008

梅塔爾.凱茲

[ 搜尋“在-之間“ --兩地之間的空間,或者剩餘之地 ]


暹羅雙胞胎是我搜尋“在-之間“概念時,最原本、初始的影像。這暹邏生物是一種”未完成”的生物,不完整卻又是雙數,如他的身軀,在連結這兩造的中介之地便是我想探求的,也就是,兩者的連接之處便是我所謂的那地方。
遍佈於歷史記載的暹羅雙胞胎乃是透過類目錄的科學攝影照片而致,這是將此案例視為一種現象,一個可研究的客體。在我的看法中,暹邏雙身的特質創造了一種物件,這物品鏈結他雙身的概念而有雙數的配備,在設計歷史中是一非常普遍的人工物品。有兩個或三個共坐座位的扶手椅,可攤開誠兩個或雙倍數書架的背靠背桌子。順著此暹邏客體群組的概念,另外也還有另一種不同類型的雙身物件,它混合了兩種卓越的形制,這乃是將兩者以有意義的定義連結觀點聚匯在一起。
這研究在以迅捷的繪畫技術覆蓋有”縱深”的白色畫布表面時完成,白畫布之所以有縱深乃是因為它令人想起為了記載目的的相片中那無盡處的背景。白背景不僅僅只是一方令人無窮想像之地,它本身也是”在-之間”:一方無能掌控之地,同時它可有深度亦可平淺,而此些都無意於表達出明確清晰。白背景表面的功能就像是培養皿,繪畫的行為於此好比培養皿中反應、流動、擴張、分離出紅血球的動作,融合不同的繪畫技巧而在白畫布中創造出形體。

























〔Rizmantwo〕,ink and water color on paper, 21 x 29.7 cm.,2008.


In search for the in-between, a space between two places, or a residue of a place.


The Siamese twins are the primary, initial image, from which and in which I look for the in-between. The Siamese creature as an “unfinished” creature, incomplete and yet double, contains in its body, in the conjunction of the two, the intermediate place I wish to explore. The connection as a place.
The representation of Siamese twins throughout history was done through catalogic-scientific photography, which treats the case as a phenomenon, an object for research. The characterization of the Siamese creature as an object associated it in my mind with the double furniture – a very common artifact in the history of design.

Armchairs with two or three joined seats, a table which unfolds into two or a double bookcase conjoined back to back. Alongside the group of Siamese objects there is also a different kind of double objects, which amalgamate two distinguished forms that meet in a meaningful defining connecting point.The search is done in a technique of quick painting over a “deep” white surface,which brings to mind the endless background in photographs for catalogues. The white of the background is not only a suggestion of a place, it itself is that in-between: a blind place, deep and flat at the same time, which has no interest in being unequivocal. The surface of the white background functions as a Petri dish
where the paint behaves like a culture that reacts, flows, expands and divides into corpuscles, which merge to create a shape.


Meital Katz Minerbo

Born in Israel in 1974, at the age of 1 year moved to Venezuela with my
parents, where I was raised and educated. In 1995 I returned to Israel.
Education
2005-2007 Master of Fine Arts (MFA), Bezalel Academy of Arts and
Design, Israel.
1996-2000 Bachelor in Art and Education. Beit Berl College of Art, Israel.
1991-1994 Instituto de Diseño de Caracas, Venezuela.


Solo Exhibitions


2005
“Home survivors”. Janco Dada Museum, Ein Hod.
“A foreign birthday * Version 1”. Beit Berl College of Art Gallery,Kfar-Saba.
Group Exhibitions
2007
“Bad Education”, Hakita Gallery, Tel Aviv.
“Artik 9”, Tel Aviv University Gallery, Tel Aviv.
“New exhibition at Alon Segev Gallery”, Alon Segev Gallery, Tel Aviv.
“Salame 007”, Graduate Show, Bezalel Academy of Arts and Design.
Master of Fine Arts program. Tel Aviv.
2006
“Half Pension”, Braverman Gallery / By Art. Tel Aviv.
“Bezalel 100 / Terminal 1”, “Goods to Declare, MFA International”,
100 years to Bezalel Academy of Arts, Ben Gurion Airport, Israel.Collections:

Awards:
Sharett Scholarship for young Israeli Artists,
2006-2008, America-Israel Cultural Foundation.
OPEN SPACE, 22.07.07 - 30.07.07 / International Workshop for Art
Academies School for Art and Design, Kassel, Germany.

Minerbo@gmail.com

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