Tsibi Geva Hides Israel’s Venice Biennale Pavilion Behind A Wall Of Used Tyres

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Israeli artist Tsibi Geva has wrapped his country’s Venice pavilion in old vehicle tyres and filled it with a mixture of identified architectural and home objects to discover concepts about the home .

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Known as Archaeology of the Current, Geva’s web site-certain installation for the Venice Art Biennale 2015 includes walls covered in window shutters and a massive-scale work consisting of discovered household objects, which are packed into a corner behind glass walls.

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The pavilion’s exterior is covered in a grid of more than 1,000 employed automobile tyres imported from Israel and tied together to develop a protective layer that covers the walls of the structure, such as the windows, leaving only the entrance exposed.


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“The utilized tires, which are impregnated with a distinct odour, kind an organised network of holes imbued with a protective potential, whilst concurrently attesting to a state of danger, constituting a strong materials presence, and communicating a charged, urgent visual and political statement,” explained the pavilion organisers in a statement.

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“On coming into the pavilion, the exterior installation is visible as soon as once again from the within, collectively with an interior installation which includes paintings, sculptural components, and identified objects, abolishing hierarchical distinctions among artistic mediums and structures,” they additional.

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Located in the Giardini – the gardens in the east of the Italian city that have hosted the biennale considering that 1895 – the pavilion was initially designed by architect Zeev Rechter and is uncommon for having three floors.

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On the upper levels, Geva has installed large-scale paintings and further identified-object sculptures, which attribute a selection of artefacts contained within metal cages with a triangular profile.

Every single of these attributes a diverse pattern in the metalwork lattice, with some emulating brickwork and other people appearing a lot more abstract.

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“Archeology of the Existing offers expression to Geva’s ongoing concern with components connected to the notion of “home” – like terrazzo tiles, windows, shutters, lattices, and cement blocks aspects which exist as fragments of what when was, or could in principle constitute, a residence, nevertheless not as the vestiges of an real, concrete property,” explained the organisers.

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This year’s biennale is curated by Nigerian art critic and author Okwui Enwezor, with the theme All the World’s Futures.

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According to the statement issued by the organisers, Geva’s set up “might also be read with regard to the recent state of humanity and the planet”.

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“His long-term engagement with the stratified construction of identity, and Archeology of the Present in particular, offer you an opportunity to explore this notion inside the wider narrative of nationality as proposed by la Biennale di Venezia,” they explained.

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The brickwork pattern of the cages reappears in some of the paintings, suggesting a political component relating to boundaries and walls that is created a lot more explicit in a piece known as Gazzza – one of the only pieces in the installation that was created prior to the biennale.

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As the pavilion’s existing signage has been covered by its new tyre facade, the word Israel has been written right onto the construction by the entrance like a graffiti slogan.

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“Geva’s work is based on diverse sorts of obstructions, which constantly have gaps and holes via which the gaze can penetrate, but the physique are not able to pass,” explained the pavilion’s curator, Hadas Maor.

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“The layout of the project inside the pavilion creates sharp transitions in between experiences of blockage, discomfort, and spatial ambiguity and in between intimate, poetic moments, so that fragility and crudeness, lyricism and violence, are inextricably intertwined,” she extra.

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The 56th edition of the Venice Artwork Biennale opened on 9 May and runs till 22 November.

At last year’s Architecture Biennale, which happens on alternate many years with the art event, the Israeli pavilion featured “sand printers” that mapped out developments planned in the nation given that 1949.

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