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Melting (2)

Melting (2)

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Published by Moshe Balmas

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Published by: Moshe Balmas on Jan 30, 2011
Copyright:Attribution Non-commercial


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םיעגרב םיסוס לש םימושיר תרדס הגיצמה הכורעת
סוס לש הסמהל הבוגתב הדלונ וז הרדס .םיישונא ,םיימיטניאתא הוולמה ואדיוב גצומ הסמהה דועית( םדוק םייתנש הוועשמםידע ונא וב עגרה םע תדדומתמ סוסה לש ותסמה .)הכורעתהותומל םידע ונא וב הז דחוימ עגר .ותוהמו ותרוצ יונישל ,ופוסלחוכה תא תווחל ונל רשפאמ .ונממ םידרפנ השעמלו סוסה לשינא הז דחוימ עגרב .סוסה לש ותומ חכונ םייחה לש תויכשמהבםירמוחב ,םיסוסה לש רתויב היחה תואיצמה תא גיצהל תרחובםישדח םייח םידילומה םיעגר ,ריינ לע םימו ויד םיינושאר יכה.עגר לש רירבשב םישחרתמהסוסה לש תוומה ןכל תונמאה תודלותב קוחש גוציי אוה סוסהיתוברת םלוע לש תוומ םג גציימ אוה ,סוסל רבעמ והשמ גציימםיסוסה םה םיטעמ ,םדאל דימת רושק סוסה .גציימ סוסהש םלש,םדאה לש יתייח ןפ הווהמ סוסה .עבטב ישפוח ןפואב םיבבותסמהישונאה ףוגה תובילע לעמ םמורתהל ,היחכ רוהדל ותרזעב רשפאסוס םג אוה סוסה .ונא ונפוג לשמ יליצאו םידממ לדג ףוג לבקלוסוסה לוכה לעמ ךא .וניביוא לע רובגל חוכה תא ונל ןתונש המחלמ.תיליצא היח אוה.ותוא בבוסש המ לע הנירקמו ונממ איה סוסה לש תוליצאהםירבא לש םתוליצא ,תפרוט הניאש היח לש תוליצא איה וזםילוכי הובג יתרבח דמעמל םיכיישש הלא קר טעמכ .םיכרואמןתונ סוסה ךכו .םיסוסה תציחמב םייחה תא םמצעל תושרהלתיארפו תיתייח הליה :תורתוס טעמכ ןהש תוליה יתש םדאלםיסומינה יקודקדבו רצח ינוניגב תלבוטה תיטרקוטסירא הליהו.הלוצאה לש םינדועמההזרכה איה ,ותוא םילעהל ןוצרהו סוסה לש הסמהה תלועפבצמב ,תופדוע לש בצמב תאצמנ ונימיב תונמואהו תוברתהש.וב לבחמו תונמואה השעמבו םלועב אצמנה ,קיזמ עפש לשםיקלח םילעהל אוה רתונש יתונמואה השעמהש המדנ םימעפלהרישי דואמ הבוגת איה סוסה לש הסמהה .םיטקייבואהמ.ותוא םילכמו יזוידנרג והשמ םיחקול ונא ותואיצמל תיטרקנוקותילאוטפסנוקו תישגר תושדחתה חומצל הלוכי ןויליכה ךותמ קר.תיתימא.תויח תברקה לש היה קיתעה םלועה לכב רתויב ץופנה ןחלופהלש תויטסילנויצרה םינשה תואמו תעכ ונל שיגנ וניא הז ןחלופםירזומה םיגהנמה ןיבו וניניב רעפה תא וקימעה תינרדומה תעההמב ןנובתהל אלו ןברוקה תייווהמ תוחדיהל ונתוא ופליאו זא לש,תויצאיראו יפלאב ,בושו בוש ותוא ךורעל םישנאה תא ךשמש.וזמ וז רתויב תוקחורמהו תונושה תויוברתבהיחה וב ןברוק לש גוס שי ,הברקהה לש םינושה םיגוסה ןיבמםיבר םינשרפו ."הלוע" םשב ארקנ הז ןברוק ארקמב .ירמגל הלכתמ.םימשל הלוע ולוכש ללגב אב "הלוע" םשהש םיבשוח.המדאל ולוכ דרי ילש סוסההסינש ,םירשעה האמה ןב ,ןפוד אצוי יתפרצ הגוה אוה ייאטב 'זרו'זדואמה היציאוטניאה .ןברוקה תברקה לש ןמונפה ךותל רודחלםהלש עטוקמה םויקהמ גורחל םילוכי םדאה ינבש איה ולש הקזחםידע םהש ןמזב אקווד ,תויכשמה לש לודג רתוי ףצרל תורביח לא.תברקומה היחה לש םיעטוקמה םייחה תקספהל
הנחוא הנדע
073-7289993 :סקפלט | םרכ ןיע ,1 ןייעמה ’חר
This exhibition presents a series o drawings o horses in intimate, evenhuman, moments. The series was born in response to the melting o ahorse made o wax two years beore (the actual melting can be seen on aflm which accompanies the exhibition). The melting o the horse grappleswith the moment when we witness its end, and the transormation o itsorm and essence. This special moment when we witness the death o ahorse, and indeed take leave o it, allows us to experience the power o the continuity o lie in light o the horse's death. At this moment, I chooseto present the reality o the horse at its most alive, using the most basicmedium o ink and water on paper, a moment which gives birth to new lieand takes place in a split second.Because the horse is such a well-known image within the history o art,the death o the horse represents something beyond the horse itsel – itrepresents the death o an entire cultural world which the horse embodies.The horse is always connected to man, rarely do horses roam reely innature. The horse represents the animal aspect o man – on a horse, manmay gallop like an animal, he can rise above the smallness o the humanbody and be one with a body which is larger and nobler than his own. Thehorse is also a horse o war, which gives us the power to overcome ourenemies. But, most o all, the horse is a creature o nobility.The horse's nobility comes rom within and radiates on to its surroundings.This is the nobility o an animal which does not prey on others, the nobilityo elongated limbs. In general, only those who belong to a higher socialclass may allow themselves to live among horses. And thus the horsebestows upon man two dierent auras which are almost contradictory: anaura o wild animalism and an aura o aristocracy which is imbued withcourtly manners and with the intricacies o the refned courtesies o thenobility.The act o melting the horse and the desire to make it disappear is adeclaration that contemporary art and culture are in a state o excess, o destructive surplus, which is present in the world and in the artistic act andwhich damages it. It sometimes seems as i the only remaining artistic actis to make elements o objects disappear. The melting o the horse is a verydirect and concrete response to its reality – we take something grandioseand destroy it. Genuinely emotional and conceptual renewal can only growrom within the destruction.The most commonplace ritual throughout the ancient world was animalsacrifce. This ritual is not reachable to us today. Hundreds o years and therationalism o the modern age have deepened the gap between us andthe strange customs o old. They have conditioned us to be repelled by thereality o sacrifce, instead o looking at what drew people to conduct itagain and again, in thousands o variations, in cultures that were so distantand dierent rom each other.Among the dierent types o sacrifce, there is one kind o sacrifce in whichthe animal is totally consumed. In the Bible, this kind o sacrifce is knownas an
, a burnt oering. Many commentators suggest that the word
is used because the whole sacrifce ascends (
) to heaven.My horse has descended entirely into the earth.Georges Bataille, the twentieth century French philosopher, explored thephenomenon o sacrifce. He suggested that human beings may transcendtheir ragmented existence and interact with a greater sequence o continuity, precisely while they are witnessing the end o the ragmentedlie o the animal being sacrifced.
Edna Ohana
הנחוא הנדע
.בוציעו תונמאל הימדקא ,לאלצב
- 2009
.םילשורי בוציעו תונמאל הימדקא ,לאלצב
- 1994
.תונמאב היפארת ,םיצוביקה רנימס -
.תונמאל הקלחמ ,הפיח תטיסרבינוא ,םינרוא רנימס -
דיחי תוכורעת
.ןילי דוד תונמאל הירלגה - "םושיר רועש" -
.ענומת ןורטאית בצימ "היגלש" -
.תונמאל הפיח ןואיזומ - "םילשנ" -
.םילשורי ידט ןוידטצא השדחה הירלגה - "תומלגתה" -
תויתצובק תוכורעת
.םושירל תיצראה הלנאיבה "ךבסב זחאנ"
םימשר -
תינכת םויס תכורעת - "תשורח" -
ביבא לת ןואיזומ - "רדלוק רדנסכלא םע תדמתמ העונתב".ךוניחה תקלחמ תונמאל.םילשורי םינמאה תואנדס - "רובש ןופלט" ,"םיפונמ" -
.אבס רפכ תינוריע הירלג - "יודב".הפיח למרכ הירלג - "םירפת".תונמאל הפיח ןואיזומ - "םינב הכאלמ".והילא תמר תונמאל אנדסה - "ילוסיפ טוברש" -
.ביבא לת םינמאה תיב - "בחרמב וק".היגלב ,לסירב - "
- תילארשי תונמא".םילשורי רוברב - הבוהצ תללוצ - "תיתחת םילשורי"תוברתה ,ךוניחה דרשמ יסרפ 2005 םיכוזה תכורעת.םילשורי לארשי ןואיזומ - טרופסהו.ביבא לת הירלג
"רוזחמ תשיגפ" -
,םוליצל רפס תיב הררסומ ,רלפרד לרומ לש ורכזל הכורעת -
.םילשורי.םילשורי םינמואה תיב ,םושירל הלאנאיב - "םימשר" -
.םינמואה תואנדסב הכורעת ,סוקופ-טרא תרגסמב -
.םרכ ןיע רעיב טקיורפ תומלגתה -
.םילשורי תובוחרב טוח םע הכילה - הכילה טקיורפ -
.( תוינמואב ינשה ראותה תינכת - הריצי דודיע סרפ -
.לאלצבעדמה תוברתה ךוניחה דרשמ - הריציה דודיע סרפ -
.טרופסהו,בוציעו תונמואל הימדקא לאלצב ,ןייטצמ דימלת סרפ -
.הקימרקל הקלחמה
ביבא לתב תררוגתמו תרצוי
ינורטקלא ראוד
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