Yael Frank

Yael Frank’s work deals with the connection between joy and authority. Her projects are made with humorous, analog means. They examine a fictional anthropomorphistic presence of political speech, proposedly embedded in objects of local cultural insignificance. Frank appropriates the performative potential of local esoteric readymades, to push forward a new kind of participatory relationship. On the spectrum between animating the Israeli National Anthem to creating a bad luck machine, she generates broken jokes; textual images that have a strong humorous appearance, and are conceptually manipulated to the point they become viscerally not funny. With no punchline they turn from a singular remark to an ongoing accumulating phenomenon of poetic and political unease.

Yael Frank (1982, lives and works in Tel Aviv), earned her BFA from The Cooper Union School of Art in NY, and her MFA from the Bezalel Academy of Art and Design. Her work is exhibited in internationally, among else at The Tel Aviv Museum of Art, The Israeli Centre for Digital Arts, The Petach Tikvah Museum of Art, FuturDome Milano, Brno House of Art, Czech Republic, Zachęta National Gallery Warsaw, The Wroclaw Museum of Contemporary Art in Poland, and Hezi Cohen Gallery in Tel Aviv. Frank is the recipient of the 2017 Ingeborg Bachmann Prize Established by Anslem Kiefer.

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Yael Frank

Works

A Problem

2018, Still from video

From the exhibition “A Problem” at Tel Aviv Artists’ Studios Gallery. Curator: Sally Haftel Naveh
Video installation, sound, manipulated Ikea Detolf cabinets, architectural intervention

At the core of the installation, a speech by three jaw oracles describes the politics and poetics of “the problem”. Influenced by the theatre of Bertolt Brecht, Samuel Beckett, and The Muppet Show, their speech moves between depictions of a banal catastrophe to descriptions of tacky emotions. This video is viewed through The Last Hour of Cabinet I – a funeral scene of sad Ikea Detolf cabinets. Upon entering the gallery, a delicate architectural and sound intervention turns a hallway into a surreal viewing area surrounded with elevator music, where ghosts are stuck in an endless waiting-room loop.

Supported by Mifal Hapais Batarbut, Artis, The Ostrovsky Family Fund, the Tel Aviv Comittee for Special Projects and the Rabinovitch Foundation.