NonFinito 2022Artport's artists-in-residence group exhibition
“NonFinito 2022,” the year-end exhibition of the Artport residency program, presents new ideas and projects that took shape on our two studio floors over the past year.
Originally referring to unfinished sculptures by Renaissance masters, the term “non finito” also indicates the conscious desire to represent ideas in various stages of implementation, challenging notions of outcome, conclusion, and end. This year, “NonFinito” also stands for the possibility that we will not always be able to finish what we began; that not everything is in our hands. Memento mori (Latin: remember you must die) is the insight that danger and desistance are out there, waiting for us; an insight that has become more substantial this year. Under the so called “new normalcy,” we are experiencing a year of adjusting to life after; a life lived under a constant reminder that everything can change, everything can come to a stop in the blink of an eye.
The notion of memento mori overarches the works in the exhibition: from Keren Gueller‘s despondent sharks to Lali Fruheling‘s attempts to replicate and immortalize human figures. Unforeseen death is present in Nardeen Srouji‘s work, and it also accompanies the three women walking in the city while talking about redemption and miracles in Ana Wild‘s work. Our dying day hovers over the rotting scraps of wood, which were formerly swings, in Tomer Dekel‘s work, and informs the endless cycle of life and death, water and stone, in Maayan Elyakim‘s work.
In a year in which the world is trying to get back on its feet, the works in “NonFinito” confront a changing reality, addressing the growing gaps between reality as such, and reality as perceived today and in the past. They delve into the shifting boundaries and the ever-shrinking gaps between reality and imagination, between the here and the now, trying to find within them the human and the personal, a foothold from which to move on.
Keren Gueller‘s video and sculpture installation consists of footage shot at the Toronto Aquarium. The reality in it appears staged: a great white shark that threatens nobody floats passively, like the tourists around it, who are transported on a conveyor belt from one attraction to another, to admire domesticated wild nature.
Lali Fruheling duplicates her residency fellow, Ana Wild, in silicon. She seeks the distortion in the act of copying and embraces the imperfection of both sculpture and life.
Tomer Dekel uses former amusement park swings to construct a new world, which preserves the potential inherent in them.
Ana Wild‘s space and sound work presents three women in a nocturnal stroll, absorbed in a conversation about miracles. Their voices shift between the multiple loudspeakers, drifting in the space and infusing it with movement.
Nardeen Srouji constructs and unravels the traditional Palestinian red cross-stitch embroidery and its symbolism before the viewers’ very eyes in countless ways, until it becomes an abstract sign.
Maayan Elyakim peruses the fountain in the inner courtyard of the Rockefeller Museum in Jerusalem, as part of his ongoing practice centered on the encounters between cultures from different times, and the interrelations between sculpture, architecture, and photography.Read More
Keren Gueller, Lali Fruheling, Nardeen Srouji, Ana Wild, Tomer Dekel and Maayan Elyakim
8 Ha’Amal st.
Thursday, September 8th
From the catalog