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Lawrence Weiner – Out of Sight

Dvir Gallery is happy to share that the Fort Mason Center for Arts & Culture presents Weiner’s work, the Out of Sight through the end of January. “Out of Sight” references the “gamification” of learning while the viewer interacts with the marelles in English, Mandarin Chinese, and Spanish. “A person coming in with whatever situation they find themselves in, the minute they have any thoughts about themselves going From Here to There, they will be able to stand in front of the marelle and realize they first must imagine themselves doing it, that’s assuming a position,” said Weiner.

Simon Fujiwara in Rotterdam group show

Dvir Gallery is happy to announce that Simon Fujiwara is featured in the new group show Zijn naam was Austerlitz/Austerlitz was his name, in Rotterdam. Almost exactly coinciding with the twentieth anniversary of the premature death of the influential German writer W.G. Sebald (1944 – 2001) on December 14, 2001, Tlön Projects is thrilled to announce the group exhibition Zijn naam was Austerlitz/Austerlitz was his name as a tribute to this literary giant. The exhibition is curated by the Belgian art critic/curator Sam Steverlynck with works from the imaginary collection of Tlön Projects. 09.02.2022—03.04.2022  

ARTnews Pays Tribute to Lawrence Weiner

Lawrence Weiner, a godfather of the Conceptual art movement of the 1960s and ’70s, has died. With his sculptural installations composed with koan-like texts, Weiner experimented with the slippery nature of language and the ways that words connote meaning. Despite the seemingly academic underpinning of his art, Weiner’s works are also imbued with a rebellious spirit that has made them accessible to—and loved by—many. Critics saw in Weiner’s work all kinds of lofty ideas about language and its limitations, but Weiner was fairly plainspoken about his art. “The purpose of the academy is to have an answer and, at the least, a solution,” he said in the oral history. “But the purpose of art is to not have an answer, it’s to question.”   Access the full article by Alex Greenberg here  

Lawrence Weiner, a Tribute by The Art Newspaper

Weiner rose to prominence in the late 1960s when conceptual art was gaining traction in the US. He was part of a generation of artists questioning conventional modes of making and displaying art. At the time Weiner was creating grid-based drawings, shaped canvases and ephemeral interventions that sought to delineate public spaces.

The artist’s trademark interventions, often consisting of graphic elements and enigmatic phrases, are among the most distinctive bodies of work in contemporary art.

Read the full article by Benjamin Sutton here

Naama Tsabar, Moshe Ninio, Barak Ravitz and Pavel Wolberg in Ramat Gan

Dvir Gallery is happy to announce the re-opening of the Ramat Gan Museum of Israeli Art. Its first exhibition, curated by Svetlana Reingold, The Institution. The Museum and Israeliness features the works of Naama Tsabar, Moshe Ninio, Pavel Wolberg and Barak Ravitz.

Lawrence Weiner in his own words / frieze

In 2003, Matthew Higgs – director and chief curator of White Columns in New York – spoke with the artist Lawrence Weiner at Frieze London. Weiner answers 20 questions (sourced from artists, curators, and writers who admire his work), ranging from the role of the artist in society to the importance of dreams to the political urgency of artmaking in the 21st century. ‘I wish it were possible to remove yourself from [public] situations, but I’m afraid it is not,’ he tells Higgs, in response to a question by the artist Liam Gillick. ‘The artist’s reality is absolutely nobody else’s reality. When they talk about so-called public art, we’re the public as well … You cannot remove yourself.’

Ariel Schlesinger ‘Bubble Machine’ on view in Cologne

For this year’s Christmas festival, the Sankt Peter art station takes up memories of 1700 years of Jewish life in Germany and in the city of Cologne, which has also left its mark in the area around the parish church of Saint Peter.
Soap bubbles slowly float vertically down from the gallery, because the light “bubbles” are filled with gas that is heavier than air. On the ground they burst on an electric wire in a lightning-like explosion.
The work of art by Ariel Schlesinger is a fascinating game of lightness and weight, sensuality and energy. The aesthetics and technical precision are impressive. But it doesn’t stop at the spectacular spectacle. It is an “exercise of mindfulness”. We are invited to see the fragile in the floating beauty.

On view until February 23, 2022

The Art Newspaper in Conversation with Naama Tsabar

Naama Tsabar: ‘Shoes are kind of an underdog’

The artist is always seeking new ways to heighten awareness and curiosity in viewers so they begin to sense forces they would not normally perceive. By cutting into gallery walls and equipping them with sensors, microphones, strings and speakers, she upends the typical functioning of the white cube as a space for passive visual contemplation. For the artist, such interventions push at and expand the boundaries of how a work of art—and an art space—should function. Read the conversation between the artist and Benjamin Sutton here.

ARTnews Review – Naama Tsabar ‘Perimiters’ at the Bass Museum, Miami

Naama Tsabar Wants Viewers to Challenge the Expected Museum Experience: ‘If You Push Your Own Boundaries You’re Rewarded’

Sound travels through mysterious channels in Naama Tsabar’s latest exhibition, “Perimeters,” on view at The Bass in Miami through April 16. For the show, the Israeli-born, New York–based artist will occupy the museum’s galleries with new, site-specific iterations of four bodies of work. Tsabar’s art occupies an intersection of sculpture, performance, and architecture that will transform the museum itself into a playable instrument.

Following a year in lockdown, the collaborative nature of “Perimeters” has been immensely fulfilling for Tsabar. “I came out of that year with the realization that presence of the body is so important,” she told ARTnews. “Then, our bodies were in danger and the danger. But intimacy is essential, I don’t want to retract from it, I want to fight for it.” Read the full article by Tessa Solomon here

Jonathan Monk at Palais de Tokyo, Paris

Dvir Gallery is delighted to share that Jonathan Monk is exhibited in the new group show of the Palais de Tokyo, in Paris. The Elle rit (She’s laughing!) is on view until December 26, 2021. Lab’Bel was created in the spring of 2010 with the aim of supporting contemporary creation. The activities of this think-tank or laboratory, which favours innovation and a certain sense of mischievousness, are divided between the creation of a collection, and the production of exhibitions and artistic events both in France and Europe. Lab’Bel is also behind a number of publications and multiples such as The Laughing Cow® Collector’s Edition Boxes.