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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.

Artist news – Naama Tsabar at The Bass Museum

Dvir Gallery is delighted to announce the opening of the Perimeters, a solo show of Naama Tsabar in The Bass, in Miami Beach. dates: November 28, 2021 – April 17, 2022 “Opening late November 2021, The Bass presents Perimeters, an exhibition of new and site-specific work by Israeli born, New York-based artist Naama Tsabar. Offering the potential for activation and performance throughout, the exhibition centers on Tsabar’s most recent series, Inversions, presenting new iterations of four bodies of work that Tsabar has explored from 2006 to the present. Naama Tsabar works at the intersection of architecture and music, showing viewers how sound moves both through and beyond walls and buildings. She often makes large-scale collaborative performances, sculptures and installations that can be played by musicians and visitors alike. For Perimeters, Tsabar will fuse elements from sculpture, music, performance and architecture and transforms the museum itself into a playable instrument […]”

Naama Tsabar in ‘The Musical Brain’, on various locations on the High Line, New York

The Musical Brain is a group exhibition that reflects on the power music has to bring us together. The exhibition is named after a short story by the Argentine contemporary writer César Aira, and explores the ways that artists use music as a tool to inhabit and understand the world. The featured artists approach music through different lenses—historical, political, performative, and playful—to create new installations and soundscapes installed throughout the park. Read more about it : https://www.thehighline.org/art/projects/the-musical-brain/ Until March 20211 Image : Naama Tsabar, Equal Measure, 2021. Granite, aluminum, motor, 116 x 75 x 75 inches. Image courtesy of the artist and Kasmin, New York.