{"id":2700,"date":"2021-06-01T17:56:54","date_gmt":"2021-06-01T17:56:54","guid":{"rendered":"http:\/\/www.furman.org.il\/?page_id=2700"},"modified":"2024-05-30T18:08:06","modified_gmt":"2024-05-30T18:08:06","slug":"intervals","status":"publish","type":"page","link":"https:\/\/www.doronfurman.com\/?page_id=2700","title":{"rendered":"Intervals"},"content":{"rendered":"\t\t
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Intervals' <\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Wschodnia Gallery, Curator Adam klimczak 2019<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The exhibition explores the possibility of a world breaking through the artistic medium, leaving material and interpretation behind, and penetrating into its essence.<\/p>

Refers to the artistic medium as a conduit, and seeks to explore the degree of art’s ability to express the essence it transmits itself through the medium “Place” is the space loaded with history, identity, in the anthropological sense of the word. “Space”, on the other hand, is free of all identity and history, and independently operates for all its “places” that make up it.<\/p>

Similarly, the artistic medium operates as a space devoid of history and does not belong to one identity or another. Thinking of the medium as a transitional space entails breaking through, examining its existence beyond the imaginary fissure that exists in it.<\/p>

The works in “Intervals” ask whether the medium as a transitional tool has a specific purpose and functionality similar to that of Marc Aug\u00e9’s “out of place” spaces and how the essence of the medium itself can be defined. The works are not exhibited in the exhibition but are held there.<\/p>

Viewers are not spectators but scholars of the world beyond the medium. To experience the exhibition requires more than rational thought. A concept that recalls the reading experience of Roland Barth’s book “Thoughts on Photography” is sought, one that penetrates sensual worlds and arises from the medium itself. Barth’s “punctum” maintains a strong two-way look between the viewer and the viewer. The exhibition straddles the Punctum, enters into the same “Barthianian” crack and looks at the essence that passes through it. The occupation of transitional spaces has the basic assumptions of space concepts, derived from the writings of Georges Perk and Martin Heidegger. Chapter writes: “We use our eyes to see, our gaze goes through space and gives us the illusion of relief and distance. In this way we build the space: up, down, left and right, front and back, close and far. When there is nothing stopping our gaze, our gaze goes very far.<\/p>

But if he comes across nothing, he sees nothing; he sees nothing but what he meets. Space is what stops the look. ” The concept of the exhibition does not allow the works to be held in “place” according to Marc Aug\u00e9’s, but in “space”, devoid of identity and history. The works presented in the exhibition challenge the “place” in different ways that connect to one view: different, possible worlds that bring the visitor closer to a research experience rather than a perspective view, where the direction of looking is from creation to viewer.<\/p>

The definition of transit space is hidden in the original meaning of the word space: time created between two places. This definition connects to Heidegger’s existential space concept: the bridge exists only when defining its origin and destination. An existential transitional space is created, which depends only on human thought. The transition spaces in the exhibition are such that set a landmark in the space: different color, light or the body of the viewer himself.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Intervals’ Wschodnia Gallery, Curator Adam klimczak 2019 The exhibition explores the possibility of a world breaking through the artistic medium, leaving material and interpretation behind, and penetrating into its essence. 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