April 4 to May 26
Opening Reception April 4, 7pm
Deeply informed by cultural research, the video and sound installations of Israeli artist Nevet Yitzhak rely on digital technology, combining found footage, archival and photographic materials transformed through editing and sound treatment. With a critical approach of contemporary political and cultural issues, Yitzhak challenges perceptions of the past by raising questions about cultural heritage and collective forgetfulness within a complex local identity. Yitzhak’s multi-channel video installation WarCraft takes as departure point the Afghan war rug, a unique tradition of weaving generated by a history of conflict and foreign military presence. Originally an expression of resistance, a means of survival and a way of communicating the horrors of war, occupation and migration, the rugs became commodified by the international tourism industry. In her laborious digital work, Yitzhak reinvents the rugs’ iconography introducing 3D models of weaponry employed by contemporary armies and war zones, using animation and sound to reveal their destructive potential. Expanding from the culturally specific to global concerns and other violent histories, Yitzhak’s view is informed by her own context and a critical examination of current Israeli state of affairs.
—Curated by Liora Belford
Nevet Yitzhak is a graduate of the Naggar School of Photography, Media and New Music, and the Bezalel Program for Advanced Studies in Art. Her work is in the collection of Israel Museum, Tel Aviv Museum of Art, Museum for Islamic Art (Jerusalem), Petach Tikva Museum of Art, Shpilman Institute for Photography, among others.
Liora Belford is an Israeli-Canadian sound artist, curator and scholar. She is currently a PhD ABD candidate at the department of Art History, University of Toronto. She is preparing Listening to Snow for the Art Museum (Toronto), a major exhibition on the sound works of artist Michael Snow.
Image: Nevet Yitzhak, WarCraft, 2014, Installation views at Yossi Milo gallery, New York, 2015. Thomas Seely. Courtesy of Yossi Milo Gallery.