Fix ‘n’ Gyro

Artist: Hadas Rosenberg-Nir

Curator: Shlomit Bauman

Opening: 19 September 2019 at 19:30

Gallery talk:Saturday 2 November 2019 2019 at 11:30

Closing: Saturday 2 November 2019 at 14:00

The exhibition is a combination of old and new works by Hadas Rosenberg-Nir summarizing 3 decades. Some of the pieces were made specifically for Fix ‘n’ Gyro.  In addition, a book of her work will be launched on the opening night.

Hadas Rosenberg-Nir is one of the leading ceramic artists in Israel, with a unique language and a broad oeuvre of work. For this she is recognized in both the art and the ceramic world. In her work there is an inherent dialogue between art and ceramics, creating a welcome collision fusing concepts such as technology and intuition, planned and serendipitous, tradition and contemporary, spiritual and material, making an outstanding complex, poetical and political statement.

The term Fix ‘n’ Gyro is a distortion of the name of the “sight” found in old fighter planes.  One is fixed (“stupid”) and the other is gyro (“smart”) which rectifies the deviation from the setting considering the movement, time, speed and position in space of the aircraft.

Rosenberg-Nir creates work with the desire of a personal Fix ‘n’ Gyro, that can fix mistakes, give perspective, provide technical back-up, the illusion of a scientific apparatus that will create order in the world and avoid vertigo, errors in navigation, confusion in orientation, falling or crashing.

The new works in the exhibition are in dialogue with the history of ceramics and the history of art, using round three dimensional forms which are perhaps discs used when wheel-throwing or challenging the square/rectangular canvas.  The round format may be a peephole or the tiny hole of a camera obscura that allows light to penetrate and flips reality as in the lens of a camera capturing reality as an image or a telescope that draw a distant landscape closer. She observes the optical illusions with acceptance or perhaps desire and longing.

Fix ‘n’ Gyro at the Benyamini Center is a type of homecoming, an imminent, inevitable bridge between the two fields in which Rosenberg-Nir is active: art and ceramics.  It is an act of breaking down boundaries that is intriguing at this point in time, blurring the limits and creating a new verbal and material language.

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