The exhibition of the artist Emi Sfard revolves around six ceramic pots placed in the center of space. The pots “talk” to the visitors in a female voice, echoing their stories. From a long time ago “story tellers” have appeared in all human cultures as prominent members of society. Before writing was invented, many stories were passed down and saved through the unique acting abilities of the storytellers who documented, educated and relayed messages.
This exhibition is mostly a ceramic sound installation combining traditional art, wheel thrown handcrafted pots with acting, characteristic of storytellers. These storytellers have an up-to-date added dimension including contemporary sound technology creating a layered and innovative experience. The pots themselves become active elements in the space, creating a riveting dialog between past and present, art and ecology, while telling six stories based on human interventions in nature and their unexpected influence.
Each pot has a unique texture representing the animal that inspires the story. Combined with the sound rendered from the pot, the pots act as an echo for an imaginary ritual in which cave “tribal wisdom” meets modern fables as if they predict the imminent disaster.
Sfard’s pots are inspired by the ancient tradition of pots relating stories through visual drawings as part of the material culture prevalent in the past as seen on ancient Greek and Roman pots describing myths and allegories. As in ancient clay vessels revealing ancient cultures, the pots in the exhibition are modern reminders warning of the consequences of human intervention forced on nature. The pots create a dynamic sound in the gallery combining different sound effects and music. Next to the pots are drawings relating to the scenes and elements in the stories.
Sfard invites the viewer to reconsider his understanding of man and his environment, with a critical vein through the female voice that plays the part of containment and balance in opposition to power presented through the male approach throughout history. The artist uses this to raise awareness, dialogue and critical observation in an era of multiple truths, who is the storyteller and what is the narrative being told, how in a changing reality because of unnatural intervention forced on nature, which frequently leads to great disasters. And perhaps now, the arrogant and greedy attitude projects on local and world actions that are taking place before our eyes.
Emi Sfard is a mult-disciplinary artist, a graduate of Industrial Design, Bezalel Academy of Art and Design (B.Des) as well as the MFA program of Haifa University. In her work she combines social and political issues using a variety of techniques including the unique combination of Sisyphean hand worked art and advanced technologies. In the last few years she has won prizes and scholarships including Makor Foundation, NEXT!, Docaviv and the Foundation for Independent Artists. This exhibition is presented following the Benyamini Artist Residency Program Summer 2024.
Curator: Nitsan Shuval- Abiri
Opening: Thursday, 2/1/25, 19:30
Gallery talk at Benyamini Center: Friday, 31/1/25, 11:30
Closing: Saturday, 15/2/25, 14:00
The versions of the stories presented were carefully selected by the artist after in-depth research and arranged specially for the sound installation:
The law of the black goat (Israel 1950). This law was instituted to reduce the black goat population with the idea that they damage the vegetation. Only after the Carmel disaster did the importance of these goats become apparent in preventing forest fires.
The Cobra Effect (India, at the time of British Rule). The British initiative to reduce the population of cobra snakes by offering remuneration, had the opposite effect and the locals raised snakes to receive money.
Cane toads (Australia 1935). Toads imported to fight agricultural pests became ecological pests themselves as they reproduced quickly and destroyed the local ecological balance.
Sparrow Campaign (China 1958). The attempt made by Mao Tse Tung to get rid of the sparrows to increase the harvest of crops lead to the serious destruction of the crops and widespread hunger in the population.
Hippopotami (Columbia , 80’s) were imported to the zoo by the drug baron Escobar and after his death they reproduced without control and became a dangerous nuisance in the environment.
Culling of elephants (South Africa 1960-70) reducing the population of elephants in the Kruger National Park with the belief that they are damaging the environment led to extreme imbalance in the essential ecology.
