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Outdoor Gallery
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2005 |
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Memorial Wall, Irony A, High School. Tel Aviv |
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Outdoor Works, Amal B., Petach
Tikva |
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An art work proposal for the Amal B.
schoolyard, Petach Tikva: At the base of the art work
offer stands the conversion of the schoolyard, about
1000 sq. meter (1200 sq. yard), into a cultural social
space, into a plaza, where a daily interaction of the
students takes place among themselves, their teachers
and their environment.
The work includes two elements that would function as an
aesthetic, formal and social center for the students and
they will become, along with the plaza, a "place" where
art is part of the life and the needs of the location.
The two works share the circular form, the diameter (4
meters or 13 feet), the material (concrete) and their
functioning as a meeting place.
The closed work is a closed and intimate seat, isolated
from the surrounding and blocking it. By creating an
unusually high profiled chair and extending it into the
form of a circular bench so that the heads of those who
sit in it are not visible from the outer side of the
work.
The open work is a circular sitting surface, the
students sit around the margins, facing the view. At the
center there is a mushroom shaped water fountain,
circulating water through a pump. The sound of running
water brings dynamics to the work and to the
environment. The relation between the introverted and
extroverted works turns the plaza into a place where the
viewer experiences an outer and inner aesthetic
experience.
The third work is the key statue that welcomes those who
enter the main court of the school (leading to the front
of the plaza). The statue is positioned on a concrete
base so that the center of the work is 160 centimeters
(about 5'3"). The statue is made of two Hebron-stones
connected by a concrete casting. In the center there is
a hollowed space created by a stainless steel pipe
allowing a view of the plaza. |
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Untitled |
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The work is inspired by a work of Ephraim
Moshe Lilien, (1874-1925), the most important Jewish artist
who worked during the late 19th and the early 20th
centuries. Lilien was invited to Israel by Boris Schatz and
for a short period taught at "Bezalel". During his stay in
Israel, Lilien had made a sketch of a carpet that was
supposed to be given as a wedding gift to Mr. David Wolfson
and his wife, but the carpet was never made.
The unfinished sketch is kept at the Israel Museum
collection. It is composed of three pictures: On the right –
a description of the suffering of the diaspora; on the left
– the coming of the salvation; and in the center – the union
of marriage, whish is also a symbol of the reunion of the
jewish people with their land.
Dan Reisner's work examines the concept of Zionism with a
contemporary vision and it uses figurative metaphors from
Lilien's sketch, along with other metaphors which cite the
Israeli-Zionist architecture and the ancient cultures that
lived in the old middle-east. |
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Untitled |
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2001 |
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"Garden. Sculptures", Herzlia Museum of Art |
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About the exhibition, by Ilan Vizgen:
The group of works, installed in the inner court of the
Herzelia Museum of Art, is a direct continuation of Dan
Reisner's former exhibition at the Artists' Workshop
Galleries in Tel Aviv. It was then that Dan Reisner
began to show a special interest in the urban reality,
especially the chaotic one, reflected in the many
digging sites, scattered throughout the city with huge
rings and concrete connectors, used as sewage pipes and
as an infrastructure of electricity and communications.
The works presented here, also deal with urban
metaphors, but these are already "suggestions for
order", principal examinations of municipal planning and
structure-vegetation relations and the relations between
the latter and the man in whose environment they are
planted.
The governing aesthetics in these works is the one that
characterized the 1960's Israeli construction, mainly
the public one – building with bare concrete as their
exterior, and sometimes even the interior. This
orientation in the local architecture suited the rough
and virginal image of the post 7-day-war Israeli society
and it has been so successfully implanted that it
survived even the garish post-modern age and we still
see it around us today. A close example is the renovated
Herzelia Museum itself, and indeed, Reisner's works are
so naturally installed in it that it seems as if they
were a part of its architectural plan. |
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2000 |
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Untitled |
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1997-8 |
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Outdoor Works, Ra'anana Park |
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1996 |
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Oranim" school, Ramat Hasharon |
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Outdoor Works, 'Bar Dror' Institution, Kefar Saba |
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