Anti - Anti:
Between Art,Power and Knowledge
Curator: Hadas Kedar
Sari Carel, Inbal Gil in collaboration with Yaal Tevet and Roy Roth, Ohad Fishof in collaboration with Zvi Elhyani, Gad Haran, Zeev Grauer, Jacky Edri and Alik Maor, Michal Helfman, Adi Kaplan, Shachar Carmel, Noam Kaplan, Effi Cohen, Etay Onick and Arthur Neslen, Gal Kinan, Jean-Antoine Laval, Roy Menachem Markovich, Ohad Meromi in collaboration with the "Theatre and Performance Research Laboratory" (Department of Theatre Arts, Tel Aviv University), Rona Perry and Mor Arkadir, Avi Pitchon in collaboration with Eli Petel, Oliver Ressler, Lori Solondz.
Tel Aviv University Gallery
The exhibition "Anti-Anti" addresses the problematic nature of bureaucratic control over knowledge and art; artists’ dependence on cultural institutions, exhibition spaces and curators; the complex nature of artistic activity within an institutional framework.
Grounded in the tradition of anti-art, the exhibition creates an environment which challenges institutions and their conventional methodologies via interdisciplinary activity and knowledge sharing. Multifaceted combinations of artistic practices and academia, artists and teachers, students and curators, engineers and designers, architects and scientists demonstrate a web of formal and informal connections. These encounters combine shared interests (birds, theater, cinema, architecture, painting, music, science). For example: the sculpture garden hosts a micro environment designed for birds; a designer and geographer combine knowledge to create an interactive learning object.
Past works of art serve as a point of departure for many of the collaborations; from Brecht’s epic theater channeled into a sculptural scenario, to the use of a Felix Nussbaum painting as a basis for a three dimensional reconstruction, to a series of architectural images that appear in the form of a lecture-performance.
Situated in a university gallery, the exhibition reflects educational
activity by forging a synthesis between academic subject matter and the physicality of a visual experience.
‘Anti-Anti’ positions itself in the realms of art, knowledge and power by rearranging the manner in which shared expertise is redirected in order to create new perceptions. Taking down the barriers of academic methodology and challenging the academic methods with those created by artists, these conflicting approaches are combined to access and create new forms of visual communication