THE MEETING OF TWO RIVERS
My proposal for the upcoming Art and Science Salon is in two parts:
First, the re-presentation of an historical project the realization of which serves as paradigm of the conjunction between a sociopolitical vision and a creative scientific conceptualization.
Second, my personal project –a work of sculpture inspired by the actual remains of the above-described project, and by the imprint the morphology of its components left in me–entitled “The dissolution of a dream come true.”
The poetry of movement, to borrow a phrase from Alexander Tzonis, is given form in the bridges, dams and reservoirs which materialize the dreams of a visionary.
Iview, and seek to present the project as a process which transforms a fault –in both the literal and the figurative sense– into a substantive system which takes advantage of natural resources to benefit man, his progress, and his wellbeing.
The re-presentation includes:
1.Texts referring to Pinchas Ruthenberg’s original project, which consisted of a hydroelectric plant erected in the 1920’s at the meeting of two rivers, the Jordan and the Yarmuk, which run along the Syrio-African fault and at the same time mark the border between Israel and Jordan (the British Mandate of Palestine and the Hashemite Kingdom at the time of construction).
2. Texts on rivers as metaphors.
3. Archival photographs and the original architectural drawings for the project dates from the third decade of the twentieth century. The installations were designed by Alexander Berwald and Richard Kaufman, eminent architects of the Bauhaus School and of the International Style movement.
4. Photographs taken by me during my visit to the area, officially termed “The Island of Peace” (based on the peace treaty signed by the two nations, which share the Jordan River). The photographs are organized according to categories which serve as guidelines for my presentation.
In recent years, the work of Lihie Talmor has been like a progressive conquest of artistic space: from the two-dimensional plane of the etched page, with its illusionary spaces
Is it necessary to have the proper distance so as to see the full picture? And how does one know what the proper distance is?
In recent years, the work of Lihie Talmor has been like a progressive conquest of artistic space: from the two-dimensional plane of the etched page, with its illusionary spaces
Is it necessary to have the proper distance so as to see the full picture? And how does one know what the proper distance is?
It is not difficult to see in Lihie Talmor's work the expression of a sensitivity in its utmost development, that the artist knows how to communicate assertively
There exist an overriding need to distinguish between the ephemeral and the essential; the ephemeral wounds, the essential yet endures; until the day when the ephemeral will have corroded the essential, will have destroyed its very nucleus, its hard nucleus…
In a country where oblivion is who gathers the remains of the city, where the blanks of collective memory decide about the changes in power and the markets, the work of LIHIE TALMOR functions as a film of the subversive unconscious.
