TEXTS

RÍA: TRAIL, TRACE, FACE (LOOSE ENDS)

Talk to me in the language of absence Yehuda Amichai I know what it means to follow a trace, to pander to a shadow, and to use memory in such a way that everything you desire can exist. It is like a journey, you say, and you even find a map, outline a route, and pursue a destination. Th...

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Lihie Talmor: The Signs of Time

The art of printmaking is undoubtedly becoming an increasingly self-sufficient and autonomous discipline, within which an artist may be able to fully express himself without having to rely on the so called major forms of art, namely painting and sculpture. However, for most of our bette...

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The Expressive Sobriety of Lihie Talmor

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, through an expressive language that reads with simple and discreet fluidity, between pauses and apparent wavering and a certain de...

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In quest of form, color and space

In Lihie Talmor’s work, the plural-abstract statutes appear as the result of an inquiry on several expressive elements: space, color, line, form, light and texture are some of the axes of navigation of her latest works. The notion of space provides the topographic milieu, the intensity of c...

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In quest of place: memories of a nomad

Talmor’s exhibition investigates three types of places: nature as the site of God, in the sense of the given world; architectures— man-made places—established but also demolished or abandoned by man; and finally, photography and etching as supports for language, as sites of repr...

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Visions and Volumes of Venezuelan Art

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, to the three-dimensionality of boxes and cases, containers of intimate secret spaces; and finally to a total aperture: ...

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The Proper Distance

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? Wittgenstein claims that the structure of language reflects the structure of reality, and is the key that allows us to say something meaningful about the world. The w...

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OF THREE OR FOUR IN A ROOM

OF THREE OR FOUR IN A ROOM 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…...

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Neither Inside, Nor Outside

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. Her works fix and retain, in a sort of miniature map of the...

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IN A MOVEMENT THROUGH A LANDSCAPE

IN A MOVEMENT ON A PATH THROUGH A LANDSCAPE SOMETHING IS CONSTANTLY SLIPPING AWAY AND SOEMTHING IS CONSTANTLY GAINED Christopher Tilley Recent readings on space and place and the dialectic relationship that exists between the individual and landscape, be it natural or manmade, ...

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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

> Read More

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?

> Read More

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

> Read More

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…

> Read More