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Past exhibitions

Angelika Sher: Twilight sleep

By 4. 9. 2009 May 14th, 2019 No Comments

Angelika Sher
Twilight sleep

4.09.2009 – 29.09.2009
20:00

Angelika Sher’s new photographs read for me as a symbolic coded text. In most of them, the object appears to be a signifier. As in a dreaming state, the photograph does not focus on the horse, nor on a table set for a feast. The set of symbols follows the duality of the ritual and the quotidian, the sacred and the profane, beauty and revulsion. Strangely, when I investigate the photographs I can’t help recalling the Flemish tradition of Vanitas paintings. The highly symbolic memento mori motif, encompassing both death and purity, is central to this genre.

Angelika Sher
Twilight sleep

Angelika Sher’s new photographs read for me as a symbolic coded text. In most of them, the object appears to be a signifier. As in a dreaming state, the photograph does not focus on the horse, nor on a table set for a feast. The set of symbols follows the duality of the ritual and the quotidian, the sacred and the profane, beauty and revulsion. Strangely, when I investigate the photographs I can’t help recalling the Flemish tradition of Vanitas paintings. The highly symbolic memento mori motif, encompassing both death and purity, is central to this genre.

At the same time, there’s a sense that Sher is creating a whole different syntax – less specific, deceptive, dialectic. Birth and death are not dichotomous; they dwell together and echo each other. The photograph of the white horse exudes sublime nobility, but its surprising locus – a common stable – brings it back from holiness to mundane, from high to low. I’m thinking of a famous quote of Caravaggio’s, who, according to the story, said to a student who had failed to draw a horse: “Don’t try to draw a horse – try for horseness.” Here too representation is contrasted with the physical object. The Duality in Sher’s work reaches a climax in two photographs: One, a portrait of an old woman, expresses extreme artificiality, bordering on horror. The excessive make-up, the surgically sculpted face, the theatrical gesture, all combine to subvert the natural and turn the body into a death mask. Similarly, the cat, wrinkled due to other causes (it’s a young cat; the wrinkles are no indication of age), stands out in its static pose – it being a statue. Its beauty is implied by its noble pedigree, but actually it is amazingly ugly. It lacks expression. An incarnation of a sphinx, its face is sealed. It looks like a stuffed animal.

The eastern European-looking feast table conceals a deception. The pseudo-Russian dishes are actually pseudo-Dutch, but in fact are manufactured in China. Sher folds the napkins the way she remembers from her Grandmother’s house. The precise arrangement, heralding the feast, becomes, in its sterility, funereal. The sheep and the young goat hold a central role in this body of work. The immediate connotation is religious, of a sacrifice, but very soon the image of the one against many takes over. The sheep are in a herd, a collective. The young goat, breaking out through a sheet of fabric, appears to be in the process of being born. The grey tarpaulin tears apart and allows the emerging of the individual, the pure one.

Purification is the dominant theme also in the bath-house work. A naked man sits, wrapped up in himself, his face hidden. A ritual immersion is suggested here, an act of cleansing. The symbolic content, the iconographic references, the sense of visual tradition – all coalesce into a sharp, crisp, extremely realistic photographic visibility, creating a poignant encounter between historical pictorialism and contemporary photography.

Yair Barak, July 2009

Angelika Sher

Born 1969 Vilnius; Lithuania
Lives and works in Israel

EDUCATION
1991-1995 BA in Radiography, Bar Ilan University, Israel
2002-2005 College of Photography, Kiryat Ono, Israel
2007-2008 Special Program, Bezalel Academy of Art and Design, Jerusalem

SOLO EXHIBITIONS

2009 Solo exhibition, Tavi Dresdner Gallery, Tel Aviv, Israel
2007 “My mother’s fur coat”, Ramat Gan Museum, Israel

GROUP EXHIBITIONS

2009 StArt exhibition, Tel Aviv, Israel
“The Intimate line”, Sepia Gallery, NY
2008 “Presence of the Sea”, Cinema Center, Tel Aviv, Israel
“Dirty White”, Contemporary Art Space gallery, Tel Aviv, Israel
“Growing Down”, Presentation of new series, Bezalel academy of
Art, Jerusalem, Israel
“Awakening the tiger”, Contemporary Art Space gallery, Tel Aviv, Israel
“Everything is Dynamic”, Tiroche Gallery, Yaffo, Israel
“Goim”, New Gallery, Jerusalem, Israel
2007 “Environment Love”, New Gallery Jerusalem, Israel

UPCOMING EXHIBITIONS

2009 Solo exhibition, Galerija Fotografija Gallery, Ljubljana, Slovenia
Solo exhibition, Pobeda Gallery, as part of Moscow 3rd international
Biennale of contemporary art

ART FAIRS

2009 AIPAD show 2009, New York, Presented by Sepia Gallery
Fresh Paint Art fair, Tel Aviv, Israel
2008 Art Verona Fair, Italy, represented by Reartuno Studio, Brescia

PRIZES

2009 Sony World Photo Awards Professional, 3d Place: Fine Art –
Conceptual and Constructed,

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