Dina Shenhav

Dina Shenhav
Dina Shenhav, Scenario, Gutman Art Museum, 2011
Scenario installation view

Shenhav’s works invite the spectator to tour through paths
filled with destruction and ruin, and as such, poses challenges
to familiar ways of observing, expanding the horizons of
preconceived notions of beauty. Consequently, passing through
the bodies of cut down trees unravels sites of deficiency. Axis
which cuts through periods and territories, intersections devoid
of consolation, all dominated by disaster.
This is a poetry which searches for a way of listening to
that which can not be heard immediately, quantified and classified
with scientific apparatus, and organized into reasonable
categories. It does not provide an explanation, and does not endeavor
to exchange one thing for the other, it does not withdraw
into the identical, but allows moments of proximity, closeness,
the simultaneous appearance of a thing and its opposite as evidence
of a complex experience which is full of contradictions.
We can also begin to read Shenhav’s work from a place of
correspondence with creative and literary traditions which by
default contain a form of criticism and negation. In the sense
that although the damaged body, the cut down tree, the image
of the glass shard or the broken stone, a piece of the sponge—
all of these are irreparable, they cease to give into past sorrows.
They appear as amputated limbs, devoid of life, composed
of sponge and cut down tree trunks which are meticulously
arranged according to shape and size. The piece, End of the
forest—the continuation or completion of an earlier piece titled
Dog (2001)—suggests an absence of life. These names or
objects allude to Albrecht Durer’s bronze etching. In his etching
Melencholia I (1514), the figure of a woman wrapped in
wings sits bent over and still, with an expression of hopelessness
and cessation on her blackened face. A whining dog lies
on the ground with a crystal cast by her side. The etching, like
Shenhav’s sculpture, connects between despondent and hopeless
drawings generated from inanimate objects, and geometrical,
mathematical scenarios or mystical configurations and
measuring devices, all a part of the same negative prophecy concerning
the false promise of the world of technology.
Text: Michal Ben-Horin, from: Paths of Destruction






ETF! in Chile

Curator Adrienne Goehler opened the 16th station of "examples to follow! expeditions in aesthetics and sustainability" on June 9th in Parque Cultural de Valparaiso, Chile. This expeditions counts with the support of Heinrich Böll Foundation Chile, the Institute for Advanced Sustainability Studies in Potsdam (Germany) and Goethe-Institut Chile.

Co-curated by Rodolfo Andaur the Chilean artists Aninat-Swinburn, Natascha de Cortillas, Vania Caro Melo, Claudia Müller, Guisela Munita, and Alejandra Prieto joined the current 62 international artists.

Pictures of the exhibition, that will be opened from 10.6. - 12.8.2017 can be seen here .

The IASS and the Heinrich Böll Foundation Cono Sur (HBS) launched the innovative series of events "mundos sostenbiles" in Chile to foster dialogue at the intersection of the arts, politics, and sustainability. The programme includes discussion panels, workshops, guided tours, performances, and video screenings on a broad range of sustainability topics. The events will be staged at Valparaíso Cultural Park and other sites in the city between 9 June and 13 August, 2017.

The Dialogue Programme in Valparaíso is structured around four thematic axes:

1) “Territories and resources: development models in dispute” (8 – 11 June)

2) “Food sovereignty and the challenges of climate change” (June 29 – July 2)

3) “Water: private property or common property?” (3 – 5August)

4) “Future Cities and Citizens” (10 – 12 August)

More informations


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