Last updated March 8th 2017
A footstep tracks time and place, it defines which way someone is going. Just outside of Tel Aviv, the Herzliya Museum of Contemporary Art’s group exhibition In Her Footsteps tells eight stories by female artists organized by female curators based on research, history, and fiction.
At the entrance of the museum, five dark vinyl works tribute a successful artist whose life was cut short, Talia Sidi. Standing as monuments dripping with the struggle and mystery she left behind.
Peeking into a 3D rotating panorama of manipulated stereoscopic photographs one could not imagine that they were from a 1931 murder that made waves in Weimar Berlin. This is Ronit Porat’s Mr. Ulbrich and Miss Neumann, a deconstructed story purposefully out of order, questioning who is the “victim” and “victimizer”.
Hilla Ben Ari finds new ways to revive the archive of Israeli choreographer Heda Oren. Videos of almost life-size dancers illuminate in positions of tension, testing balance and space.
Curator Galia Bar Or brings Miriam Chalfi’s 1970’s sculpture and poetry to the spotlight presented on unique pedestals. The overlooked marble works of Chalfi have a distinct contrast to her Israeli-male iron sculpting peers.
Moran Schoub reflects the neglected work of Tzilia Binder, the classic Israeli children’s book illustrator. Schoub created an original play based on the openly discussed affair between Binder and Alterman which can be heard through the museum’s audio guide on a swing or bench surrounded by the illustrations of Binder.
Video artist Hinda Weiss searches for herself in the deserts of Mitzpe Ramon during her self-created artist residency in 2013. After the Nubian Ibex documents Weiss alone in the vast desert manipulating time, sky, and ground.
Mrs. Margaret Tadd was one of many models who was not credited in photographer Eadweard Muybridge’s locomotion study “The Human Figure in Motion” in 1884. Tamar Latzman’s video work Mrs. Tadd’s Visit is a fictional testimony of Mrs.Tadd’s time in Muybridge’s studio. The work is accompanied by eight original stills by Muybridge, but this time the models are credited.
The largest installation is Michal Heiman’s work AP – Artist Proof, Asylum (The Dress, 1855-2017). Heiman found herself flipping through The Face of Madness: Hugh W. Diamond and the Origin of Psychiatric Photography (1976) which includes photos of women taken at the Surrey County Asylum. The photograph on Plate 34 struck her, it looked like her youthful self in a plaid dress. Heiman took the dress as a symbol of returning to a time when women had no rights and were easily hospitalized. You can find Heiman in the exhibition interacting with visitors.
It’s worth stepping outside of Tel Aviv and into the works of eight powerful women. In Her Footsteps will be on display until April 22, 2017.
Herzliya Museum of Contemporary Art, 4 Ha’banim St., Herzliya.Opening Hours: Tuesday, Thursday 16:00-20:00, Monday, Wednesday, Friday, Saturday 10:00-14:00, Sunday – closed.