Thu 28 March 2019 | 7:00 pm - 10:00 pm
Bialik Square - Bialik Square, Tel Aviv,

A solo exhibition in the framework of a place-dependent installation project that relates to cultural, artistic and social questions regarding Bialik’s legacy.
Curator: Dr. Smadar Shefi
Free entrance to the opening event

Tomer Sapir created an installation around the word “Kiklon”. The poem refers to the word as it appears in “Avi,” a poem from the cycle of Bialik’s poems “Yatamot,” which tells the life of his father who died when he was six years old, as they were caught In his eyes. The father who owned a tavern (a profession for which Jews were squeezed out of lack of other employment opportunities) is described in the rough environment where he worked when his soul went out to spiritual purity.
Day to day – to go up, day by day – to go up to the mountains.
And when he returns to the country of the palace, he will drink a kettle,
He was despised and forgiven for his soul, as if he were from the savior of my sword,
I will go to plead him, but he will not be guilty.
The Kiklon, a word that is a combination of “vomit” and “klon”, echoing in it “klayon” also receives the link of organic matter, “Kiklon” as if it is bleeding, distracting and disgusting as physical matter.
For more than a decade, Tomer Sapir has been characterized as an artist who studies scientific methods of cataloging, comparison and preservation, creating a body of works in which fantasy and reality rub off and allow, while distancing testimony, to touch the conscience of the soul.
In “Kiklun”, and touches upon the complexity of text-image relations in general. The image is not an illustration of the text, does not illustrate it and does not translate it, but it refers to it, parallel to it, sometimes grows out of it. On the one hand Sapir clings to the source of the Bialikai – one of the works is the enlargement of the word in Bialik’s handwriting, and on the other hand he exposes Kiklun from the specific context, connects it to layers of various historical associations and touches intensively the spring of despair and anger that it expresses.
In an a-morphic object hanging from the ceiling like a block of flesh (which relates to the history of art, to paintings such as Rembrandt’s 1660 Shore) and in a sculpture that simulates a skeleton using an isolated letter like Cain’s, and in a work that freezes a chaotic moment, Sapir sharpens awareness of the fragility of existence , To the direct gaze of Bialik, the adult of his childhood, in which he became acquainted with the way in which polar aspects of transcendent and coarse transcend.
It was a living space and a pale path,
Between the gates of the tahara and the tum’ah, they moved from one circle to another,
The holy part of the world began to rise, and the lofty part of the world became desolate.
In Sapir’s “Kiklon” the sorrow is in front of you, and like Bialik’s child, he was amazed at him.
Dr. Smadar Shefi
Tomer Sapir (1977) lives and works in Tel Aviv, his works include sculpture, installation, video, drawing and collage.
Sapir holds an MFA with honors from the Bezalel Academy of Art and Design, Jerusalem. He received many prizes and awards, including: Mifal Hapayis grant for an artist’s book (2016) and the Encouragement of Creativity Award by the Ministry of Culture (2018).
His works have been exhibited in many exhibitions in Israel and abroad, including the Israel Museum, Jerusalem, the Tel Aviv Museum of Art, Apexart in New York, NGMA, the National Gallery of Modern Art, New Delhi.

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