"Sand Uproar, Sand Glass” Orit Ishay
Tel-Aviv city, also called "the white city", has recently celebrated a 100 years to its establishment. According to conventional public narrative, this is a city that was raised on pure sands, unlike other place in Israel that were built on banishment robbery and blood. The city's residents, who have repressed history, time, Arab residents' banishment and the neglect of Jaffa's residents, boast in their city's beginning in white Bauhaus houses in a preciousness cosmopolite space. An international spotlight is turned to architecture of "the city who rose from the sands". The mythic occupation in architecture covers Tel-Aviv's gray history and its old and neglected grey houses in white. "Sand Uproar" is a political work; it is not an architectural work although architecture is the outline of the space that surrounds us, therefore un-separated from the culture and politic of the space. According to Deleuze and Guattari ,"art does not start with flesh but with the house… when Dubuffet wishes to locate a certain state of raw art, he first turn to the house and all of his creation is placed between architecture, sculpturing and painting. And if one is satisfied with shape, the most educated architecture constantly creates and adds sides and levels". The sand and the white, the interpretation and the language, have been a fundamental element not only in the building of the city but also in the construction of identity, culture and national rhetoric, and have become a part of the general history of the city itself, of the country and of the Middle East. This work reveals and covers reveals and covers the city's buildings – It deals in revelation while erasing and erasing the erase in space. The sand in the sandglass cyclically runs out and refills. According to Foucault's method it is not about time divestment, "this is a certain form of handling what we call history… space itself has a history and one can not deny this fatal intersection between time and space… there were places where things were placed since they were violently severed from their place, and vise versa, places where things found their place, their natural place… this is the space of location (espace de localization).
The installation is an apparatus, a comfortable space for a project that grasps past memory that no longer is a part of any space except nostalgic.
The nostalgic space, parallel to time space, is what brought UNESCO to include Tel-Aviv in the organization's list of world heritage sites. The grey and faint city houses themselves do not remember the day that they were white. The thing is a closed yet clear space, secured and protected, light and ethereal, exposed and hidden, managed and disciplined. It presents a model controlled by the simulation principle where the realistic is replaced with signs of the realistic . It returns the city into to a womb reality; this is the womb or the shell that Walter Benjamin describes as "the primal image of residence". Tel-Aviv is a "bubble city", placing it inside a plastic bubble in a way that it is not feasible for self nourishment from within makes the city into another space illusion. The white city, as gray as it is, is charged with utopian and heterotopias attributes relating analogically to the actual space. According to Foucault "people today are bothered first about space, far more that about time". The work refers to myths, materials and concepts that relate to the modern city in general and to Tel-Aviv-Jaffa in particular, specifically to the city that rose from the sands, the white city. It touches Sisyphean aspects relating the constant processes of urban changes, the city as a utopia and phantasm, along side aspects relating to transience, density, hash, destruction and preserving, Urban renewal and more. The immanence plane in which the "sand uproar" city seeks to exist, the materials of which the sandglass is made of as well as its aesthetic form are used in this installation as a form of physical space that turns out to be a heterotopias space "other space" who is concrete and real simultaneously but also an illusion.
The proposal for the work "sand uproar" was submitted to the committee to select works for the first Tel Aviv Biennal(ARTLV 2009).Warmly received but was rejected for implementing budget and space reasons.
"Sand Uproar, Sand Glass” Orit Ishay
Tel-Aviv city, also called "the white city", has recently celebrated a 100 years to its establishment. According to conventional public narrative, this is a city that was raised on pure sands, unlike other place in Israel that were built on banishment robbery and blood. The city's residents, who have repressed history, time, Arab residents' banishment and the neglect of Jaffa's residents, boast in their city's beginning in white Bauhaus houses in a preciousness cosmopolite space. An international spotlight is turned to architecture of "the city who rose from the sands". The mythic occupation in architecture covers Tel-Aviv's gray history and its old and neglected grey houses in white. "Sand Uproar" is a political work; it is not an architectural work although architecture is the outline of the space that surrounds us, therefore un-separated from the culture and politic of the space. According to Deleuze and Guattari ,"art does not start with flesh but with the house… when Dubuffet wishes to locate a certain state of raw art, he first turn to the house and all of his creation is placed between architecture, sculpturing and painting. And if one is satisfied with shape, the most educated architecture constantly creates and adds sides and levels". The sand and the white, the interpretation and the language, have been a fundamental element not only in the building of the city but also in the construction of identity, culture and national rhetoric, and have become a part of the general history of the city itself, of the country and of the Middle East. This work reveals and covers reveals and covers the city's buildings – It deals in revelation while erasing and erasing the erase in space. The sand in the sandglass cyclically runs out and refills. According to Foucault's method it is not about time divestment, "this is a certain form of handling what we call history… space itself has a history and one can not deny this fatal intersection between time and space… there were places where things were placed since they were violently severed from their place, and vise versa, places where things found their place, their natural place… this is the space of location (espace de localization).
The installation is an apparatus, a comfortable space for a project that grasps past memory that no longer is a part of any space except nostalgic.
The nostalgic space, parallel to time space, is what brought UNESCO to include Tel-Aviv in the organization's list of world heritage sites. The grey and faint city houses themselves do not remember the day that they were white. The thing is a closed yet clear space, secured and protected, light and ethereal, exposed and hidden, managed and disciplined. It presents a model controlled by the simulation principle where the realistic is replaced with signs of the realistic . It returns the city into to a womb reality; this is the womb or the shell that Walter Benjamin describes as "the primal image of residence". Tel-Aviv is a "bubble city", placing it inside a plastic bubble in a way that it is not feasible for self nourishment from within makes the city into another space illusion. The white city, as gray as it is, is charged with utopian and heterotopias attributes relating analogically to the actual space. According to Foucault "people today are bothered first about space, far more that about time". The work refers to myths, materials and concepts that relate to the modern city in general and to Tel-Aviv-Jaffa in particular, specifically to the city that rose from the sands, the white city. It touches Sisyphean aspects relating the constant processes of urban changes, the city as a utopia and phantasm, along side aspects relating to transience, density, hash, destruction and preserving, Urban renewal and more. The immanence plane in which the "sand uproar" city seeks to exist, the materials of which the sandglass is made of as well as its aesthetic form are used in this installation as a form of physical space that turns out to be a heterotopias space "other space" who is concrete and real simultaneously but also an illusion.
The proposal for the work "sand uproar" was submitted to the committee to select works for the first Tel Aviv Biennal(ARTLV 2009).Warmly received but was rejected for implementing budget and space reasons.