Pace Galleries

米歇尔 鲁芙娜

Evolution

Installation view, "Michal Rovner: Evolution," Mar 9 – Apr 15, 2018, Pace Gallery, Palo Alto.

Installation view, "Michal Rovner: Evolution," Mar 9 – Apr 15, 2018, Pace Gallery, Palo Alto.

Installation view, "Michal Rovner: Evolution," Mar 9 – Apr 15, 2018, Pace Gallery, Palo Alto.

Installation view, "Michal Rovner: Evolution," Mar 9 – Apr 15, 2018, Pace Gallery, Palo Alto.

Installation view, "Michal Rovner: Evolution," Mar 9 – Apr 15, 2018, Pace Gallery, Palo Alto.

Installation view, "Michal Rovner: Evolution," Mar 9 – Apr 15, 2018, Pace Gallery, Palo Alto.

Michal Rovner Nilus, 2018. 2 LCD screens and video, 57-1/8” x 65-3/8” x 4-5/8” (145 x 166 x 11.8 cm).

Michal Rovner Nilus, 2018. 2 LCD screens and video, 57-1/8” x 65-3/8” x 4-5/8” (145 x 166 x 11.8 cm).
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About 米歇尔 鲁芙娜

米歇·鲁芙娜(b. 1957,以色列)目前生活,工作在纽约和以色列的一个农场。鲁芙娜通过她的视频创作、 雕塑以及装置在诗意的氛围与政治的角逐之间创造了联系。在她的作品中,大群人物跟着节奏或整齐或无序地运动,形成了一种新的语言方式。她的作品中关于时间与人类状态的创作触及了考古学和科技的范畴。鲁芙娜的作品在全世界超过五十次个人展览中展出,其中包括职业中期在纽约惠特尼美术馆的回顾展和2011 年在巴黎卢浮宫的展览“历史”。她创作的其他特定场地的视频装置包括:1997 年泰特美术馆的“共同利益”,2012 年都灵里沃利城堡的“时间裂缝”。佩斯画廊自从2003 年开始代理鲁芙娜。
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Press Release

  • Michal Rovner: Evolution

    Pace Gallery is pleased to present its first solo exhibition in Palo Alto dedicated to the work of pioneering artist Michal Rovner. On view at 229 Hamilton Ave. from March 9 through April 15, 2018 with an opening reception for the artist on Thursday, March 8, from 4 - 7 p.m., Evolution features videos and prints that mark a return to Rovner’s unique, abstracted language. The exhibition also follows Pace Gallery’s presentation at Photofairs 2018, featuring Rovner’s video and photography work.

    Rovner’s last exhibition at Pace in New York in 2016, Night, featured images of jackals from encounters in dark fields. Her encounters with darkness generate nocturnal images, capturing moments that are immersed in shadows. The works reverberate an unfamiliar dimension, a sense of fear and alertness, primal powers and the night within us. A central part of Evolution is a powerful video work Nilus (2018)—a nocturnal silhouette of a jackal, stretched across two screens, as across two pages of a book, whose space is filled with dense lines of miniature human figures. The unique nocturnal light, something in the shape of the vigilant animal, possibly exposed to danger, the glimmer of its hollow eyes in which human figures appear occasionally to be reflected – all of these elements along with the dense lines of the flickering “text,” create a disturbing feeling that something is amiss, perhaps the creature is artificial, maybe a cloned jackal, maybe a hybrid. Duality and duplication recur across several aspects of this work, and are especially prominent in the double movement: the sporadic movement of the jackal, and the repetitive movement of the human figures, which appear to be marking themselves, or signaling, or calling out for help.

    In her return to her language of abstraction, which consists of duplicated patterns of human movements, Rovner has intensified this language. The human figures have lost basic contours, to the point that their humanity is sometimes hard to identify; gone are the landscapes in which the figures move; the movement itself, which apparently repeats itself, has become more wild; the lines, structures and patterns change more rapidly; florescent-like red flashes appear, that call to mind the emergency, danger and alarm lights that permeate our world.

    Across the works in the exhibition, Rovner presents us with the evolution of these hieroglyphic-like, narrative-less “texts.” At first they are much more representative, clearer, relatively stable; then they become more rapid, fleeting, hard to grasp, ambiguous, alluding to the intensity and communication overload of a reality that allows us to see everything, from the electronic innards of a computer to brain synapses, a reality of barcodes, control panels, matrix charts, microchips, and the like. While the lines of text still invariably feature human figures, human signs and gestures; reading them is becoming harder and harder. In the end, only the writing remains, as a signifier without the signified, striving to be seen, to sparkle, flash, stand out, as if the ultimate representation of human consciousness is signaling for help.

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