The Shadow of Mountains




Group Exhibition

Co-curated with Yael Meesr 

Beit-Hagefen
September 2019 



Participating artists: 
Farid Abu Shakra, Amit Gonen, Assaf Evron Relli De Vries and Maider Lopez






  
Mountains, ridges, summits, and hills have always held a special place in the history of visual imagery. They stood for the sublime, ideal, wild, or uncultured, but also for the connection between heaven and earth and between the distant and near. In contemporary art, representations of mountains often serve as the springboard for a discussion surrounding the relationship between nature and culture in a reality of global warming and ecological disasters. Mountains and the natural resources in them are a part of the discourse on colonialism, exploitation, and capitalism. As a distinct category of landscape representation, it is hard to conceive of images of mountains today separately from power relations and how their representations express political, economic, and social changes.












The artists featured in the exhibition The Shadow of Mountains join this discourse with a series of works in which images of mountains serve as the starting point for an exploration of the relationship between man and his environment. These artists work with existing landscapes – mountains, ridges, or hills from different geographic regions, carrying out various artistic interventions in them, these interventions wish to rethink the universal aspects that emerge from man-landscape dynamic, touching on questions of time, perspective and form. The exhibition presents also a series of interventions that focus on the connection between the artist and a specific geography.
Beyond their interest in the politics of the mountain and the gamut of human and social associations it holds, the works in the exhibition are also characterized by their search for a distinct visual language. The amalgamation of mediums and various visual languages is found in all the works, serving each artist in a different way. While rooted in reality, this language breaks apart from in search for a poetic syntax, where the imagination plays a central part. The different works try, each in its own way, to touch, confront, hold, or appropriate the lumps of rock that emerge from the ground. With this, they add another tier to a long visual tradition, from their current seat on the lower Carmel.