DITTRICH & Schlechtriem Gallery (Linienstraße 23, 10178 Berlin, Germany)
July 7 – September 1, 2018
DITTRICH & SCHLECHTRIEM is pleased to present ONLY THROUGH TIME TIME IS CONQUERED, a group show including a selection of contemporary Israeli artists. The exhibition features paintings by Elad Kopler, Fatma Shanan and Lihi Turjeman, photo-based works of David Adika and Ivri Lider, as well as sculptural work by Eitan Ben-Moshe, with larger-scale installations on view from Gal Weinstein and Eran Nave. All artists will be present at the exhibition opening.
ONLY THROUGH TIME TIME IS CONQUERED is largely inspired by gallerist André Schlechtriem’s recent travels in Israel and love of Tel Aviv. The exhibition reflects a personal quest for meaning, self-definition, and moments of grace by an intermediate generation of artists working in a conflicted and complex country. This is the first presentation of the selected artists in Berlin.
Maya Anner discusses in her exhibition text, “It seems as if the selection of the works was led by an almost intuitive sense of an element that exists in all the works in the exhibition, in one form or another.The exhibition’s title, a quote from T.S. Eliot’s poem Burnt Norton, can offer us some insight into this element, as well as shed light on the common thread linking the works: an examination of time, a preoccupation with the past and passing time, and a search for meaning.”
Complimenting Anner in his contributed exhibition text On The Impossibility Of Understanding IsraelAnd The Possibilities Of Art, Middle East Reporter and Journalist, Thore Schröder highlights that the artists featured in the show share a common perspective with all Israelis, by stating that “in this fantastic, problematic, and bewildering country, much of life, with its moments of profound pain and great happiness, is still private.”
The complete exhibition texts and artworks are published in the catalog for ONLY THROUGH TIME TIME IS CONQUERED and available at the gallery.
The painter Fatma Shanan is known for her paintings of carpets, which started as hyper-realistic paintings and over the years evolved into fields of color pixels. In the earlier paintings Shanan used the carpet as a signifier of the Druze culture from which she comes, removing it from its natural place in a gesture of defiance, and placing it outdoors in different surroundings, and at times in the presence of women and girls. In her new paintings Shanan raises questions about place and our relation to the place and ourselves, pushing the boundaries of identity and the boundaries of the body in space.
