Gal Weinstein, Solar

Gal Weinstein, Marble Sun, 2014, marble and other stones, 500 cm diameter, Courtesy galleria Riccardo Crespi and the artist Gal Weinstein, Marble Sun, 2014, marble and other stones, 500 cm diameter, Courtesy galleria Riccardo Crespi and the artist

Preview 20th March 2014 - h. 6.30 pm
21st March - 15th May 2014

Riccardo Crespi gallery presents Solar, a solo exhibition showcasing new work by the Israeli artist Gal Weinstein.

Gal Weinstein’s works can be distinguished by the use of diverse techniques (painting, installation, video) and different materials: from steel wool to MDF, rust to marble, carpets and bleach. The everyday materials used in the works contrast with the significance of the themes and the images selected.

In this exhibition Weinstein plays on the ambiguity of natural phenomena both physical and metaphorical – that moves from the macro at first glance to the micro when looked at in depth.

The main work, settled in the lower space of the gallery, is a large installation, Marble Sun, inspired by Nahalal, a Moshav, the first collective farming settlement, established in 1921 and designed by Richard Kauffmann, as an image sculpted in the Israeli collective memory. Moving from the symbol of the sun's rays, that are also an essence of the original design, Weinstein recreates the plan of the village with a floor installation composed of over 400 marble pieces and other kinds of stones – materials that are associated with the cold and tombstones.

Mars is known as “The Reddened Planet”. This fact became part of the reason to draw an image of Mars in steel wool - in order to be able to redden it, by rusting it.

The Sun is a star and Mars is a planet in the Solar System: here, one is realized with stone and the other in rust.

In the painting Lighthouse, made of steel wool and wool, Weinstein depicts a giant column of smoke in the sea, a signal for help and of human presence in a desolate place, as a metaphor of the loss of reference points. While in the series Twister the artist’s interest is in the difference between the didactic presentation of the phenomena and the phenomena itself, pointing out the gap between knowledge and experience.

The exhibition is completed by the video Bad Spirit in which the artist stages a whirlwind in his studio with the obvious help of an electric screwdriver: the resulting image appears as both destructive and romantic, while calling attention to the manipulation involved in its creation rather than to the frightening effect of the real phenomenon.