31/08/2012 12:01Ori Gersht: a camera capturing deceptiveness and dualities - Arts - The Boston Globe

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PHOTOGRAPHY REVIEW

Ori Gersht: a camera capturingdeceptiveness and dualitiesBy Mark Feeney | GLOBE STAFF AUGUST 30, 2012

MUSEUM OF FINE ARTS

“Pomegranate,” part of the “History Repeating” show, is a short film by Ori Gersht that doesn’tlook like it’s a film until a bullet passes through the title fruit.

CONTINUE READING BELOW ▼

All art is trickery. Ori Gersht likes making it

explicit. His “Pomegranate,” for example, is a

high-definition film lasting slightly under

four minutes. Initially, it doesn’t look like a

film at all. That deceptiveness is just one of

the qualities it shares with many of the 24

other works that make up “Ori Gersht:

History Repeating.” Seventeen are

photographs, the rest are moving images.

The show runs at the Museum of Fine Arts

through Jan. 6.

Against a lustrous black background, a

melon and cucumber rest on a flat surface,

Larger map / directions→

ORI$GERSHT:$HistoryRepeatingMuseum of Fine Arts, 465 Huntington

Ave., Boston MA 617-267-9300.

Arts

31/08/2012 12:01Ori Gersht: a camera capturing deceptiveness and dualities - Arts - The Boston Globe

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MUSEUM OF FINE ARTS

The photograph “Dead Dog” shows acarcass in the foreground of alandscape green with life.

and a cabbage and a pomegranate each hang

from a string. All are motionless. It looks like

an Old Master still life. In fact, Gersht, an

Israeli-born photographer in his mid-40s

who now works in London, exactingly

modeled it on an early-17th-century Spanish

painting.

There’s a slight difference in subject, though. The painting shows a quince instead of

the title fruit. Why the switch? It’s a clue for what’s about to happen — or at least it

is for those who speak Hebrew. In that language, the word for pomegranate is the

same as that for grenade. Also recall that in Greek mythology the goddess

Persephone’s eating pomegranate seeds is what means that she must live half the

year in the underworld — and the world is infertile for those six months, autumn

and winter.

In slow motion, a bullet passes through the pomegranate. Like a grenade, it

explodes. The sight of the fruit’s destruction is shocking and brutal — and also

stunningly beautiful. The seeds scatter and juice drips, also in slow motion, and the

sight is no less beautiful for the seeds and juice inevitably recalling body parts and

blood. The economist Joseph Schumpeter coined the term “creative destruction” for

how capitalism advances. So much of Gersht’s art evinces what one might call

“destructive creation.”

Still in slow motion, the remains of the

pomegranate swing back and forth, like some

kind of now-defiled pendulum. Gersht exploits

motion — or, rather, the abrupt juxtaposition

of stasis and motion — to very powerful effect.

There’s the rather brilliant conceptual pun on

nature morte, the French term for still life, now

made truly morte: dead. Nor should one

overlook the associations the sight of a bullet

piercing flesh, even if it’s the flesh of a fruit, has

with human violence.

Closing date: Jan. 6

http://www.mfa.org

31/08/2012 12:01Ori Gersht: a camera capturing deceptiveness and dualities - Arts - The Boston Globe

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MUSEUM OF FINE ARTS

The photo “Olive 11” is one of Gersht’sworks with a political bent.

“Pomegranate” is representative of Gersht’s

work. It’s beautiful, unsettling, dense with large meanings, and equally grounded in

the art of the past (“The Old Masters hold the key to everything,” Gersht has said)

and a sense of history. Not all of his works in the show are as successful. A couple of

the longer moving-image pieces seem a bit obvious, tedious, or both. But most of

the show is unusually compelling.

Where “Pomegranate” pivots on a sudden, startling instant, the film “Liquid Assets”

is all gradual change. Out of a gray metallic circle the image of an ancient coin

finally emerges. But before that emergence we see its surface shift and alter as if it

were atop a cauldron. The metal appears molten — or like a cell undergoing meiosis.

There’s also a suggestion of alchemy, and viewers can make whatever inferences

they like about the global financial meltdown and the insubstantiality of money.

How solid are liquid assets?

In “Boatman,” a rower is only vaguely discernible in the misty distance. The image,

extremely handsome in and of itself, conveys a haunting, even death-struck quality.

It’s part of Gersht’s series “Hide and Seek.” Might the man be a means of escape —

or of termination? The most famous boatman of all is Charon. The man could as

likely be means of execution as salvation. Dualities fascinate Gersht, who honors

their power by refusing to favor one or the other.

The dualities can be political. “I have lived all

my life as part of an ethnic conflict,” Gersht has

said. The photographs “Mark 1,” showing

cypresses, which he associates with Israelis,

and “Olive 11,” showing an olive tree, which he

associates with Arabs, acknowledge two

ancient peoples enduring on the same land.

The time-lapse film “Neither Black Nor White”

shows an Arab community in Israel as dusk

gives way to night then dawn. The lights of the

town against the surrounding dark look like

stars, a reminder of how the cosmos dwarfs

conflict -- but then the bright light of dawn

recalls the intense illumination of a detonation,

31/08/2012 12:01Ori Gersht: a camera capturing deceptiveness and dualities - Arts - The Boston Globe

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a reminder of how conflict can obliterate our

view of the cosmos. Even as we see time

constantly change, there is the implicit suggestion that borders (and opinions?) do

not.

Sometimes Gersht’s artistic allusions are explicit. The strange and arresting film

“Falling Bird” takes its cue from a Chardin still life. The photograph “Dead Dog”

shows a lushly verdant landscape that has a canine corpse in the foreground. The

scenery is so attractive one might overlook the presence of death, but the title

insures otherwise. It’s Gersht’s version of the recurring theme in Western art of the

memento mori, a reminder of death even in the most arcadian settings: “Et in

Arcadia ego.”

It’s not just Old Masters who’ve influenced Gersht. A few pictures here look like

photographic kin to Gerhard Richter’s “blur” paintings. “Imperial Memories:

Floating Petals, Black Water,” a color photograph, is like a becomingly subdued

Jackson Pollock canvas.

Throughout the show there is a sense of affinity with Anselm Kiefer — an altogether

different artist in so many ways, but similar in brooding immanence, attraction to

scale, great ambition, and great determination to engage with great historical events

and issues. How great? Gersht calls one of his films “Big Bang.” Beginning in

blackness, it suggests the creation of the universe. Blowing up a vase of flowers, it

then suggests the destruction of nature — and the destructiveness of man, as

keening sirens recall aerial bombardment. (Several of the films have accompanying

soundtracks. Some are very effective, as with “Big Bang.” Others seem superfluous

or instances of overkill.)

Like Kiefer, Gersht can overreach. The composite photograph “Far Off Mountains

and Rivers” shows the trail the great critic Walter Benjamin hoped would take him

from France to Spain, in 1940, as he fled the Nazis. Unable to cross the border, he

committed suicide. (Benjamin’s attempted escape also inspires a film in the show,

“Evaders.”) Gersht places in the foreground a small valise (even more easily

overlooked than the body in “Dead Dog”), an homage to the bag Benjamin is said to

have carried with his manuscripts. The effect, however well intended, is vulgar, even

cheap. That the image looks so much like a Caspar David Friedrich painting — with

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© 2012 THE NEW YORK TIMES COMPANY

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the attendant weight of German Romanticism — conveys so much more both

intellectually and emotionally than that nicely placed prop.

Retiring and modest Gersht’s art is not. Yet he displays a becoming personal

modesty. He shares his show with several works that he’s selected by artists he

admires or who have influenced him. They include Van Gogh, Frederic Edwin

Church, Martin Johnson Heade, and Josef Sudek. No creative personality is without

a considerable ego. That would be like a weight lifter minus muscles. Gersht is the

rare artist who visibly puts his ego at the service of themes and concerns larger than

his own art.

Try BostonGlobe.com today and get two weeks FREE.

Mark Feeney can be reached at mfeeney@globe.com.

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9/4/12 Ori Gersht: History Repeating / Museum of Fine Arts :: EDGE Boston

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29/10/2012 09:14Gallery Review | History repeats itself in provocative MFA exhibit - Tufts Daily - Tufts University

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Gallery Review | History repeatsitself in provocative MFA exhibit‘Ori Gersht: History Repeating’ sends clear messageBy Joyce Harduvel

Published: Friday, October 26, 2012Updated: Friday, October 26, 2012 01:10

Modern art can sometimes seem disconnected from its rich history, but this isnot the case with the exhibit “Ori Gersht: History Repeating” at the Museum ofFine Arts, Boston (MFA). In Ori Gersht’s first museum survey show, Gershtseeks to remember violence and blend past and present in pieces that are atonce alluring and horrifying. The exhibit’s form is also complete with the worksthat inspired Gersht: they are displayed alongside his own pieces, bothcomplementing and mirroring the painterly quality of his high−definition videos.

Gersht’s art depicts his life growing up in Israel, what it was like for him to livethrough four wars and how these experiences have shaped his identity. Whilemany of the exhibit’s 25 photographs and films explore the Holocaust andIsraeli wars, Gersht also examines brutality more broadly in other violent actsthroughout history.

Gersht’s film “Will You Dance With Me?” (2011) uses two screens to tell thestory of Yehudith Arnon, a dancer and former Auschwitz prisoner. The blindingwhite of the barren winter field that Arnon was forced to stand in after refusingto dance for Auschwitz guards is juxtaposed against her frail and wrinkled face;she drowns in the film’s black background. Her movements are slight but

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29/10/2012 09:14Gallery Review | History repeats itself in provocative MFA exhibit - Tufts Daily - Tufts University

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powerfully artistic and her face is a living artifact of both her art and her pain.

The piece is difficult to watch, but it is also fascinating in its daring humanityand extraordinary visual detail. A classical piano and cello piece weaveseffortlessly around a voiceover before fading into a wintery silence in thebackground. These effects subtly heighten the emotional impact of the film.

Gersht’s work focuses on the impact of great tragedy on humans, but hisartistry shines when he highlights nature as a reflection of that human trauma.In several works, such as the 2006 high−definition film “Big Bang,” Gershtexperiments with creating violence and capturing it vividly. The piece playsupon the creation of the universe, but also introduces destruction to the story.

The film starts out black, but a vase full of flowers that looks remarkably like anold still life gradually becomes visible. Slowly, fog begins to swirl out of the vaseand everything is quiet. All at once, sirens sound and the vase explodes in slowmotion to reflect the human response to disaster. Sharp petals assault the darkedges of the screen as the sirens crescendo. Slowly, the film’s chaos fades andthe debris begins to settle. As the remaining petals float to the ground, a singlewhite flower on a feeble stem remains. It stands still through the fog, showinghope even in catastrophe.

Slow motion is the most effective tool employed by Gersht in “Big Bang,” as itallows the viewer to see destruction in a level of detail usually renderedimpossible by time. The soundtrack, which utilizes the different types of sirensGersht heard in his childhood, is theoretically powerful, but it is difficult to heardue to the piece’s other sound effects.

Recalling a more specific historical violence, the 2011 inkjet print “HiroshimaSleepless Nights: Never Again 01” connects the Hiroshima and Nagasakibombings to Gersht’s visual discussion of the Holocaust to emphasize thecontinuity of violence.

The print, which features a frail cherry tree in front of a white sky, is split into

29/10/2012 09:14Gallery Review | History repeats itself in provocative MFA exhibit - Tufts Daily - Tufts University

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two frames. The branches from one picture do not line up with the branches ofthe other, imitating the fracturing of a society damaged by great violence.

Like most of the pieces in Gersht’s collection, the photo explores theconnections between violence and beauty, destruction and renewal. The lightcolors and predominance of light send a message of hope and peace to theviewer. The print’s label, however, likens it to bright light from a bomb.

This instance of subtlety — along with many others similar instances throughoutthe exhibit — will undoubtedly go over the heads of most viewers. AlthoughGersht’s images have a universal appeal in their ability to make brutal imagesand violent historical references beautiful, they can communicate much more toa person who has experienced the kind of trauma that he has. Much of Gersht’saudience won’t connect to the foreboding violence of his pieces, but the powerof his juxtaposition of seduction and cruelty is reason enough to visit the exhibit.

“Ori Gersht: History Repeating” will run through Jan. 6, 2013.

28/08/2012 12:28Museum of Fine Arts, Boston presents first survey of Ori Gersht's career

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Museum of Fine Arts, Boston presents first survey of Ori Gersht's career

28/08/2012 12:28Museum of Fine Arts, Boston presents first survey of Ori Gersht's career

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Ori Gersht (Israeli, born in 1967), Far Off Mountains and Rivers, 2009. Lightjet Print. Robert and Alicia Wykoff. Ori Gersht ©Courtesy Museum of Fine Arts, Boston.

BOSTON, MASS.- Painterly photographs and evocative films that push boundaries with the latest technologies will be the focus of the Museum of FineArts, Boston, exhibition, Ori Gersht: History Repeating, the first comprehensive survey of Ori Gersht’s career. The innovative artist (b. 1967) is known forseductive and surprising works that forge a connection between past and present—drawing upon the history of art and politics, as well as his memories ofchildhood in conflict-ridden Israel. More than 30 works will be featured in the exhibition, on view from August 28, 2012, through January 6, 2013 in theHenry and Lois Foster Gallery. Among the 25 works by Gersht will be 17 photographs and eight moving-image pieces made by the London-based artistsince 1998, including a new film that responds to a work of art from the MFA’s classical holdings. Additionally, Gersht has selected six works from across

the MFA’s encyclopedic collection to punctuate the exhibition.

“We are particularly proud to present the first survey of works by Ori Gersht—his largest exhibitionto date—at this moment of tremendous growth in his career,” said Malcolm Rogers, Ann andGraham Gund Director of the Museum. “His inspired films and photographs bring history to lifeand affirm that the art of our time has a prominent place in the context of our encyclopediccollection.”

The exhibition showcases all of Gersht’s distinctive art historical films presented on framed LCDscreens. At first glance, they look like paintings based on European old-master still lifes, but theythen subtly begin to move, revealing themselves to be animated and accompanied by sound. Bywedding new technology to historic masterpieces, he establishes a tension between creation anddestruction, capturing the intersection of beauty and violence while exploring the passage of time.In Big Bang (2006)—lent by longtime MFA Overseer (now Trustee-elect) Lizbeth Krupp and herhusband, George Krupp, who are Distinguished Benefactors of the Museum— Gersht references18th-century Dutch artist Jan van Huysum’s painting Hollyhocks and Other Flowers in a Vase

(1702–20, National Gallery, London). Gersht’s work looks like the original until a faint mist and the strident sounds of a siren arise, revealing it to be a filmin which flowers explode, sending petals dancing through the air. (To preview exhibition and see a clip of Big Bang, please visithttp://www.mfa.org/exhibitions/ori-gersht.)

In Pomegranate (2006, The Jewish Museum), Gersht pays homage to both Juan Sánchez Cotán’s painting Still Life with Quince, Cabbage, Melon andCucumber (1602, The San Diego Museum of Art)—a composition ingeniously arranged and hung in an arc within the confines of a blackened window—and Harold “Doc” Edgerton’s photograph of a bullet speeding through an apple, .30 Bullet Piercing An Apple (1964, MFA). In Gersht’s moving-imagerecreation, the static scene of a ruby-red pomegranate suspended on a string is disturbed by the impact of a golden bullet that splits the fruit in two, itsflesh-like, bloody pulp flying in all directions. (In Hebrew, the word for “pomegranate” is the same as “grenade.”) Similarly, Gersht’s 8-by-6-foot photographBlow Up: Untitled 5 (2007, Anonymous Collection) is reminiscent of a floral arrangement in the Henri Fantin-Latour painting The Rosy Wealth of June(1886, National Gallery, London). Frozen with liquid nitrogen, the staged flowers were photographed while being dynamited for a shattering effect. In theseworks, time is altered as fleeting, normally imperceptible moments of destruction are slowed down or frozen by the camera so they can be observed by thenaked eye.

The perception of the passage of time is also explored in Falling Bird (2008, Collection of 21c Museum and Laura Lee Brown and Steve Wilson), inspiredby Jean-Baptiste Siméon Chardin’s A Mallard Duck Hanging on a Wall with a Seville Orange (1720–30). The stillness of a dead pheasant is the focal pointof what initially appears to be a painting. The dark background and careful arrangement of fruit add to the illusion until the rope holding the bird by its feetis cut and the pheasant slowly descends into the mirror-like water below—meeting its reflection beak to beak, then gracefully splashing into the dark liquid.

Beauty amidst destruction and the unveiling of hidden truths are at the core of works by Gersht that look at the personal toll World War II took onhumanity. These also show the artist’s progression from single channel (screen) to dual-channel (two screens) films, which will be on view in individualprojection rooms in the gallery. Gersht’s first projected film, The Forest (2005, Yale Center for British Art), brings to light the horrors that took place inKosov, Poland (present-day Kosiv in the Ukraine), where more than 2,000 Jews were murdered in 1940 and buried in a mass grave. Gersht’s father-in-law

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28/08/2012 12:28Museum of Fine Arts, Boston presents first survey of Ori Gersht's career

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Kosov, Poland (present-day Kosiv in the Ukraine), where more than 2,000 Jews were murdered in 1940 and buried in a mass grave. Gersht’s father-in-lawand some of his family members were able to escape; the memory of the event lingers even though the landscape today offers no sign of the tragedy thatunfolded there. Using poetic imagery, Gersht filmed the tranquility of a forest interrupted by the noise of noble trees falling down for no apparent reason,reminiscent of the atrocities that occurred in the very same place 70 years prior. World War II experiences also inform his photograph Green Swamp(2008, Courtesy of Angles Gallery, CRG Gallery, Mummery + Schnelle, and Noga Gallery), which will be shown for the first time in the exhibition. Theimage is from his photographic series Hide and Seek, in which the artist depicts the swamps and marshes on the border of Poland and Belarus wherepartisans hid during the war, but which have never been delineated on maps. The series examines Gersht’s quest for truth, especially photographic truth,

and explores how the significance of certain places can be lost to time.

Gersht’s first dual-channel film, Evaders (2009, Pizzuti Collection), reimagines the final hours of Walter Benjamin, the famed German-Jewish intellectual,by tracing his footsteps along the dangerous Lister Route across the Pyrenees and illustrating his desperate attempt to escape from Nazi-occupiedFrance. To make the film, Gersht and his crew trekked along the route while filming a traveler battling against severe natural elements. ComplementingEvaders is Gersht’s monumental photograph Far Off Mountains and Rivers (2009), a violet-hued landscape. It serves as a reminder of Germanromanticism and the cultural burden that was carried along the route by many of the refugees attempting to escape from the Nazi regime. On viewadjacent to the photograph is the MFA’s painting Icebergs (1863) by Frederic Edwin Church, in which luminously colored, sharply protruding mounds ofice evoke the romantic spirit and the craggy Lister Route in Gersht’s Evaders series.

Continuing in the dual-channel format, Gersht created Will You Dance For Me in 2011 (Pizzuti Collection) to tell the story of Yehudith Arnon, a Czech-bornformer director of the Kibbutzim Dance Company, one of the most celebrated modern companies in Israel. As a 19-year-old in 1944, Arnon wasimprisoned at Auschwitz where, after she was seen performing acrobatics for other prisoners, SS guards demanded that she dance at their Christmasparty. When Arnon refused, she was forced to stand in the snow as punishment, an event that forged a commitment to dance if she could survive. WillYou Dance For Me focuses on the now elderly and physically frail Arnon, dancing expressively one more time in a rocking chair, gently moving back andforth, in and out of the light, as she turns her head from side to side with artistic intent and determination, still ever the dancer. In the voiceover in Hebrew,Arnon recalls the pivotal moment when “for the first time in my life, I was able to say no.” She is seen to the left in the film, while to the right, images offalling snow on a barren field fill the screen. Accompanying this work of living history is a score for piano and cello specifically composed by Ellyott BenEzer for Will You Dance For Me.

Gersht’s historical journeys navigate between Europe and the Middle East, reinforcing the repetitious nature of conflict in history. In his photographs OliveII (2004) and Mark I (2005), the artist explored the relationships between trees, historic memories, and territorial claims. The olive tree, which appears inboth the Quran and the Old Testament, can be found on Arab plantations in the Galilee region, where it has survived through centuries of wars. In turn,the cypresses Gersht has photographed throughout Israel symbolize endurance and are used to commemorate fallen soldiers. The theme of beauty foundin dangerous places is further examined in Gersht’s video Neither Black Nor White (2001), which addresses the cultural divide in the region, as well as inthe photographs White Light Red City and White Light Red City I, taken from the vantage of a mountainside in the environs of Nazareth, from which a cityis seen in the distance, aglow in red and seemingly on fire from a bombing or natural disaster.

While revisiting historical events both in his homeland and by traveling farther afield, Gersht investigates the relationships between destruction andcreation, such as the bombing of Hiroshima during WWII and its resonance today, the threat of nuclear confrontation still palpable. Two photographicworks, Hiroshima Sleepless Nights: Never Again 2 (2011, Private Collection), taken in Hiroshima, and Imperial Memories: Floating Petals, Black Water(2011, Courtesy of Angles Gallery, CRG Gallery, Mummery + Schnelle, and Noga Gallery), shot in Tokyo, offer different takes on the military associationsof the cherry blossom, which functions simultaneously as a symbol of death and rebirth in Japanese culture. (During World War II, the ephemeral nature ofthe cherry petals was associated with the premature death of the Kamikaze pilots.) Complementing these images is the MFA’s woodcut, Hirosaki Castle(Hirosaki jô) (Shôwa era, 1935) by Yoshida Hiroshi, one of the six works chosen by Gersht from the Museum’s wide-ranging collection. In addition to thispiece and Icebergs (1863) by Frederic Edwin Church, the other MFA works in the show are Battle of the Nudes (1470–98) by Antonio Pallaiuolo,Hummingbirds with Nest (1863) by Martin Johnson Heade, Landscape with Bog Trunks (1883) by Vincent van Gogh, and Portrait of the Painter VaclavSivko (1955) by Josef Sudek.

For his new film specifically made for the exhibition and presented on a framed LCD screen, Gersht was given unprecedented access to the Museum’sworld-class collection. He responded to an ancient Greek coin in the MFA’s collection: a tetradrachm decorated with the portrait of King Euthydemos II ofBaktria (about 190–171 BC). In the resulting work Liquid Assets (2012), an object that appears to be an untamed organic shape slowly transforms into theportrait of King Euthydemos II, similar to the one found on the coin.

“This struggle between nature and culture—between the human hand that created the object and the natural mineral of which it is made—is fierce and

continuous. Like the image of Christ on the shroud of Turin, the face refuses to fade away. As the liquid turns to solid metal, ripples and waves form therhythmic patterns,” said Gersht. “I associate the transition with the medieval effort to alchemically transform base metals into noble ones such as silver andgold. But since coins have been the most universal embodiment of currency, and have hardly changed for over two and a half thousand years, I alsoidentify this ancient coin with the beginnings of the economic system, when cash was exchanged for commodities. Today we are at the end of this era, ascoins become nearly obsolete and transactions almost entire abstract.”

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