Hand MovementsMarianne Berenhaut & Ariel Schlesinger
Dvir Gallery is delighted to announce a duo show by Marianne Berenhaut and Ariel Schlesinger, ‘Hand Movements’.
The exhibition will feature a historic piece by Marianne Berenhaut, ‘En Rang’ from the series ‘Vie Privée’ alongside a new series of works by Ariel Schlesinger, 'Untitled'.
Marianne Berenhaut, 'En Rang'
The objects collected by Marianne Berenhaut are staged and linked in installations designated under the general title ‘Vie Privée’ (Private Life). They then become actors of imaginary situations and stories that each spectator can recompose. Between humor and tragedy, these works are all linked by recurring themes, linked to the personal story of Marianne Berenhaut who lost her parents and her older brother in the Nazi extermination camps as a child. Her installations evoke childhood, vain expectation and absence. A clear example is ‘En rang’ composed of smashed typewriters that shape a chaotic procession which suggests abandonment. The memory whispers and highlights a decomposed past that generates various interpretations.
Deprived of life
Objects deprived of their owner.
Lost. abandoned. things you pick up, or buy in the foolish (foolish, really?) hope of keeping them alive.
Not that you have any desire for eternity, simply that life is about the usefulness of the moment.
Strangely enough, these objects even after being assembeled, which you belive create a new destiny for them, keep looking exactly the same.
It's obvious that these little chairs were made to be lined up to hold little pink butts.
This onesie was sewn to be spread on this carpet made for this purpose and that nothing else could happen to these objects but to be put exactly where you put them,.
What was the purpose of these blue fabrics if not to streak the space to give the illusion of the movement of the sky in a room deprived of a horizon?
Life, private, of life, the absence is obvious.
Has the man who left his raincoat there disappeared? The yellow has taken up the space;
quitting work or an accident, he will not
All that is left of the bouncy little buttocks is pink.
It is yellowed, crumpled for a long time.
The mirror is broken and the second shoe will not be worn by anyone. It will stay there ready.
No hand will ever again grab the handle of this aluminium
clean and shiny suitcase, only your hand can move it.
From your studio to the exhibition, the hand always faithful
to the ones who are absent.
Fierce joy counters fate with the evidence of life.
For those who do not have, unlike like you, the energy to be, there are only
Ariel SchlesingerUntitled, 2021
THE CLOCK : A SYSTEM THAT, REGULATING HOW AND WHERE HUMANS SPEND THEIR TIME, IS A CENTRAL TOOL IN THE COMMODIFICATION OF TIME. THE EMERGENCE OF CLOCKS WAS INSTRUMENTAL IN ORGANIZING THE REALM OF INDUSTRIALIZED LABOR, WHERE TIME IS EXCHANGED FOR MONEY, PUNCTUATING THE INTERCHANGE OF WORK AND PAUSE, OF TIME OFF AND LEISURE IN WESTERN AND WESTERN-COLONIZED SOCIETIES.
Ariel SchlesingerUntitled, 2021
But clocks were not the cause of origin in time’s commodification, since societies have always grappled with the passage of time in a multitude of ways. These other possible ways of grappling with time are at focus for Ariel Schlesinger in his current show. An artist who throughout his practice has been disrupting the commonplace functionality of objects in the intersection of industrial and manual production processes. In ‘Untitled’ 2021 Schlesinger takes the clock as a starting point from which to conceive of being-in-the-world – through a dance that involves two.
Ariel Schlesinger, 'Untitled', 2021Untitled, 2021