• Film : Felix Hüffelmann

  • St. Jodokus Church owes part of its charm to the cloister of what was once a former Franciscan monastery. Built...
    St. Jodokus Church owes part of its charm to the cloister of what was once a former Franciscan monastery. Built in 1511, the structure was renovated and remodelled in 2011 according to plans developed by visual artist and professor Norbert Radermacher, among others. Then as now, the cloister serves as both a connecting element that ties the monastery complex together and a place of prayer in its own right. It is a sacred space that can be paced in silence, a place of contemplation.
    Kunst im Kreuzgang (“Art in the Cloister”) is a series of exhibitions and installations by contemporary artists at St. Jodokus Church. Presentations in the cloister and church interior enable a unique perspective on the art shown there, just as fine art facilitates new ways of looking at both the space of the church and the prayer practiced within it. The artists’ works raise questions and inspire, opening an exciting dialogue between art and church, artistic statement and religious expression.
  • Dor Guez's solo exhibition at Kunst im Kreuzgang consists of two bodies of works: The first, Lilies of the Field (2019) is a series of photographs, the second, Foreign Fields (2020), a site-specific piece at the heart of Bielefeld’s St. Jodokus church.

     

    Guez’s site-specific immersive installation consists of a text work in Arabic, on the floor of St. Jodokus church quoting in full length the Book of Ruth. Once members of the local community and visitors enter the church, they are asked to remove their shoes. The installation draws parallels between its thematic elements of hybridity through the protagonist of the story - Ruth the Moabite, a foreigner, fighting to survive and assimilate in a new country. Her process of acclimatization and rooting in a Jewish society resulted in her becoming the mother of the Israeli monarchy.

     

    In Judaism, Ruth's story is read on the Feast of Harvest (Pentecost) since significant occurrences in the book take place in the field at harvest time. Throughout history in the works of many European painters, Ruth is painted in a field, with a pile of harvest next to or atop her head. In both Arabic and Hebrew, to “graze in foreign fields” refers to a person who connects to other cultures or beliefs. Regarding Guez's practice, the borrowed term indicates questions arising from cultural syntheses, acknowledging culture as a never static and never evolving along a single, set route, thus incongruent with the modernist practice of classifying and categorizing.

  • The familiar graphic description of Ruth, with elements from nature, in Bethlehem, directly connects to the perception of the Holy... The familiar graphic description of Ruth, with elements from nature, in Bethlehem, directly connects to the perception of the Holy...

    The familiar graphic description of Ruth, with elements from nature, in Bethlehem, directly connects to the perception of the Holy Land and the descriptions of nature that appear in the artist's photographic work, Lilies of the Field. Mapping connections between historical archives and photography, Guez’s latest photographic series mines the rich historical and mythological dimensions of Jerusalem as a site of religious and political projection. The series of photographs is comprised of luminous prints of pressed floral and plant arrangements the artist discovered in his research of the American Colony archive. 

     

  • Selected by Guez, these plant-based objects are embedded with contradictions implied by a discrete piece of nature – the flower... Selected by Guez, these plant-based objects are embedded with contradictions implied by a discrete piece of nature – the flower...

    Selected by Guez, these plant-based objects are embedded with contradictions implied by a discrete piece of nature – the flower – preserved in resin, frozen like taxidermied game captured by a hunter. Equally contradictory is his use of color which belies the natural conditions of the landscape from which the plants emerged.The artist's process produced two photographic series, both photographic negatives. The first, based on the flowers themselves, simulates a photogram of the flowers on a scale of 1:1, while the second, by converting the yellow to its complementary shade on the color spectrum, simulates large- scale cyanotypes.

  • Both bodies of work in Guez’s solo show are tied with the concept of origin and interpretation through language. Four... Both bodies of work in Guez’s solo show are tied with the concept of origin and interpretation through language. Four...

    Both bodies of work in Guez’s solo show are tied with the concept of origin and interpretation through language. Four languages appear in the works: three Latin languages (English-Italian-French) in “Lilies of the Field”, and one Semitic (Arabic) in the text work. Both installations use language as a medium to address the issue of a gap: a gap between source and translation, between representation and authenticity. 

    • Lilies of the field #1, Jerusalem, Church of the Sepulchre, 2019 archival inkjet print 112 x 145 cm
      Lilies of the field #1, Jerusalem, Church of the Sepulchre, 2019
      archival inkjet print
      112 x 145 cm
      View more details
    • Lilies of the field #3, Betlehem, Christmas Day, 2020 archival inkjet print 54 x 41 cm
      Lilies of the field #3, Betlehem, Christmas Day, 2020
      archival inkjet print
      54 x 41 cm
      View more details
    • Lilies of the field #1, Jerusalem, Mount Olives, 2018 archival inkjet print 112 x 145 cm
      Lilies of the field #1, Jerusalem, Mount Olives, 2018
      archival inkjet print
      112 x 145 cm
      View more details
    • Lilies of the field #1, Bethlehem, Grotto of the Nativity, 2018 archival inkjet print 112 x 145 cm
      Lilies of the field #1, Bethlehem, Grotto of the Nativity, 2018
      archival inkjet print
      112 x 145 cm
      View more details
    • Lilies of the field #1, Jerusalem, Mount Zion, 2018 archival inkjet print 112 x 145 cm
      Lilies of the field #1, Jerusalem, Mount Zion, 2018
      archival inkjet print
      112 x 145 cm
      View more details
    • Lilies of the field #2, Jerusalem, Mount Olives, 2018 archival inkjet print 21.9 x 27.9 cm
      Lilies of the field #2, Jerusalem, Mount Olives, 2018
      archival inkjet print
      21.9 x 27.9 cm
      View more details
    • Lilies of the field #2, Bethlehem, Christmas Day, 2018 archival inkjet print 21.9 x 27.9 cm
      Lilies of the field #2, Bethlehem, Christmas Day, 2018
      archival inkjet print
      21.9 x 27.9 cm
      View more details
    • Lilies of the field #2, Bethlehem, Grotto of the Nativity, 2018 archival inkjet print 21.9 x 27.9 cm
      Lilies of the field #2, Bethlehem, Grotto of the Nativity, 2018
      archival inkjet print
      21.9 x 27.9 cm
      View more details
    • Lilies of the field #2, Jerusalem, Church of the Sepulchre, 2019 archival inkjet print 21.9 x 27.9 cm
      Lilies of the field #2, Jerusalem, Church of the Sepulchre, 2019
      archival inkjet print
      21.9 x 27.9 cm
      View more details
    • Lilies of the field #2, Jerusalem, Mount Zion, 2018 archival inkjet print 21.9 x 27.9 cm
      Lilies of the field #2, Jerusalem, Mount Zion, 2018
      archival inkjet print
      21.9 x 27.9 cm
      View more details
  • Dor Guez produces photography and video installations that explore the relationship between art, narrative, and memory, interrogating personal and official...

    Dor Guez produces photography and video installations that explore the relationship between art, narrative, and memory, interrogating personal and official accounts of the past. His practice raises questions about contemporary art’s role in narrating unwritten histories and re-contextualizing visual and written documents. Dor Guez was born into a Palestinian and Tunisian- Jewish family in Jerusalem, and now lives and works in Jaffa. 

    Dor Guez’s work has been displayed in over thirty solo exhibitions worldwide, including the Man Museum, Nuoro (2018); DEPO, Istanbul (2017); the Museum for Islamic Art, Jerusalem (2017); the Museum of Contemporary Art, Detroit (2016); the Institute of Contemporary Arts, London (2015); the Center for Contemporary Art, Tel Aviv (2015); the Rose Art Museum, Brandeis University, Massachusetts (2013); Artpace, San Antonio (2013); the Mosaic Rooms, Centre for Contemporary Arab Culture & Art, London (2013); the KW Institute for Contemporary Art, Berlin (2010); and Petach Tikva Museum of Art, (2009). He has participated in numerous group exhibitions, including shows at the Buenos Aires Museum of Modern Art (2016); the North Coast Art Triennial, Denmark (2016); Weatherspoon Art Museum, Greensboro, North Carolina (2015); the 17th, 18th, and 19th International Contemporary Art Festival Videobrasil, São Paulo (2011, 2013, 2015); the 8th Berlin Biennale for Contemporary Art (2014); Cleveland Institute of Art (2014); Triennale Museum, Milan (2014); Centre of Contemporary Art, Torun (2014); Tokyo Metropolitan Museum of Photography (2014); Maxxi Museum, Rome (2013); Palais de Tokyo, Paris (2012); the 12th Istanbul Biennial (2011); and the Museum of Modern Art, Ljubljana (2010).