The work of Nerelle Jubelin marks the journeys that objects make through the world and the history that accrues to them. Her practice acknowledges that any notion of modernism has been freught with dislocations, constantly changing and reinterpreting how the work comes to be recieved in one place or another.<\/p>\n
About the exhibition<\/p>\n
THE EXHIBITION
\nShumakom might be seen as an exhibition-in-progress or a sketch towards
\nan exhibition.<\/p>\n
It is the result of a dialogue between the artist, Narelle Jubelin, and myself as curator, concerning how an exhibition might be made today,
\nspecific to the Artists\u2019 House space. This is more challenging because the artist has addressed the space without visiting it. Instead she
\nchooses work with materials sent to her, and developed in parallel to the project. Her absence must not be seen as a lack of commitment to
\nthe project. On the contrary, the project is an open space for her which allows her engagement to continue throughout the duration of the
\nshow.<\/p>\n
THE INSTALLATION<\/p>\n
The installation works consciously with the spaces of the building. It uses only the natural light that is available from the windows and
\nskylights.<\/p>\n
It consists of four distinct elements:<\/p>\n
1. The Shelf. It is a simple system which will allow new works to be placed in the exhibition as they arrive. The first shelf is designed to
\nrun continuously throughout all but one of the rooms on the exhibition floor. It articulates the flow of the space. The second shelf stops
\nthat flow, being both a method of display and a physical barrier to entering the last room.<\/p>\n
The shelves are placed at a height of 140 cm \u2013 the height of Narelle\u2019s shoulder.<\/p>\n
2. The Texts. These texts have been \u2013 and continue to be \u2013 written by myself to Narelle. I send her my observations and research in relation
\nto our dialogues. She \u2018edits\u2019 these by reinscribing them, in whole or part, onto gesso boards with silver point. There are many voices in the
\ntexts, and it is often unclear who is speaking, myself, the artist or others still.<\/p>\n
Some of these texts are simply references to absent objects. (These are signaled by thicker, box-like boards.) The reference which is first
\nvisible is to a mirror, designed by Eileen Gray for her E-1027 house in the South of France, in 1926-9. As an integral element in Gray\u2019s
\ndesign, the mirror functions as a reminder of the house which underwent a series of \u2018colonisations\u2019 after it was built \u2013 most notably by Le
\nCorbusier who, in several ways, sought to claim the space as his own.<\/p>\n
It is, perhaps, no accident that the convex shapes of the mirror are reflected in the \u2018kipa\u2019 of the skylight.<\/p>\n
Other \u2018themes\u2019 include notions of blindness as a metaphor for making art at this distance.<\/p>\n
Also, there are descriptions of walking \u2013 both in the space and outside of it. Walking is a way of marking one\u2019s presence in a place. Perhaps
\nwalking the streets ofJerusalem today might in itself be a political act.<\/p>\n
Importantly, there is room for ideas to develop between Narelle and myself as the show proceeds.<\/p>\n
3. The Frames. Seven frames are positioned along the shelving. They will be filled with needlework renderings of Gray\u2019s mirror, taken from
\nan archival photograph. This technique is typical of Narelle\u2019s practice. Like the handwritten boards, it is a way of invoking objects,
\ntemporarily claiming them for her own discourse.<\/p>\n
Because of the nature of the show, the needlework pieces will arrive one by one and will be placed in the silverframes. Although most will
\naddress the same image, Narelle will be unable to compare them, since they will only come together in the space. There is one needlework
\npiece that was made prior to the show, of the Blind General. It works like a full stop in the syntax of the show. It\u2019s an object that
\nspeaks of the artist\u2019s blindness when working from a distance. It is also reflects a common strategy for Narelle to connect a new body of
\nwork with her ongoing concerns.<\/p>\n
4. The Mirrors. These are not, of course, Gray\u2019s mirror, but perhaps refer to it. They are the same dimensions as the gesso boards. They
\nmight be seen as both \u2018blank\u2019 boards, and as a way of articulating the space through the corners, where one plane meets another.<\/p>\n","protected":false},"featured_media":9752,"template":"","categories":[204],"artists":[992],"exhibition":[993],"curator":[994],"years":[452],"class_list":["post-1917","exhibitions","type-exhibitions","status-publish","has-post-thumbnail","hentry","category-solo-exhibitions","artists-nerelle-jublin","exhibition-shumakom","curator-dr-andrew-renton","years-2002-en"],"_links":{"self":[{"href":"https:\/\/art.org.il\/en\/wp-json\/wp\/v2\/exhibitions\/1917","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/art.org.il\/en\/wp-json\/wp\/v2\/exhibitions"}],"about":[{"href":"https:\/\/art.org.il\/en\/wp-json\/wp\/v2\/types\/exhibitions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/art.org.il\/en\/wp-json\/wp\/v2\/media\/9752"}],"wp:attachment":[{"href":"https:\/\/art.org.il\/en\/wp-json\/wp\/v2\/media?parent=1917"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/art.org.il\/en\/wp-json\/wp\/v2\/categories?post=1917"},{"taxonomy":"artists","embeddable":true,"href":"https:\/\/art.org.il\/en\/wp-json\/wp\/v2\/artists?post=1917"},{"taxonomy":"exhibition","embeddable":true,"href":"https:\/\/art.org.il\/en\/wp-json\/wp\/v2\/exhibition?post=1917"},{"taxonomy":"curator","embeddable":true,"href":"https:\/\/art.org.il\/en\/wp-json\/wp\/v2\/curator?post=1917"},{"taxonomy":"years","embeddable":true,"href":"https:\/\/art.org.il\/en\/wp-json\/wp\/v2\/years?post=1917"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}