1st Exhibition in the 15th Nidbach Series<\/p>\n
Shimon Weitzman utilizes common everyday objects, taken from public garbage bins or else common web images to build an installation-machine, which despite its name (Latin for \u201cEternal Motion\u201d) does not produce a thing. At the most, it contains the memory of motion. Regardless of the seemingly inferior quality of the materials and objects used, Shimon Weitzman succeeds in creating a \u201cpoetics of readymades,\u201d the semantics of which are based on remembrance. Beginning with Fritz Lang\u2019s mythological Metropolis, and the \u201cUnderworld\u201d that was it\u2019s activating power despite it\u2019s rusty components, and finishing with E.T.A Hoffmann\u2019s Olympia \u2013 who was created as an ultimate object of desire and turned out no more than a mechanical puppet of a vicious inventor, in her present reincarnation she appears as a show window doll, with a sewage drainage grill screwed into her rather than a feminine breast. The viewer drains through this grill to Marcel Duchamp, who brought the readymade to the world and to art with a urinal transformed into a fountain, a womb or the Madonna. Another important component of his work is the gaze \u2013 which is related to the economics of the male-female glance, to the gaze as source of power and pornographic voyeurism. Pure aesthetic pleasure is a non pragmatic; it comes from the image alone, when the functional purpose of an object is totally removed. This is the aesthetic imperative, and the essence of the readymade.<\/p>\n
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