An online group exhibition of female artists to mark International Women’s Day.
Following the tragedy on October 7th, the populace of the State of Israel was gripped by an existential dread of mortality. Primarily, women recount a shift in their emotional state, marked by spontaneous tears and preoccupations with the abductions in Gaza that infiltrate their daily, nocturnal, and intimate moments.
The barbaric acts of violation and soul-crushing mutilation inflicted upon hundreds of women on that fateful day initially seemed relegated to the shadows, perhaps deemed too harrowing to articulate, or out of concern for the sensitivities of grieving families, compounded by the inherent shame and guilt often associated with such atrocities. However, as the days unfolded, it became unequivocally clear that this was a deliberate, anti-Semitic, and unequivocally immoral affront that regresses women’s rights by centuries. Dear sisters – no ideology, no matter how fervently held, can ever justify the desecration of any woman’s body or psyche!
In commemoration of March 8th, International Women’s Day, Corridor Gallery proudly presents “Intimate Detail,” a collective exhibition featuring the works of 12 women artists spanning the realms of painting, sculpture, and photography. While feminism may not always be the foremost thematic pursuit for female artists, the personal inevitably intertwines with the political, revealing a detail of gender difference.
Corridor Contemporary Gallery will donate 15% of the proceeds from the sale of works in this exhibition to the No to violence against Women organization, which works to stop violence against women and children.
Vered Aharonovich explores intricate human relationships, seamlessly merging painting and sculpture to evoke a disquieting resonance. Ruth Bloch delves into themes of family and interpersonal harmony, while Tal Shochat elevates the mundane image of a tree into a symbol layered with meaning in her artistic expressions. “When beholding the artwork,” she shares, “one perceives the aesthetic beauty of a tree, yet behind its façade lies the narrative of its surroundings. It’s inherently political, irrespective of locale. This duality embodies our homeland – the coveted promised land juxtaposed with its inherent impossibilities.”
Liron Kroll employs a photographic dialect of deconstruction and reconstruction, orchestrating meticulously planned compositions from layers and myriad photographic fragments. Ilit Azoulay similarly weaves together strata of images sourced from archival repositories, akin to an archaeological dig. Through rigorous examination, she endeavors to transcend the interpretative lens of identity politics, often dominated by masculine perspectives. Tali Amitai’s photographic portfolio documents renowned libraries and the workspaces of celebrated authors, forging a tangible connection to their literary legacies.
In her work “Offering to the Gods (Nyotaimori)” the Japanese artist KAORUKO creates one of the Japanese practices “Nyotaimori” – a type of entertainment at a banquet in Japan by serving food on a naked woman’s body. This practice was criticized as immoral, disgraceful, inhumane, and the worst example of female discrimination. “Newtaimori” is seen as a symbol of male superiority, in the performance “I would like to change it” she says “to a completely different practice. The practice of adoring women. Women are loving, caring, nurturing and pacifistic by nature. The naked female body lying on a flower bed is a symbol of love… and an idol that he should be worshiped as worshiping the goddess.”
Participating artists: Vered Aharonovich, Tali Amitai-Tabib, Ilit Azoulay, Ruth Bloch, Barbara Cole, Tara Donovan, Tal Frank, KAORUKO, Liron Kroll, Yael Shachar, Tal Shochat and Papaya Spray
