Mamadnessby Danielle Gorodenzik | 01.04.18
Stepping into Roy Menachem Markovich’s solo exhibition Mamadness, a bucket hangs on a freestanding doorway and small sculptures are waiting as if they are about to perform. Ready for their viewers, the locally found objects resemble historic Israeli monuments, coined by the artist as “miniments”. Charged with Israeli cultural references from literature, films, and customs, the paperweight “miniments” are placed in between fragments of furniture and industrial objects creating a facade.
All facing in the same direction, the “miniments” observe the video work Viewing, which gives a glitched glimpse into glamorous Tel Aviv apartments. The Tel Avivian artist manipulates real estate websites and shows the digital flaws of the luxe life. Nodding to the exhibition name Mamadness the Hebrew term “mamad” relates to a position of status in social hierarchy and class. The Hebrew acronym “MAMAD” is a safe room in residential buildings protecting tenants from war weapons, which is amusingly represented at the end of the exhibition.
Known to create work that is playful between reality and imagination Markovich’s video work Suddenly is a satire of the moment in which tenants run to the MAMAD after hearing a Red Alert. Inspired by the well-known sequence “The Odessa Steps” from Sergei Eisenstein’s 1925 film “Battleship Potemkin”, Markovich recreates the scene where civilians are being attacked by Tsar soldiers at the entrance of Odessa but in a stereotypical Israeli apartment stairwell. The video work plays with montage and close-up shots of the tenants while they are racing to the basement shelter faced with obstacles: lost glasses, falling pianos, and unattended baby carriages rolling uncontrollably.
The exhibition is as poetic as the sculpture manifesto that accompanies it. Roy Menachem Markovich’s humorous exhibition will be on view at Raw Art Gallery until April 28, 2018.
Photos by RawArt Gallery
RawArt Gallery, Shvil HaMeretz Street 3, Building 8, 4th Floor