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Esther Shalev-Gerz (born Gilinsky) is a contemporary artist. She lives and works in Paris.
| This article has multiple issues. Please help improve it or discuss these issues on the talk page . (Learn how and when to remove these template messages)
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Esther Shalev-Gerz (born Gilinsky) is a contemporary artist. She lives and works in Paris.
Esther Shalev-Gerz was born in Vilnius, Lithuania in 1948. In 1957, she moved with her family to Jerusalem.
From 1975 to 1979 she studied Fine arts at the Bezalel Academy of Art and Design where she got her Bachelor of Fine Arts. She then lived in New York City for one year (1980/81).
From 1981 she participated in collective exhibitions in institutions such as the Israel Museum in Jerusalem and the Tel Aviv Museum of Art.
In 1983 she produced her first work in public space: Oil on Stone, a permanent installation in Tel Hai, Israel, for the Tel Hai Contemporary Art Meeting.
In 1984 the artist moved to Paris and started working through Europe and Canada.
In 1990 she got an artistic residency from the German Academic Exchange Service and moved to Berlin for one year.
In 2002 she stayed at the IASPIS residency in Stockholm.
From 2003 to 2014 she taught the Master of Fine Arts students in Valand Academy, University of Gothenburg, Sweden. [1]
Her latest major exhibitions were Ton Image me Regarde?!, 2010, in the Galerie nationale du Jeu de Paume, Paris, in which ten of her installations were displayed [2] [3] [4] [5] and her retrospective entitled Between Telling and Listening, 2012, in the Cantonal Museum of Fine Arts in Lausanne, where she presented 15 of her installations. Besides, her work was the subject of an itinerary personal exhibition in Canada between 2012 and 2014, firstly in the Kamloops Art Gallery, [6] then in the Belkin Art Gallery, [7] UBC, Vancouver and finally in the Galerie de l'UQAM, Montreal. [8]
In 2010 she received a three-year grant from the Swedish Research Council for her Artistic Research project Trust and the Unfolding Dialogue.
In 2012, she had the exhibition of her work, Describing Labor she created inspired by the collection of in The Wolfsonian-Florida International University, Miami Beach, USA [9] [10]
In 2013 was released the illustrated anthology Esther Shalev-Gerz, The Contemporary Art of Trusting Uncertainties and Unfolding Dialogues [11] edited by Jason E. Bowman that gathers new texts around Shalev-Gerz's work and the notion of Trust as well as formerly published texts on her art. Among the authors are Jacques Rancière, Georges Didi-Huberman, Jacqueline Rose, James E. Young, Lisa Le Feuvre.
In 2014 her team is one of the six finalists of the competition for the design of the Canadian National Holocaust Monument in Ottawa, with the teams of Yael Bartana, Daniel Libeskind, Krzysztof Wodiczko, David Adjaye or Gilles Saucier. [12]
In 2015 the Fonds municipal d'art contemporain of the city of Geneva acquired the artwork Les Inséparables, 2000-2010, a monumental double-clock installed as a permanent work in public space.
In 2016, her retrospective Space Between time was exhibited in Wasserman Projects in Detroit.
In 2017 through 2018, The Factory is Outside , her first retrospective in Finland in the Selachius Museum Gustaf in Mänttä, Finland.
In 2018, she exhibited 4 projects dealing with participation in the Koffler Gallery, Toronto, Canada: The Gold Room, 2016, The Place of Art, 2004, First Generation, 2004, and four chapters of The Portrait of Stories, 1998-2008.
In 2018, Esther Shalev-Gerz's commission of a permanent art work The Shadow [13] is an embedded ghostly silhouette of a first-growth Douglas fir across the expanse of University Commons Plaza. The work measures 100x25m in total and is composed of 24000 three-shade concrete pavers. [14]
Esther Shalev-Gerz questions the perpetual construction of the relationship between an experience and the telling one gives of it. She analyses portraiture, which she understands as the reflection of a person, place or event. Her work invites the spectator to an opening to the ambiguities and multiplicities acting in the collective memory. Her installations, photography, video and public sculpture are developed through dialogue, consultation and negotiation with people whose participation provides an emphasis to their individual and collective memories, accounts, opinions and experiences. Constantly inquiring into transitional qualities of time and space and the correlative transformation of identities, locales and (hi)stories Esther Shalev-Gerz has produced a body of work that simultaneously records, critiques, and contributes to the understandings of the societal roles and value of artistic practice. [15]
In her text entitled The Perpetual Movement of Memory, Shalev-Gerz describes her practice: "In my works in the public realm, a space is constructed for memories activated by participation, that is to say, the moment when the supposed spectator becomes a participant by writing his name, using his voice or sending in his photo. Thanks to the traces left during this acts, these participants keep the memory of their own participation in the work's procedure, which also bears witness to their responsibility to their own times." [16]
In an interview with Marta Gili, director of the Jeu de Paume, Shalev-Gerz adds: "I try to enter the space that opens between listening and telling in order to get away from the logic of discourse, that is to say, to accede to another kind of space and consider it artistically. It's a kind of "reveal" of the intelligibility of the sensible/sensitive or of a memory that differs from the one constructed by words, akin to concepts that traverse the body, able to be picked up by the gaze." [17]
And also: "As an artist, it is very important for me to trust the participants – whom I approach (right away) as equals, and whose contributions are an element of the project. I think that this is what makes it possible to produce the work: trust in the other person's intelligence." [18]
In his text entitled The Image of the Other, in the catalogue of the exhibition Does Your Image Reflect Me? Ulrich Krempel provides his understanding of Shalev-Gerz' work: "One thing is certain: only by talking and listening, passing on first-hand experience, images, emotional glances and moments, can we bring ourselves to the point where remembrance is converted into action". [19]
Jacques Rancière in his text The Work of the Image, for the catalogue of MenschenDinge/The Human Aspect of Objects, republished in the catalogue of the Jeu de Paume show, described the artist's work in these words: "Esther Shalev-Gerz does not give voice to the witnesses of the past or of elsewhere, but to researchers that are at work in the here and now. She makes the ones who come from elsewhere speak of the present as they do of the past, of here as of there. She makes them speak about the way they have thought and arrange the relationship between one place and another, one time and another. But also the dispositifs that she constructs are themselves dispositifs that distend their words, and subject them to representation of the conditions governing their listening and uttering." [20]
In his text Blancs-soucis of History written for the catalogue of the exhibition Esther Shalev-Gerz: Entre l'écoute et la parole in the Musée Cantonal des Beaux-Arts in Lausanne, Switzerland, 2012, Georges Didi-Huberman describes the artist's work: "In her installations Esther Shalev-Gerz has never ceased to instigate dialogues, to give shape to interlocutory situations: she asks this and that person questions, she confronts faces and points of view, she worries about stories –even simple opportunities to smile –from everyone, she questions objects (like those found in the earth of Buchenwald camp in the work MenschenDinge –The Human Aspect of Objects, 2004-2006), practices (like photography), in the prism of each unique story, as in collective history. In doing so, she unceasingly questions transmission right down to its effects of disarray or perdition".
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