Yaari interferes with autobiographical moments in the past/present/future: her matriculation certificate; a lascivious lighter she bought and manipulated; Philatelic Service stamps of her own design; a small mirror bearing the declaration: ‘My art is my hobby – Everything I do is art’; the cover page of Waiting for Godot, the only page in the book that you do not have to fold over in order to remember where you are; an authentic family photograph, and a family tree.

In her safari Yaari celebrates and glorifies herself via souvenirs and purchases from her life. Her gesture of presenting her life is all-encompassing, egomaniacal and manic. A closer look at the items, however, reveals that these are, in fact, common to each and every one of us.

The work features: Jürgen Klinsmann, Virginia Woolf, Johann Sebastian Bach, Joseph von Fraunhofer, Gustav Kirchhoff, Robert Bunsen, Avinoam Granot, Riki Levy, Hillel Roman, Itamar Jobani, Mary, Jesus, Felice Bauer, Aya, the nuclear Yaari family, anyone blood-related to the artist, Samuel Beckett, S. Avi-Gil, Franz Kafka, Quentin Bell, the viewer, and the lenders of the works: Orit Kovatch, Roee Rosen, and Ada Na’aman.

The wall installation incorporates small pieces, found objects – all taken from the real world and presented on the wall. Yaari incorporates everything in her biography – including Galileo Galilei’s famous words: “Ve’af-al-pi-chen, noa tanua!” (Eppur si muove – And yet it does move), which also contain Noa.

Less Reading...