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mixed media on plywood, 40x40

 

In Yair Garbuz’s paintings, the meaning of the familiar, visible, and explicit is altered through shifts, highlights, and deliberate errors that draw attention to the hidden and implicit, taking us behind-the-scenes of language and reality. Thus, for example, the nuclear facility in the southern Israeli town cannot be discussed, but what about the one Uprooted in Dimona? (nuclear and uprooted person, are spelled almost the same in Hebrew, and sound exactly the same) May he be discussed? In any event, they dwell in horrifying proximity—the reactor and the uprooted—out there, in the heart of the desert. The one has been hidden from view and from the social-economic-cultural discourse for nearly sixty years; the other is censored ad nauseam. Both are known but not seen, and the joke has always been on us.

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 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
 

Uprooted in Dimona

mixed media on plywood, 40x40

 

In Yair Garbuz’s paintings, the meaning of the familiar, visible, and explicit is altered through shifts, highlights, and deliberate errors that draw attention to the hidden and implicit, taking us behind-the-scenes of language and reality. Thus, for example, the nuclear facility in the southern Israeli town cannot be discussed, but what about the one Uprooted in Dimona? (nuclear and uprooted person, are spelled almost the same in Hebrew, and sound exactly the same) May he be discussed? In any event, they dwell in horrifying proximity—the reactor and the uprooted—out there, in the heart of the desert. The one has been hidden from view and from the social-economic-cultural discourse for nearly sixty years; the other is censored ad nauseam. Both are known but not seen, and the joke has always been on us.

 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
 

 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis