The Lightworkers, 2010
Film installation including sound
Dual channel projection
Pojected onto medium-gray surface
Yehudit Sasportas - Films
Galerie EIGEN + ART Leipzig
January 15th - April 16th 2011
The Israeli artist Yehudit Sasportas is one of the most widely recognised artists of her generation. She has been repeatedly awarded for her works and in 2007, she created the Israeli Pavillon at the 52nd Venice Biennial.
Yehudit Sasportas reaches in several directions to build a tension between the inside and the outside, between two-dimensionality and three-dimensionality, to catch it and to break it.
"Starting from sculptures and site-specific installations in which she integrated black-and-white drawings and paintings, she developed her very individual artistic vocabulary and is right now discovering the cinematic and computer-animated media for herself. In a unique synthesis, Yehudit Sasportas brings together landscape perception, on the one hand, and, on the other hand, conceptual penetration and experimental image production, for example using magnet pictures created in her studio in something like a natural scientific experimental setup and that are also the basis of her films. Her pictorial world thereby remains thoroughly characterized by the black-and-white linearity of forest and moor landscapes. Like invisible skeletons, black verticals that peel themselves out of tree trunks pierce the horizontality of the swampy ground. Iridescent between concrete form and nature abstraction, they become the emblem of a constructive connection between the visible landscape and the vaguely imaginable underworld: mental landscapes as topographies of the human psyche. (...)" (Martin Henatsch)
„The Lightworkers" consists of 16 different parts of swamps clearing and forests, which in combination with drawings form one underwater landscape moving between two worlds.
„Villa Wachholtz" is a site-specific film-installation created on occasion of the artist's solo-exhibition at the Gerisch Foundation, Neumünster. The architecture and its history are the starting point for her film. The beginning cross-fading of radiant brightness peels away - like the moment of awakening from sleep - in a peculiarly immaterial-appearing animation to reveal the building, skeletonized to its inner construction. (Martin Henatsch)