The 'Perpetual Becoming' of Yaacov Agam

“My aim is to show the visible as possibility in a state of perpetual becoming”

— Yaacov Agam

This month marks the official opening of the much anticipated Agam Museum in Rishon LeZion, Israel. David Nofar's 3200 square meter spacious building dedicated to the work of Yaacov Agam is well worth the wait.

The Pillars of Clilla

From the moment visitors step onto the grounds of the museum they are engulfed into the rainbow world of Agam. 'The Pillars of Clilla,' named for his late wife, includes 29 monumental columns (20 at the entrance and 9 inside the building) which make the distinction between indoors and outdoors inconspicuous. Meeting visitors in the courtyard, these columns transport them into the mind of Agam and lead them into the museum’s central space, which boasts his ‘panorAgam’ work, originally displayed on the bow at the Guggenheim Museum in New York City in 1981.

Agam is widely considered the father of kinetic art because of his early preoccupation with time and movement. Kinetic art is defined as art that relies on motion to create its desired effects. Agam’s work is concerned with the what he refers to as ‘the fourth dimension,’ which is the idea that time is visible within the artwork and the piece is not static. This element is broadly explored and thoroughly explained through the myriad of works in various mediums in the museum. 

In fact, without the active role of visitors the kinetic elements of Agam’s works would not be possible. Viewers cannot remain passive if they are to truly experience Agam’s art as he intended. His work requires you to be active physically, cognitively, and emotionally. This concept is better experienced than explained as the ‘perpetual becoming’ of Agam’s oeuvre reveals itself to viewers within the museum.

Agam’s signature style is well known to the Israeli public who would recognize his major works in Tel Aviv: the ‘Water and Fire’ fountain at Tzina Dizengoff Square and the facade of the Dan Hotel on the Tel Aviv Promenade. Yet, his work resonates on an international scale with non-Jewish communities. However, it would be negligent to discuss Agam without acknowledging his connections to Judaism. Born in Rishon LeZion in 1928, in what was then mandate Palestine, to a Kabbalist Rabbi father, spirituality and Torah teachings permeated his youth and stay with him to this day. Judaism forbids figurative artworks and since Agam is restricted in this way he uses abstract figures in his work to express the feelings of life. 

At 89 years old, Agam is embracing technology and is increasingly interested in applying his artistic principles to new medias. Through computers and applications he has created interactive works that activate the participants senses of touch, sight, and sound. This convergence of the senses breaths a new life into Agam’s work and keeps it relevant in the 21st century.

Abundant with Agam classics such as his signature ‘Agamographs,’ the museum provides a comprehensive look at his oeuvre that both longtime followers of his career and novice art fans will appreciate. As the director of the Agam Museum, Gilad Meltzer, explained, “In the spirit of the artist, a visit to the museum will encourage a multiplicity of views and points of view, emphasizing the universal language of art and the unique and groundbreaking qualities of his work.”

Agam Art Museum
1, Meishar St, Rishon LeTsiyon, Israel

Insider Tips for Collecting Contemporary Art

Oh So Arty's local guide in San Francisco, Marissa Halbrecht, has merged two of her passions—Israel and art— through her company Projex Connect with the vision of creating awareness and exposure of Israeli art and culture within international communities. Her personal art collection is a reflection of these dual interests. Continue reading to see some of the pieces in Marissa's vast collection. 

Jonathan Goldman

What is your personal philosophy when it comes to collecting art for yourself?

When it comes to collecting art for myself, for now, I have committed to mainly purchase contemporary Israeli art. There are a number of phenomenal contemporary Israeli artists who are under the radar in the art world and not only do I love their work but it’s my goal to support their careers. I also have a rule that I only purchase works that I really like.

Oded Balilty

Can you tell us about one of your favorite pieces you have collected?

A couple years ago I bought a work by artist Ariel Reichman at Frieze in NYC. I had been following Ariel on Facebook & Instagram and I was drawn to his work from the beginning. Then I found out that he would be showing at Frieze in NYC while I was in NYC for Frieze. I went to the booth at the fair and met his gallerist from Berlin. She asked if I wanted to know the story for the 5 works of his that the gallery was showing. She then proceeded to tell me the story “During the war in Gaza in the summer of 2014, Operation Protective Edge, Israel used an antimissile defense system called Iron Dome.” I, myself, happened to be there during that war and was very familiar with Iron Dome. She continued, “On the tip of the missiles that come from Iron Dome that intercept the missiles coming from Gaza there are cameras. This is the last image that one of the missiles took before it intercepted a missile coming from Gaza.” I was sold. Not only does the piece have deep and relevant meaning but I love the artwork aesthetically itself.

Ariel Reichman

What is your advice for other contemporary art collectors today?

My advice to other contemporary art collectors is to buy what you love. And if you don’t know what it is yet there are fabulous art advisors that can help you figure out what you like that fits in your budget. I also recommend going to as many galleries, museums and art fairs to open your eyes to all that the contemporary art world has to offer.

Rona Yefman

Read Part 1 and Part 2 of interviews with our guides about their personal art collections.

Ruby

Take a tour with Marissa in San Francisco to discover more!

Australiana to Zeitgeist: An Interview with Melissa Loughnan

Oh So Arty Editorial Coordinator, Sophie Weinstein, sat down with our Melbourne guide, Melissa Loughnan, to discuss her new book Australiana to Zeitgeist: An A-Z of Contemporary Australian Art.

Why do you think many critics have traditionally dismissed Australian art as derivative?

Historically, Australian artists have been led by the prevailing art movements of the UK, Europe and America. Our sense of national identity is also often shrouded by our commonwealth heritage. We tend to be looked upon as a small subsidiary of the UK, rather than a nation with its own unique cultural fabric.

How are you hoping to change the public’s opinions of Australian art with your new book?

Australiana to Zeitgeist focuses on a number of Australian artists who are practicing internationally, and are perhaps better known overseas than in their home country. Andy Boot, Ry David Bradley and Michael Staniak, who are featured in my ‘I for Internet’ chapter, are prime examples of this. It also focuses on artists whose practices are worthy of greater attention in a global context. Ultimately I hope that my book will contribute to a reappraisal of Australian art among international collectors and curators.

What inspired you to write this book?  What void were you hoping to fill by publishing it?

My aim for the book was to present an alternative view on Australian art to other surveys that have been previously published, with less of the ‘usual suspects’. Additionally, as the Australian art world is quite small, the number of collectors and institutions that support it is also quite small. So I was also motivated to write the book in the hopes that it might increase the audience for, and eventually the support of, contemporary Australian art - both locally and internationally. 

“Ultimately, my aim is for Australiana to Zeitgeist to provide an accessible introduction to the broad range of contemporary art practices in Australia today.”

— Melissa Loughnan

As you have acknowledged, Australian art is often overlooked within the global art scene, what contributions do you think Australian artists can make to the international world of contemporary art?

There are a number of artists who mine Australia’s history and cultural fabric to make internationally relevant work. Helen Johnson, who features in my P for Painting chapter, is a good example of this. Her work explores ideas of Australia’s colonial history, the construction of national identity and our current political environment. She recently held a solo exhibition at ICA, London, and is currently exhibiting at the New Museum, New York. 

Can you tell us about your arts initiative, Utopian Slumps?

Utopian Slumps opened as a non-profit curator-run arts initiative in 2007, focusing on early to mid career Australian artists through curated group exhibitions and a focus on art that is ‘of the hand’. The gallery shifted its model to commercial in 2010, where it maintained its focus on curated group exhibitions while representing seventeen artists from Australia and New Zealand. Utopian Slumps operated for eight years in total and participated in a number of art fairs locally and internationally, including Art Forum Berlin, Art Stage Singapore and Art Basel Hong Kong. 

How did your experience at Utopian Slumps motivate you to write this book?

Through Utopian Slumps I came to know the Australian art scene intimately, and found that there were many artists that were deserving of greater attention, or who, in my opinion, had been overlooked. I have attempted to re-dress this balance, albeit from my singular perspective, through this book.

What criteria were you looking for in the artists who you included in the book?

The book focuses on artists who I see as unrepresented and under-represented. The book is thematic, which ultimately fed my selection of artists, seeking out the strongest examples whose works or practices sat within each theme. Ultimately, my aim is for Australiana to Zeitgeist to provide an accessible introduction to the broad range of contemporary art practices in Australia today.

Internationally you can purchase Melissa's book here and in Australia here.

Take a tour with Melissa to discover more!

All photos for this story are by Christo Crocker.

Insider Tips for Collecting Contemporary Art

Our Munich guide, Sofia Sokolov, is giving us an insider look at her personal art collection. Offering a strong knowledge of the contemporary art scene Sofia Sokolov has an academic and professional background in the history of art. Continue reading to see her top four pieces in her collection and learn why she continues to be inspired by them every day.

Sofia Sokolov (center) during a tour in Munich

Guy Avital

The works of Israeli artist Guy Avital are geometric, aggressive, dynamic and can overwhelm the viewer by a socio-political fullness. Childlike motifs, collages, flying geometric forms, elements which often meet us in our everyday life build the component of Avital's works. His works are divided by three levels on perception: firstly, it is an aesthetic and harmonious form that brings the artist's work to perfection. The second level is the socio-political struggle with one's own environment. Kantian elements received a symbolic meaning when viewed in the context of conflict. And the third level of perception is purely subjective and refers to viewer's imagination. It is an infinity of details, which always makes the picture new and interesting. Forms that are always revealing a new composition from a different perspective, and dynamics that allow tension. This exact combination is what makes his work so charming and attractive to me.

Guy Avital

Benyamin Reich

I love my collection and the work by Benyamin Reich is a very proud part of it! This work fascinates me again and again; the simplicity of the romantic landscape, the path that disappears in the horizon and the representation of Jerusalem under the snow is fascinating and melancholic at the same time. Benyamin chose a square format with black shadows, which increases the sensitivity of the image. From my point of view, Benyamin Reich is one of the most important photographers of Jewish art, who redefined the boundaries of orthodoxy and dissolved the framework of tradition.

Benyamin Reich

Denise Winter

Denise Winter works with spatial reductions and alienation effects. Often a self-shot photographic original serves as a starting point for her constructivist exploration of architecture and landscape. With her pinhole camera shots, she manages to integrate the moment of the unpredictable into her artistic work and to use it in a productive way by creating new spatial situations. In her installation pieces, which depict a consistent further development of her photographs, she pursues the construction of new spaces. Shadow- and outlines, architectural corner situations are taken from their original context and transferred as autonomous forms – as cut out spaces – to aluminum and chipboards. During the next stage of her process, Denise Winter defamiliarizes the original form further; by rolling up the sheets or arranging them in layers she achieves a renewed transformation. Space is not the only element that finds a new counterpart in this way, her objects also address temporality when the layered or rolled material reveal the process of their formation.

Denise Winter

Mihogo Ogaki

Japanese artist Mihogo Ogaki is probably the most dreamy and aesthetic artist in my collection. Her works deal with existential topics such as birth and death, thereby discussing philosophical issues of human life. Starting from scientific and evolutionism theory-based knowledge, Ogaki raises metaphysical, ontological and cosmic questions. Regarding the genesis of human life from a biological point of view, the embryo emerges from cell fusion and becomes a viable human being through cell division. All genetic information is individually determined within the DNA whose molecular consistency can be decoded by science in detail. Nonetheless, science has its limits. Questions such as “where do we come from and where are we going?" cannot be responded to in scientific terms. In my eyes my work by Mihogo represents the infinity of human feelings and the ways in which we perceive the universe. Her work realized the possibilities of a subjective representation of her own cosmos.

Mihogo Ogaki

Read Part 1 of this series of interviews with our guides about their personal art collections.

Take a tour with Sofia in Munich to learn about the art she loves and more!

What to See at FIAC 2017

Fiac, the international contemporary art fair in Paris, open tomorrow and runs until October 22nd. With around 180 galleries at the Grand Palais, including both established major galleries and the emerging generation, the choice of what booths to visit can be overwhelming. Our Paris guide Judith Souriau shared her insider recommendations of what to see when the fair opens to the public. 

Rirkrit Tiravanija

On the preview afternoon, 5 international foundations had already acquired all the editions of this work by Rirkrit Tiravanija, emblematic of the 2000’s “relational aesthetics” as you’re supposed to actually play ping-pong. Also on Chantal Crousel’s booth, don’t miss the beautiful Pierre Klossowski (Balthus’ brother) large
drawing.

Rirkrit Tiravanija

LABOR

On the Balcon d’honneur, LABOR gallery (Mexico) has a poetic and consistent booth with works by Jill Magid, Jorge Satorre and a troubling Memorandum photograph by Hector Zamoza.

LABOR gallery booth

Alina Szapocznikow

The smallest piece in the Petit Palais, a resin flawed self-portrait by the too-soon- gone polish artist Alina Szapocznikow, is undoubtedly one of the most poignant there.

Alina Szapocznikow

Jessica Warboys

This dense, pigmented canvas by Jessica Warboys caught Judith’s attention. The technique is very reminiscent of Sterling Ruby, however Warboys uses seawater. (Gaudel de Stampa, H12, upper floor)

Jessica Warboys

Claudio Parmiggiani and Thu van Tran

Thu Van Tran and Claudio Parmiggiani at Meessen de Clercq compose a very strong and poetic booth for Meessen de Clercq (F11, upper floor) with a smoke and soot evanescent library on wood, and ceramics. A metaphor for memory? 

Claudio Parmiggiani

Thu van Tran

Dardan Zhegrova

This interactive installation by Dardan Zhegrova is presented by LambdaLambdaLambda.

Dardan Zhegrova

Jeppe Hein

This balloon installation shown by 303 Gallery may be the most minimalistic work in the whole fair, and it feels good.

Jeppe Hein

Outdoor Works 

The majority of the fair is held within the Grand Palais however make sure to explore the Hors les murs (outside the walls) programmes free of cost in the Jardin des Tuileries, Place Vendôme, and Musée Delacroix. 

Lisa Williamson

"Obstruction, Reflection, Transition" (2017) by Lisa Williamson is located at the Petit Palais.

Lisa Williamson

Yona Friedman

"Project pour un musée sans batiment" (2017) is installed on Avenue Winston Churchill.

Outdoor Installation by Yona Friedman

ASIA NOW

Take a shuttle from the Grand Palais and have a glass of champagne in the charming courtyard of 9 avenue Hoche, where the 3rd edition of ASIA NOW gathers a handful of galleries from Asia. A self-paced environment to discover more art.

Asia Now

Take a tour in Paris with Judith to discover more!