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Yana Rotner
23/05/1988

Education

2012-2015 BFA, Photography department, Bezalel Academy of Arts and Design, Jerusalem. 

2013-2014 Exchange program, The Academy of Arts HGB Leipzig, Germany. Class of Peter Piller.

2016-2018 MA, Interdisciplinary program of the Arts, Tel Aviv University, Tel-Aviv.

2019 Diploma in cultural institution managment, Tel Aviv University, Tel-Aviv.

2020 PhD student, Philosophy Art and Critical Thought, European Graduate School, Switzerland/Malta.


Exhibitions
The Promise, CCA Tel Aviv, curated by NIcola Trezzi and Thomas Rom.

Album, Braverman Gallery, Tel-Aviv, curated by David Adika, Rami Maymon and Yael Efrati.

Repositioning, Museum of Islamic Art, Jerusalem. 

9X9, Black-Box, street gallery opening exhibition, Jaffa 97, Jerusalem. Curated by Asaf Cohen and Izek Mizrahi.


Space-Oddity, Kunstverein nurnberg, Nürnberg, Germany. Curated by Simone Neuenschwander spcace-oddity.info


Aliki, Solo Show at Snehta Residency, Athens, Greece. Curated by Paky Vlasopoulou.


Drawing Protest, collaboration with Dan Perjovschi, GFZK Museum of Contemporary Art, Leipzig, Germany. Curator Olga Vostretsova.


9 Derivatives, final show, Bezalel Photography Department. Mentors : Yossi Breger, Dor Guez and Rami Maymon.

Slalom, Binyamin Gallery, Tel-Aviv. Curated by Dor Sharon.

The Darkness, artist curated show, text by Raphael Zagury- Orly.


Tricky Tongues, Mazeh9, Tel-Aviv. Co-curated with Yaara Schattner.


City of Refugee, The Lobby - Art Space, Tel-Aviv.

Looking at her Reflection, text by Liz Deschenes, online exhibition during COVID19


Residency

2016 Snehta, Athens, Greece

https://www.snehtaresidency.org/alice


Curating and Research

Looking at her Reflection, text by Liz Deschenes, online exhibition during COVID-19 lookingatherreflection.com password : yanarotner

The Darkness, text by Raphael Zagury-Orly

Black Bima, co-curated with Shelly Reich

Blue Blind Spot, co-curated with Noam Segal, Bazelel
Photography Department Gallery, Jerusalem



Grants and Scholarships

Council for the Culture and Arts scholarship Mifal HaPais.

Mentoring and leadership program for young art students, the Yehoshua Rabinovich Foundation for the Arts.

Leadership and social engagement “directions cultural center” in the subject of culture and history after world war 2 (Poland-Israel)

Cultural coordinator, invited by Degania A counsil to conduct a discussion with Israeli and Palestinian youth, Gothenburg, Sweden.


Publications

coming in 2021 : Resling publication ”Fireflies” for film and television. Issue 2. Edited by Anat Zanger.

Society Women, InPrint, Hansen House, Jerusalem (Artist Book launch and artist talk) ho-mi.ch/society-women

Interview for Konbini Magazine - Documenta 14 Issue.

Repositioning, Exhibition catalogue, Museum of Islamic Art, Jerusalem.

Interview for TV Channel ARTE (German/French)

Interview for TV Channel ERT3 ,Athens, Greece

Aesthenia printed Art Magazine ,Issue 04 ,Athens ,Greece

Aliki, Exhibition catalogue, limited edition.

Harama magazine “The Essence” Signature Issue.

Jahresgaben-Salon, printed catalogue, kunstverein Nurnberg.

Monopol art magazine, Space-Oddity exhibition review.

Jacket, cover of Art Line Magazine, Switzerland, December 2014 Issue.

Drawing Protest, Exhibition catalog, limited edition, Museum of Contemporary Art Leipzig (GFZK)

Harama magazine ,Disgraphia Issue.


250 years HGB limited C-print edition ,Peter Piller class







THE DARKNESS





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Mark

The Darkness exhibition took place in the artist’s studio in May 2019, accompanied with a text by the philosopher and former MFA director at Bezalel Academy of Art and Design, Raphael Zagury-Orly. The exhibition consisted of works by Louise Bourgeois and Louise Lawler, as well as works by established and young Israeli artists. The exhibition closing event comprised live painting on black canvas by Narkis Vizel, red photograms by Yana Rotner and music by Noski (Yuval Jonas and Ron Auerbach).




THE
PHILOSOPHER
 


Plato in the Myth of the Cave tells the tale of the perpetual strife for the philosopher to come out of the fleeting realm of images and opinions to gaze into the eternal light of the ideas. And when coming to the summit of the Cave, contemplating the plentiful revelation of meaning illuminating the essence of Being, Plato insists not on the appeasing and pacifying light but rather on the blindness which it causes. The philosopher, blinded by the light, sees only the night, more night, obscurity, more obscurity. As if philosophy, when revealing the light also needed to see the night, when unveiling meaning also required us to still perceive its inherent obscurity. 

THE
ARTIST


Just like the philosopher, when creating, is blinded by the process and finds solace in the darkness. Why does darkness lie in the source of light? Why each time philosophy reveals meaning it discloses also its intimate obscurity? Why does light also show itself as the obscure? What says the obscure? The obscure light of each singular event?







TEXT BY : RAPHAEL ZAGURY-ORLY
Mark



Mark
 

LOOKING AT HER REFLECTION



Mark

Looking at her Reflection was an online exhibition which took place in May 2020 during the Covid-19 crisis. it consisted in works of established contemporary artists such as Liz Deschenes and Yehudit Sasportas as well as historical artists such as Berenice Abbot and Peter Roehr. The exhibition was accompanied by a variation around a text by Maurice Blanchot and a text by Liz Deschenes.

In the memory of Lucia Bose, corona virus victim, 1931-2020





As always,

I go back in time and, refer to how people were thinking about photography in the 1800's - Geoffrey Batchen in his book "Each Wild Idea" references a response by the American writer Nathaniel Willis in 1839 :

“…Talk not of 'holding the mirror up to nature, she will hold it up to herself. “

Fortunately, art historians like Geoffrey Batchen and Kaja Silverman quoted below from her book
" The Analogy of Photography " chronicle the ever - changing discipline of Photography, and have upended narrow views presented by both Willis and Baudelaire when Photography was at its beginnings.

As always,

“ Photography is also unstoppably developmental.

It began with the pinhole camera, which was more found than invented, morphed into the optical camera obscura, was reborn as chemical photography,

and lives on in a digital form.

It moves through time, in search of other “kin” some of which are visual, but others of which may be architectural, philosophical or literary. "




TEXT BY : LIZ DESCHENES

Mark

ARTISTS

IRA JAN‭ / LIZ DESCHENES / YEHUDIT SASPORTAS‭ / AVIVA URI / ‬PETER ROEHR‭ / YOSSI BREGER/ ‬YANA ROTNER‭ / ‬VERONICA‭ ‬NICOLE TETELBAUM‭ / YASMIN DAVIS‭ /‬ BERENICE ABBOTT / ANNEMARIE SCHWARZENBACH / SUSAN LIPSKI aka MEIR AGASSI





Mark

LOOKING AT HER REFLECTION
WITH MAURICE BLANCHOT


The feminine is a way of being which escapes light “

— Emmanuel Levinas



The mythical figure of the woman escaping light is Euridyce in the myth of Orpheus. In the myth, Orpheus goes to Hades, the kingdom of the dead, to retrieve the woman he loves, Euridyce, and to bring her back to life he has to hold her by the hand, climb back without ever turning back to look at her. And yet he does and loses her. Maurice Blanchot in his text, “ The gaze of Orpheus ”, poses the question:

What does Orpheus want?

“ Orpheus does not demand Euridyce in her diurnal truth and her everyday charm, but in her nocturnal darkness, in her distance, her body closed, her face sealed, ( he ) wants to see her not when she is visible but when she is invisible, and not as the intimacy of a familiar life, but as the strangeness of that which excludes all intimacy; ( he ) does not want to make her live, but to have the fullness of her death living in her.”

What does She - Orpheus want?

What does the myth of Orpheus teach us when we try to understand the nature of the look of a woman at her own reflection? what if Euridyce tries to bring herself back from the night?

According to Blanchot, Orpheus has only one concern: “ (...) to look into the night at what the night is concealing - the other night, concealment which becomes visible. ”

What is Eurydice ( she ) looking for in her reflection?  The hidden part of herself? The presence of her infinite absence? The return to the uncertainty of the origin?

Maybe, just maybe, photography in its fugitive capture of the space could give Eurydice a glimpse at the hidden part of herself.



TEXT BY : YANA ROTNER

Mark

PRESS



“ ..The exhibition and the people around it gave
me the impression of something new, exciting and a bit scary. “



Avi Pitchon for Haaretz

Mark

FUTURE EVENTS

collaboration with the philosopher 

HAGI KENAAN 


PHOTOGRAPHY AND ITS SHADOW




Image : Roni Horn

Argues that the invention of photography marked a rupture in our relation to the world and what we see in it. The dominant theoretical and artistic paradigm for understanding the invention has been the tracing of shadows.

But what photography really inaugurated was the shadow's disappearance — a disappearance that irreversibly changed our relationship to nature and the real, to time and to death. 

Challenging the hitherto most influential accounts of the practice and taking us from its origins to the present, Hagi Kenaan shows us how photography has been transformed over time, and how it transforms us.


DETAILS
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Mark

CONTACT


mylongaddress@gmail.com


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