Sachgebiete

Beschreibung:

Ca. 60 S.; Illustr.; 20 cm; kart.

Bemerkung:

Sehr gutes Ex. - Hebräisch u. Englisch. // ? Horses are the progenitors or the community created in Weissman's works. In his early paintings one can see how children are "born" from the horse's buttocks, and how it becomes emptied of its "Trojan" mission, transforming into an iconic, totem-like object. The conflict is reinforced in his labyrinth pieces: railroad tracks, winding walls, a thicket of branches that create a route of movement with no beginning and no end. Entering into them one might well get lost, but at the same rime - he may also develop an existence in an intermediate time, like the figures in Weissman's fictive plots. The tree also symbolizes the locus in which the wild becomes encultured, transforming from a thicket of branches into an item of furniture. The balls in his works - an inflatable play ball, a deflated football, or the round moon - are all markers of madness; if the balls are not useable, the child might go mad, symbolically introducing the child as moonstruck. The pick-up sticks, those slender wooden sticks used in a game where a random thicket must be untangled gently and sensitively, transform, in Weissman's world, into threatening spears containing the potential for a violent solution to the ongoing conflict. Thus, each childlike element in Weissman's work embodies a potential of violence and destruction. The structure of the house so sought after by the figures populating his works, is revealed on several occasions as a doghouse, a garage, a tree-house in the children's games, etc. Here, the idea that four walls and a roof can be deemed a home is an illusion. The titles of his early works - Flooding, Lover's House, Play for One, Temporary Installation, Behind the Fence, Daddy - often allude to those absent from them, connoting lack or desertion. Already in Weissman's first exhibition, curator Tali Tamir identified his paintings as "a melancholic allegory about the human condition." All this is accompanied by tunes played on a piano that emerges as a classical instrument. Thus, the void, the disorientation in the world, the conflict, the delusion, desertion, and solitude - situations experienced by the figures in Weissman's installations, are juxtaposed with deficiencies in emotion and love. ? (S. 9)