The pictorial installation by Lihi Turjeman (* Israel, 1985) marks a complex passage, devoid of a specific context made up of carefully selected icons, but broken up to the point of making it seem that the setting unfolds from the particular to the universal. The research that Lihi Turjeman carries out for the current exhibition concerns some of the materials of the visual reality in which we live: illusion and point of view, alienation of the body, the influence we suffer from our urban environment, mental optics and epistemological objects.
In the triptych entitled Tempo rubato, of loose and thin canvases, hung like windows on the gallery wall, a figure emerged from an inner darkness is painted. The artist superimposed the three canvases and let the gestures and materials pass through the fibers of the canvas, effectively creating an automatic mechanism for the destruction of the image. What we see is none other than the path to the present, the path to non-painting.
The symbolic order present in the exhibition is fundamentally fantastic, imaginative. The arrangement of reality in an understandable set of reality passes, as stated, through the narrative (our reflection, psychology, identity ...). Therefore, the narrative is also outside of reality.
Although works may be presented as site-specific, most of them are made in the studio long before it was known where they would be presented. In other words, they satisfy the conditions of site specificity not in their exhibition location, but rather in referring to particular floors, ceilings or walls from which they were taken or where they were made.
In A Matter of Perspective, a floor work depicting an equestrian statue seen from above, the artist worked from different points of view. This work is a direct development of political explorations of territories, built and imagined architectures, past stories and current narratives. If, traditionally, the iconography of equestrian monuments was aimed at the celebratory, individual or collective exaltation of the symbol they wanted to represent, in Lihi Turjeman's research, through the pictorial and two-dimensional practice of the statue, the accent shifts to the intermediate space that there is a process of image acquisition and its restitution. In the relationship between input, processing and output. That is, that place where information is processed and the change of scale that has to do with the human dimension of things takes place. The volume collapses, the statue flattens and changes perspective. The spectator is thus forced to invert the canonical direction of the gaze, from top to bottom, and the traditional perception of power, of inferiority of the celebrant with respect to the celebrated, is suddenly unhinged, usually suggested by the celebratory awe relationship of the observer with respect to the equestrian statue.