18th September - 18th December, Thessaloniki
Born (1969) in Ashdod, Israel. She lives and works in Germany. She studied at the College for Visual Art, Beersheva, Israel (1988-89), the Bezalel Academy of Art and Design, Jerusalem (B.F.A., 1989-93), the Academy of Art and Science, Cooper Union Academy of Art, New York (1993), the Fine Art Department, Bezalel Academy of Art and Design, Jerusalem (1997-99, M.F.A. in collaboration with the Hebrew University of Jerusalem). Recent solo exhibitions: The Guardians of the Threshold, 52th Venice Biennale, Think with the Senses-Feel with the Mind. Art in the Present Tense, Israeli Pavilion (Venice, Italy, 2007); Galerie EIGEN + ART, frieze art fair (London, 2008); The Laboratory, Kunstverein Braunschweig (Germany, 2008); Cosmic Rift, Sommer Contemporary Art (Tel Aviv, 2009); The Clearing of the Unseen, DA2 Domus Artium 2002 (Salamanca, Spain, 2009); Hazipur, Herbert-Gerisch-Stiftung (Neumünster, Germany, 2010); Films, Galerie EIGEN + ART, (Leipzig, Germany, 2011); GHARDY, Haus Konstruktiv (Zurich, Switzerland, 2011
The Lightworkers film consist of sixteen different shots of swamp clearings and forests, that were combined through drawing into one underwater, floating landscape which shifts by itself between two worlds.
Starting with sculptures and site-specific installations in which she integrated black-and-white drawings and paintings, Yehudit Sasportas has developed her very individual artistic vocabulary, and at the moment she is working with cinematic and computer-animated media. Her pictorial world is characterized by the black and white linearity of forest and moor landscapes. Like invisible skeletons, black verticals peel themselves out of tree trunks and pierce the horizontality of the swampy ground. Iridescent and situated between concrete form and nature abstraction, they become the emblem of a constructive connection between the visible landscape and the vaguely imaginable underworld, the mental landscapes seen as topographies of the human psyche. For Sasportas, the moor and the forest clearing have long been the ideal grounds for a journey into the unconscious; in this large-scale video installation she uses various media to develop a contemporary Panopticon, in which an idyllic presentation of nature and its construction and deconstruction, and a longing for the richness of the unconscious, become almost grotesque. Sasportas’s highly aesthetic formal language, which encompasses all the possibilities of digital image technology, creates a world with its own dynamics and a mystical atmosphere.
“The films”, says Yehudit Sasportas, “function for me as a tool for extending consciousness. They are an intermediation apparatus connecting a subconscious subsurface space and an existing, marked conscious space. The movement in the works varies from the physical, concrete world of matter to the abstract level of sensuous experience lacking language or form... I am interested in the tension existing between the clear, articulated form and the open, expended form which moves and continuously recreates itself. I am interested in reality parts which constantly move and fall apart, refusing to surrender into a defined form or word; the essence of the film itself comes to be by the fact of their movement.”