Review of Noam Edry’s solo show and performance ‘The Silver Salver’ at the Museum of Art, Ein Harod, Israel, which marked the end of 2011 and the inauguration of the new Miron Sima Auditorium
Photo: Guy Barkan
We love the pink low-calorie lychee these days, its sweet and perfumy flesh makes a fabulous cocktail and it is the perfect smoothie ingredient with its high levels of Vitamin C, fiber and potassium. There are, however, good lychees and bad lychees, so make sure to buy the right one. If two legs are embracing the pit of the moaning, groaning and sighing lychee, moving from hysteria to orgasm and back again, you might have encountered an Israeli lychee. There are also bad dates and oranges which will bleed, moan, shit and cry.
The silver coated floor of The Ein Harod Museum of Art was stained by an uncontrollable flow of blood during the opening of Noam Edry’s solo museum show The Silver Salver and the coinciding inauguration of the new Miron Sima Auditorium, which was celebrated with the unveiling of a gigantic rock’n’roll war machine chickpea. Women, men and children in the audience searched for pieces of tissue to give the bleeding orange a helping hand, when a screaming woman suddenly shot through the crowd. The first part of the shocking performance lasted 90 minutes, during which the lychee, the date and the bleeding orange were rattling and shaking on the silver floor (the silver platter), moving around and between the spectators and wreaking havoc across the entire museum.
Photo: Guy Barkan
Photo: Guy Barkan
The emotional reality of the helplessness experienced in a country with mandatory military service and where people blow themselves up to kill others is only one aspect of the multi-layered silver platter. By using elements deeply embedded in the language of performance art, Edry invites the audience to reflect upon values as well as the lack of values, both on a personal and a political level. Edry’s combination of performance art and sculpture allows her to oversee the extravaganza like the director of a chaotic circus.
In the artist’s own words, “‘The Silver Salver‘ examines the real “fruits” exported by Israeli society; what is the price of being Israeli, what part does the individual play in it? From a feminist point of view, it is about the forced sacrifices of Israeli women and in many ways, all women. We sacrifice our womanhood in this society and in every society; served on silver platters like exotic fruits. You want exotic fruits? Here, you can have them. They are going to scream, yell, faint, puke, bleed, get wet and get dry and all that. You want a woman – you get a woman.”
Photo: Omer Ben Zvi
In this work, the woman is reduced to an equation of her circumstances, random coincidences of life and controlling structures of political, biological and social systems. From this point of view womanhood is not a pretty sight and the collective illusion, i.e. our shared beliefs about what the real, successful and complete woman is like, are torn to pieces because of the undeniably human element of the liquids and sounds coming out of the sculptures’ bodies. Edry’s position is still critical towards current frames of thought and it might be suggested that she is asking her fellow women to get a grip and to stop victimizing themselves despite the inherited burdens; they will not ”go away”, action is required. Her recent shows have made both women and men cry, because this is a struggle all conscious human beings will recognize; it is a fight for individual freedom within society.
After the surprisingly wide-spanning, coherent and powerful MFA graduation show Conversation Pieces – Scenes of Unfashionable Life at Goldsmiths in London (July 2011), Edry received the commission from Dr Galia Bar Or, Curator and Director of The Museum of Art, Ein Harod. The main inspiration for the show was the poem The Silver Salver, written in 1947 by Nathan Alterman. The poem is based on the saying “The state will not be given to the Jewish people on a silver platter”, attributed to Israel’s first president Chaim Weizmann. The dream of an equal and functional two state solution lives on among both Arabs and Jews, but the conflict persists. The hysterical date and the sexually repressed lychee can be understood as symbols of the Israeli people’s moaning and groaning about the situation. The political dimension of the work is a double-edged sword, where Edry is communicating the national sacrifice as well as the responsibility of each individual citizen to face reality and to put their shoulder to the wheel. “We sacrifice the possibility of contributing to the world, because we are being boycotted and barred from academies. Are we going to continue this stale mate?” the artist continues. “Are my children going to have to go to the army? We think we are in control, but life is dictated to us by men in positions of power.”
Photo: Reut Kersz
Photo: Guy Barkan
The inauguration itself was the grand finale of the performance in which the giant chickpea monument covered in royal blue satin with a golden ribbon, was unveiled by Edry and the chief curator. They were both dressed in silver and conducted the ceremony like a couple of space army generals. One of the four crewmen, the armed almighty rock star, appeared on top of the sculpture and started humping his gun aggressively, causing the entire sculpture to rattle in line with a loud bass beat and an increasingly mad harmonica melody coming from inside of the sculpture. Two adjacent larger-than-life wall projections transmitted what was going on inside and outside the chickpea, culminating in a beautifully grotesque image of the hero’s naked bottom wobbling uncontrollably. Smoke and strobe lights created an urgent feeling of rock’n’roll war á la Hollywood. He was the cool guy, wasn’t he? We have seen him in many film productions. He is the bad guy who gets the pretty woman and he is the face of Israel. Was it a coincidence that the chickpea resembled an obese bottom or a giant pair of testicles, rattling and shaking like fat? The man in control made love to the weapon until he finally reached a climax and shot hundreds of boiled chickpeas towards the audience.
Edry explains, “I wanted to make people understand that this is what we look like from the outside. The spectacle of the female fruits hadn’t changed a thing, because despite their impact, influence and inspiration, we were still stuck with this enormous thing spraying the audience with its seeds of war. It is about our lack of control in this social order.”