[ Guy Yanai ]

In Objects/Homages, Guy Yanai reveals the ‘material poetics‘ of everyday life. His intimate, meticulously rendered ‘portraits‘ of gym shoes, cell phones, bank notes, plants, and canned preserves are both descriptive and lyrical. They simultaneously occupy two perspectives, at once empirically documenting the banal minutiae of our human existence while also capturing the phantasmagoric allure they hold over our psyche. While we may be looking at them, often from above, with a slight feeling of mastery, they are also captivating our gaze, from below, with their aesthetic appeal and a promise of fulfilling our deepest, often unconscious, desires. Indeed, this series makes visible the way in which objects occupy both a physical and psychological space while also blurring the boundaries between them. In this context, Yanai seeks a visual language that can adequately capture both the exactitude and evanescence of things. Lodged between these poles, each object emerges from the surface of the panel, seemingly grounded in the real through chiaroscuro and perspective, while simultaneously eluding the real by collapsing and melding with the panel‘s utter flatness. It‘s the modernist conundrum redux, the project of Manet and Picasso rediscovered. The urgency of this manifestation is palpable – it speaks of a perpetual interrogation of painting as both object and representation. Yet Yanai surpasses pure formalism; his inquiry reveals a reciprocally productive intertwinement between the history and practice of painting, the phenomenological experience of perception, and the very nature of ‘things.’ Nuit Banai

Twenty Shekels Oil on panel 14x12 cm / 2007 From the Series Objects/Homages

ÌÈϘ˘ Ìȯ˘Ú ÏÙ ÏÚ ÔÓ˘ ≤∞∞∑ Ø Ó”Ò ±≤x±¥ ÌȒʇÓ‰ØÌȈÙÁ ‰¯„Ò‰Ó

Mutti Pomodoro Pelati Oil on panel 18x16 cm / 2007 From the Series Objects/Homages

˙ÂÙÏÂ˜Ó ˙ÂÈ·‚Ú ≠ ÈË»Ó ÏÙ ÏÚ ÔÓ˘ ≤∞∞∑ Ø Ó”Ò ±∂x±∏ ÌȒʇÓ‰ØÌȈÙÁ ‰¯„Ò‰Ó

Sicilian Bowl Oil on panel 23x20 cm / 2007 From the Series Objects/Homages

˙È‡ÈÏȈÈÒ ‰¯Ú˜ ÏÙ ÏÚ ÔÓ˘ ≤∞∞∑ Ø Ó”Ò ≤∞x≤≥ ÌȒʇÓ‰ØÌȈÙÁ ‰¯„Ò‰Ó

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ÌÈ„Ù˜ÂӉ ÌÈÈÓÈËȇ‰ ”˙‡˜ÂÈ„”‰ ÆÌÂÈÓÂȉ ÈÈÁ Ï˘ ”˙ȯÓÂÁ‰ ‰˜ÈˇÂÙ‰” ˙‡ ȇÈ ‡È‚ Û˘ÂÁ ÌȒʇÓ‰ØÌȈÙÁ· ÌÈÏÈÎÓ Ì‰ Æ„Á‡Î ÌÈȯÈÏ ÌÈȯ‡È˙ Ì‰ ¨ÌȯÂÓÈ˘ ˙‡ÒÙ˜ ÌÈÁÓˆ ¨ÛÒÎ ˙Â¯Ë˘ ¨ÌÈȯÏÂÏÒ ÌÈÂÙÏË ¨Ë¯ÂÙÒ ÈÏÚ Ï˘ ˙Ú· ‰·Â È˘Â‡‰ ÌÂȘ‰ Ï˘ ÌÈÈχ·‰ ÌÈ˯ى È˯ÙÏ È¯ÈÙÓ‡ „ÂÚÈ˙ ÌȘÈÚÓ ≠ ˙·È˘ÙÒ¯Ù È˙˘ ˙Á‡ ‰ÂÚ·Â ˙Ú· ¨‰ÏÚÓÏÓ ˙ÂÙÂÎ˙ ̉· ÌÈ·˙Ó Â‡˘ ¯˘Ù‡ ÆÂ˘Ù ÏÚ ÂÏω ÌÈ˯ى ÌÈÏÈÚÙÓ˘ Ú˙Ú˙Ó‰ ÈÂ˙ÈÙ‰ ÁÂÎ ˙‡ Ì‚ ÌÈ„ÎÂÏ ˙‡ ˘ÓÓÏ ‰ÁË·‰·Â ÈË˙Ò‡‰ ÌÓÒ˜· ¨‰ËÓÏÓ ÂË·Ó ˙‡ ̉Èχ ÌȘ˙¯Ó ̉ ‰Ú˘ ‰˙‡· ͇ ¨‰Ï˜ ˙Â„‡ ˙˘ÂÁ˙· ‰·˘ ͯ„‰ ˙‡ ÂÈÈÚÏ ‰Ï‚Ó Âʉ ÌȯÂȈ‰ ˙¯„Ò ¨‰˘ÚÓÏ ÆÚ„ÂÓ–˙˙· ˙Â΢ ˙ÂÙÂÎ˙˘ ≠ ¯˙ÂÈ· ˙ÂÒÂÓΉ ÂÈ˙Â˜Â˘˙ Æ̉ÈÈ· ˙ÂÏ·‚‰ ˙‡ ˙˘Ë˘ËÓ Û‡Â ¨„Á‡Î È‚ÂÏÂÎÈÒÙ ÈÊÈÙ ÏÏÁ ÌÈÒÏÎ‡Ó ÌȈÙÁ Ìȷ˘‰ È˘ ÔÈ·Ó ÆÒÒÂÓ˙‰Ï Ì˙ÈÈË ˙‡ ԉ Ìȯ·„·˘ ˜ÂÈ„‰ ˙‡ Ô‰ „ÂÎÏÏ ·ÈËÈ˙˘ ˙È˙ÂÊÁ ‰Ù˘ ȇÈ ˘˜·Ó ‰Ê ¯˘˜‰· ‰· ͇ ¨‰·È˘Ùүى ‰Ïψ‰‰ ˙¯ÊÚ· È˘ÓÓ· Ô‚ÂÚÓ ‰¯Â‡ÎÏ ¨¯ÂȈ‰ „· Ï˘ Áˢ‰ ÈÙÓ ÌȈÙÁ‰Ó „Á‡ ÏÎ ÁÈ‚Ó ‰Ï‡‰ ¨‰ÈÈÁ˙Ï ‰Ó˜˘ ˙ÈËÒÈ¯„ÂÓ‰ ‰ÓÏÈ„‰ ȉÂÊ Æ„·‰ Ï˘ ˙ËÏÁÂÓ‰ ˙ÂÈÁˢ‰ ÍÂ˙ χ ‚ÊÓ˙Ó ү˜ ¨È˘ÓÓ‰ ÔÓ ˜ÓÂÁ ˙Ú· Ï˘ ˙„Ó˙Ó ‰¯È˜Á ÏÚ ¯·„Ó ‡Â‰ ≠ ‰Ê‰ Ú·Ó·˘ ˙ÂÙÈÁ„‰ ˙‡ ˘ÂÁÏ Ï˜ ÆÂÒ‡˜ÈÙ ‰‡Ó Ï˘ ˘È¯ى Ï˘ ˘„ÂÁÓ ÈÂÏÈ‚ ·˘ ÔÙ‡‰ ˙‡ ˙Ù˘ÂÁ ÂÏ˘ ‰¯È˜Á‰ ªÂÈÏÚ ‰ÏÚ˙Ó ¯Â‰Ë‰ ÌÊÈÏÓ¯ÂÙ‰ ÔÓ ‚¯ÂÁ ȇÈ Ìχ ƄÁ‡Î ‚ˆÈÈΠıÙÁÎ ¯ÂȈ‰ ‰Ï‡· ‰Ï‡ ÌÈ¯Ê˘ ”Ìȯ·„‰” Ï˘ ÌÚ·Ë ÌˆÚ ‰ÒÈÙ˙‰ Ï˘ ˙È‚ÂÏÂÓÂÙ‰ ‰ÈÂÂÁ‰ ¨¯ÂȈ‰ Ï˘ ‰˜È˘¯Ù‰Â ‰È¯ÂËÒȉ‰ Æ‰Ê ˙‡ ‰Ê ÌȯÙÓ ȇ· ˙ȇÂ

Helmut Lang (Curion Eau de Cologne) Oil on panel 23x20 cm / 2007 From the Series Objects/Homages

®ÔϘ ‰„ ‡© ‚‡Ï ËÂÓω ÏÙ ÏÚ ÔÓ˘ ≤∞∞∑ Ø Ó”Ò ≤∞x≤≥ ÌȒʇÓ‰ØÌȈÙÁ ‰¯„Ò‰Ó