The Face was Abstraction / הפנים היו הפשטה
The Lobby Art Space, Tel Aviv, 2016
Solo Exhibition
"Constanin Brancusi’s 1910 “Sleeping Muse,” a marble sculpture of mythical status, is at the center of Dana Darvish’s new exhibition. Following his muse sculpture, Brancusi often returned to the theme of the reclining face, increasingly aspiring to a higher level of abstraction. In a series of doublings, distortions and overlays evocative of the modern master’s own intensive preoccupation with this theme, Darvish sets out to awaken the sleeping muse, taking the loss of the face – and in fact the loss of the muse – as her starting point for the series..."
Dana Darvish | Art. dana279@gmail.com
דנה דרויש | דנה דרוויש
Dana Darvish | Art. dana279@gmail.com
דנה דרויש | דנה דרוויש
The Gods' Sorrow | צער האלים
Video, 8:00 min, 2002
״In her work “The Gods’ Sorrow” (2002) Dana Darvish devises a nightmare vision of vicious matriarchial rule, with women warriors, harem concubines and showgirls alongside eunuchs and dogs - all loyal servants of a carnal and ruthless female monster. In “The Gods’ Sorrow”, much like Bataille’s “Story of the Eye” there is an excess of cruelty, sex and death, a visual deluge aimed at provoking a response from the viewer..."
from "Twisted Reality" Catalog. The Israeli Center for Digital Art
Curators: Irena Gordon & Yoav Raban
Continue Reading Hebrew & English
Turning Point 5 ~ נקודת ממפנה 5
Made of Stone ~ עשוי מאבן
The Roman Square, Damascus Gate, Jerusalem | Curator: Tali Ben Nun | 2014
“Darvish plans fictional museal artifacts in the Roman Square’s permanent display, disrupting the historical narrative of the place. A postcard dispenser become a functional alter for an image on the cover of a book about the sculptures of the classical world. The use of the readymade image bearing a price (5.00 €) undermines the spiritual value of the original art object. Another object that Darvish plants in the permanent display in front of the Aelia Capitolina mosaic model is an archival photograph of a royal necklace found in the room of Tutankhamun by a delegation of British explorers. This valuable jewel- which Darvish presents to the viewer on fabricated support - stands for the cultural, artistic and economic legacy of Ancient Egypt. Darvish managed to draw imaginary lines between three objects from different origins, and through them produce a new image that sheds a different light on the relations between the poetic, the historical, and the eternal in art.”