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
The Destruction of all Art ~ הרס כל האמנות
Montage | Inkjet print, 42x32 cm | since 2014
״A special section in the exhibition is dedicated to previous works by the artist, created since 2014 under the title "The Destruction of All Art". These are collages that join together different images like artworks, commercials, and movie stills. The act of putting the different images together produces for them a different history, organs they did not know, words they could not imagine. "The Destruction of All Art" also features images of animals, which take on meanings connected to the body, to sexuality, language and more. Here, however, they join a whole spectrum of images that travel through visual history, foreign images that peek under each other, are swallowed up or cut into each other as if they were always hidden there.״
Leah Abir, Curator
from the exhibition text "Actual Animsls"

















































