Amir Fattal born in 1978, Israel
lives and works in Berlin.
Fattal participated in numerous international group exhibitions. Acclaimed solo exhibitions to date include Parallel Lines, Teapot Gallery, Cologne, Germany (2013), Goral Ehad, St-art, Tel Aviv, Israel (2012), Shadow of Smoke Rings on the Wall, Artitude Kunstverein, Berlin, Germany (2011) and Tomorrow Gets Me Higher, Wilde Gallery, Berlin, Germany (2010). Fattal’s works were featured at the III Moscow International Biennale for Young Art, Moscow, Russia (2012). Fattal is curator of Tape Modern Berlin, a series of group exhibitions featuring emerging and established artists. He was the recipient of the Berliner Senat Katalogförderung in 2013, the Berliner Senat Arbeitsstipendium Bildende Kunst in 2010 and the GASAG Förderpreis in 2008. Fattal graduated from Universität der Künste, Berlin, in 2009.
In his work, Amir Fattal researches historical events that have nightmarish meanings that are diametrically opposed: in the early forties the architect Erich Mendelsohn, who emigrated in 1933, was involved in developing prototypes of German settlements with the US military to test the destructive effects of American bombs on German building methods. Fattal transfers preserved photographs onto metal plates by a form of pressurization of dust. In all likelihood, the uninformed viewer will associate the contents of the pictures with German concentration camps. The accompanying monochrome plates are placed in relationship to the here and now by means of a reference to the wall colors that Mendelsohn patented in the 1920s. In this context, patterns of cultural exertions of power that were written off demand unexpected temporality and reaffirm their continued claim to history through their new, current presence. In reference to dust, colors and mirroring effects, Fattal subtly shifts the cultural patterns and perspectives, and breaks with what is memorable. The past moves into a different proximity and physicality as document displays and monument. In his work, the artist reveals the ambiguity of patterns of cultural practice.
June 1, 2012
Goral Echad | Curators: Liora Belford & Dina Yakerson
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