Plywood, Formica, Reflective Fabric, Lights; Dimensions Variable; Sound: 5 min looped; Original Music: Gymnopédie No.1, Erik Satie; Recorded Performance: Yuval (Tubi) Zolotov; Musical Production: Kalbata (Ariel Tagar)
Commission by Tel Aviv Museum of Art, for "Showtime", 3 person show at Helena Rubinstein Pavilion for Contemporary Art (Curator: Hadas Maor). Made possible with the additional support of Outset. Documentation: Tal Nisim, Oded Lobl
Review and Interview, Itai Eilani for Yediot Tel Aviv (Heb), 13.10.2013
Read Hadas Maor's text:
Alona Rodeh's “Neither Day Nor Night” (2013) was specially constructed for the space it is located in, on the -1 level of the Helena Rubinstein Pavilion for Contemporary Art. In the darkened space is a wide chess patterned wooden stage, and a reflective pleated curtain located at it’s far end. Low-toned music, synchronized with changing lights, emanates from the loudspeakers set into the floor. The music playing is a contemporary adaptation of an 1888 composition by the popular modern composer Erik Satie, Gymnopédie #1. Originally composed for piano, this adaptation is for tuba, the lowest-pitched brass instrument; The result is simultaneously harmonious and disharmonious, transforming the familiar into the unusual and creating a sense of expansion into a fantastic dimension.
The introduction of the element of time and duration into the space momentarily transforms it into an abandoned basement, a spectacular banquet hall, and a senseless exhibition space featuring an architectural model reminiscent of the Parthenon. The title of the work, Neither Day nor Night, refers to a state of negation – an intermediate, ephemeral state that defies definition and verges on collapse. In the same manner, the space of the work produces a distinct, clearly circumscribed heterotopia suspended outside time; a space that produces suspension, expectation, and unfulfilled longing.
The title also charges the work with a mystical dimension. The origin of the expression "Neither day nor night" is the Prophecy of Zechariah, yet it is largely familiar through the liturgical poem "Then, in the Middle of the Night," which appears at the end of the Passover Haggadah. The poem describes a day that will exceed the natural order of things, when light will shine in the middle of the night. This description refers to the End of Days, when there will no longer be days or nights, when time will exceed its own limits. An entirely different cosmic state. A state of redemption.