Photoluminescence "Glow in the Dark" Vinyl, Fluorescent lights, Strobe light, Reflective Fabric, Yellow Fluorescent Vinyl, PVC, Spray Paint, PA Soundsystem; Dimensions Variable; Music: Rødhåd (K.Bethanien), Dj OneFinger (Herzliya M.)
Installation view at Herzliya Museum of Contemporary Art, Israel; Künstlehrhaus Bethanien, Berlin, Germany. Made possible with the additional support of Artis and the Israeli Ministry of Foreign Affairs and the friends of the Herzliya Museum. Documentation: Sam Smith, David Brandt (Berlin) Shaxaf Haber (Herzliya)
Review exhibition at Herzliya Museum, Globes (Heb.), 21.9 2014)
Review exhibitions at KB, Art in Berlin (Ger.) (22.4, 2014)
About the work by Gilly Karjevsky:
Sound and music has a physical, sub-conscious quality of unmediated strength. Sound can manipulate and dominate space, and its relations to the seen are complex and sometimes contradictory. This work attempts to distill these relations through the creation of a compressed life cycle of darkness and light and back again, in correspondence with original dance music composed for the event by Berlin techno DJ and producer Rødhåd. The Künstlerhaus Bethaniens exhibition hall was transformed into a glow-in-the-dark dance-floor, referring to the historical ballrooms of Berlin clashed with the contemporary mature clubbing culture of today, with its radiating fluorescent futuristic colors of the night.
The glowing photoluminescence film, usually used as thin strips marking emergency staircases and seat locations in dark theatres, here becomes the main protagonist of the space/work, charged by the harsh light in frequent loops, blinding in parts, awfully dark in others, reflecting the gaze, sending it back and away, as a form of choreographed resistance. This resistance comes not as a critical disengagement, not as an opposition to the ordained regulations, but as a deconstruction of the relationship of light and darkness, both physical and cultural. This work is deeply rooted in the clubs of counter culture and premature vandal tendencies, where darkness allows for another kind of safety and sound is the mechanism for manipulation and dominance, rather than sight.
“…In the show, "Safe and Sound", Rodeh highlights the trialectical manipulation of space, sound and light, as seen from the other side of the clubbing culture. Clubbing has never been so regulated and approved by authorities as it is today. In it's original form, it is an act of defiance, of battling oversight. From the original Berlin ballrooms, through rave parties, through the darkened cellars of Techno. The clubbing experience of opposition and freedom, of release, is only complete when the darkness transforms to the blindness of daylight…”