In the exhibition, a drawing installation serves as the arena for a dramatic verbal structure. In the images, a gallery of roles, objects and situations mark the boundaries and development of the drama. The viewer identifies and recognizes the role games and locates the various perspectives, but this is a partial marking, holding within it many gaps and question marks that create a stratification and make it difficult to decipher the drama as linear and documentary.
In the role gallery, the establishment of the identity is in direct relation to the visibility of the body and to the look establishing it as an object of desire. The image is fixed by a categorical dichotomous look structured within the language, which in itself is dichotomous and categorical between black/white, man/woman, blond/brunette. The feminine action strategy exposes a production process of feminine representation that is mainly defective and grotesque. The blond woman is aware of being an object of looks, she stares ahead with an injured eye and smiling, undermining the very possibility of a feminine identity to exist as a whole and perfect identity.
The look becomes the principal actor in the role gallery that is present in the works of art. The look that returns a look even if the eyes are inflammatory or injured and the absent look, hidden by a mask or glasses, as well as the eyes looking down. All these cross each other into a network of looks. The structure unites the body that is present in the drawing, and on the other hand points at the weakness points it holds within it.
Tal Ben-Tzi "Brunette" is the first solo exhibition for the artist Neta Harary Navon.
1991-92 The Academy of Art "Betsalel", Jerusalem, Department of Art.
1992-95 Tel-Aviv University, B.A. in Stage Design, Department of Theatre.
1995-98 Graduate of the College of Art, Kalmania.