LandEscape Art Review // Special Issue | Page 92

Land scape
Tali Navon
CONTEMPORARY ART REVIEW
Over the years , your works have been showcased both nationally and internationally , including screenings at the Jerusalem Film Festival as well as in London , Boston , Middlebury College in Vermont , the Total Museum for Contemporary Art in Seoul and the Tel Aviv Museum of Art . One of the hallmarks of your work is the capability to create a direct involvement with the viewers , who are urged to evolve from a condition of mere spectatorship . So before concluding this conversation , we would like to pose a question about the nature of the relationship of your art with your audience . Do you consider the issue of audience reception a crucial component of your decision-making process in terms of what type of language is used in a particular context ?
The viewer is important to me – I want the viewer to think , to feel , to have the experience . Actually , everything you just asked about is important to me . I value the interaction with people from all over the world and want my work to be universal , so I generally do not rely on a specific language , but on sounds that have the potential to move everyone , whether the sound includes words they understand or not . One example of this is my video Confetti , in which a choir of children from Heraklion in Crete is heard singing . Children at play is an important topic to which I have dedicated some of my works , such as the series I titled , Not in Tune . These oil on glass works were displayed in my solo exhibition at Mishkenot Sha ’ ananim in Jerusalem .