http://www.adifluman.com/three-dimensions-or-an-image daily 0.75 2021-05-03 https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1423346922923-55XE4172EOBHY9QNDVEM/4.jpg Three Dimensions or an Image Three Dimensions or an Image, 2013, UV print on PVC, wood, animation video, 360 x 540 x 240 cm BFA Final show, installation view, Bezalel Academy of Art and Design, Jerusalem, Israel https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1423346922923-55XE4172EOBHY9QNDVEM/4.jpg Three Dimensions or an Image Three Dimensions or an Image, 2013, UV print on PVC, wood, animation video, 360 x 540 x 240 cm BFA Final show, installation view, Bezalel Academy of Art and Design, Jerusalem, Israel https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1423346916238-68XHBTHPRAB1VG4MJ6NL/1.jpg Three Dimensions or an Image     http://www.adifluman.com/bottleneck daily 0.75 2021-05-04 https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1467735442061-ERMJPDT65RWIF19R6NDK/_MG_8999.jpg Bottleneck - Bottleneck MFA final show, 2016, Bezalel Academy of Arts and Design, Tel Aviv, Israel Territory of Absence Fluman creates her artwork in an installation space in which the works cohere together as a proposal for objects or a simulation of them. The latter elude their traditional status as having been made of concrete material, thus enabling and presenting the outcome of consciousness. At first sight, the images are perceived as a photograph of the image of bones supporting bodily organs, but the body itself is absent: only the support remains present as evidence of a body. For example, in the work addressing the neck, the image remains as testimony of the artist’s own neck, alluding to an absent portrait. The dirge for the body resonates in the exhibition space, while the images project passion and mourning, with a simultaneous embodiment of the spirit of being and nothingness. A deeper look provides conveys to viewers a concrete sculptural presence on a two-dimensional surface, creating the illusory image of three-dimensional material. The image and its background are sculpted digitally using non-material tools. They are sculptures whose mold is a software program, formalized as the language of a different kind of object. The source of the image is photographic printing, however, the image is not a relic of standard documentation and staging, but instead was created using awareness as a tool and in a cognitive process. In this way, Fluman created a pelvic bone, conveying a material, plastic sensation through the language of digital resources. Fluman states: “The materials I see have temporary qualities of life and death. They are linked to undefined Time. For example, in Mother, the materiality of the work is comprised of the connection and stretching of photographic samples of an old crystal vase from my grandfather’s home. These segments were photographed at various angles under diverse lighting conditions, later becoming the envelope of the work. When I begin work on a digital sculpture, I always think about how it is going to look from a single camera viewpoint. But the final outcome of the process lies between image and sculpture, since the initial action is a sculptural act, although the result is flat.” Fluman’s installation is consequently a space of consciousness sometimes standing as a surrealist backdrop to a clinic, while at other times, as a space of proofs of memory of a potential body. Time and the body are absent in the works, leaving only the supports. Fluman raises issues of the image coming into being and concepts of space, on what is between the concrete and the simulated fabric curtain as compared to the digitally-sculpted mattress Soft Green. Through her actions, Fluman opens the gap between the photographed object and its concretization; within the field she opens up, she creates a simulacrum of the object, created not from displacement from the field of reality into the simulated, but out of an entanglement of meanings she structures in layers of narrative flickers and reference points from her private iconography. The territory Fluman creates connects evidence to absence, linking the support to the supported, and transforming the support into the subject – the image bearing the body. In this context, we may remember the series of videos in the Cremaster Cycle by Matthew Barney (the muscle covering the testis). The images convey a sense of materiality which is convincing, which seduces the viewer into an attempt to take hold of the object. And yet that very seductive physicality ends, fading away into the flat, simulated field of the printed object. Avi Ifergan https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1467735442061-ERMJPDT65RWIF19R6NDK/_MG_8999.jpg Bottleneck - Bottleneck MFA final show, 2016, Bezalel Academy of Arts and Design, Tel Aviv, Israel Territory of Absence Fluman creates her artwork in an installation space in which the works cohere together as a proposal for objects or a simulation of them. The latter elude their traditional status as having been made of concrete material, thus enabling and presenting the outcome of consciousness. At first sight, the images are perceived as a photograph of the image of bones supporting bodily organs, but the body itself is absent: only the support remains present as evidence of a body. For example, in the work addressing the neck, the image remains as testimony of the artist’s own neck, alluding to an absent portrait. The dirge for the body resonates in the exhibition space, while the images project passion and mourning, with a simultaneous embodiment of the spirit of being and nothingness. A deeper look provides conveys to viewers a concrete sculptural presence on a two-dimensional surface, creating the illusory image of three-dimensional material. The image and its background are sculpted digitally using non-material tools. They are sculptures whose mold is a software program, formalized as the language of a different kind of object. The source of the image is photographic printing, however, the image is not a relic of standard documentation and staging, but instead was created using awareness as a tool and in a cognitive process. In this way, Fluman created a pelvic bone, conveying a material, plastic sensation through the language of digital resources. Fluman states: “The materials I see have temporary qualities of life and death. They are linked to undefined Time. For example, in Mother, the materiality of the work is comprised of the connection and stretching of photographic samples of an old crystal vase from my grandfather’s home. These segments were photographed at various angles under diverse lighting conditions, later becoming the envelope of the work. When I begin work on a digital sculpture, I always think about how it is going to look from a single camera viewpoint. But the final outcome of the process lies between image and sculpture, since the initial action is a sculptural act, although the result is flat.” Fluman’s installation is consequently a space of consciousness sometimes standing as a surrealist backdrop to a clinic, while at other times, as a space of proofs of memory of a potential body. Time and the body are absent in the works, leaving only the supports. Fluman raises issues of the image coming into being and concepts of space, on what is between the concrete and the simulated fabric curtain as compared to the digitally-sculpted mattress Soft Green. Through her actions, Fluman opens the gap between the photographed object and its concretization; within the field she opens up, she creates a simulacrum of the object, created not from displacement from the field of reality into the simulated, but out of an entanglement of meanings she structures in layers of narrative flickers and reference points from her private iconography. The territory Fluman creates connects evidence to absence, linking the support to the supported, and transforming the support into the subject – the image bearing the body. In this context, we may remember the series of videos in the Cremaster Cycle by Matthew Barney (the muscle covering the testis). The images convey a sense of materiality which is convincing, which seduces the viewer into an attempt to take hold of the object. And yet that very seductive physicality ends, fading away into the flat, simulated field of the printed object. Avi Ifergan https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1501442175494-CHCNA2XIFWDXS83SHK8Q/Soft+Green.jpg Bottleneck - Soft Green Inkjet print on paper, wood 2016 110 x 260 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1467738199855-C7BQFKNU1V76UA2H8UKA/_MG_8942.jpg Bottleneck https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1467735436866-WO6PHWRNIBXFT3CT9UAA/_MG_8984.jpg Bottleneck https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1467735447160-0UEJJ6LED1B7CARABBI9/_MG_9017.jpg Bottleneck https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1467735452098-V0I9JWFND8VFWAP7FOAF/_MG_9018.jpg Bottleneck https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1467741138471-EGI7J13IE4BJ9HEI9GUV/_MG_8968.jpg Bottleneck - I Can Just Speak Soft and She'll Hear Me digital sculpting, digital printing on satin paper, CNC wood cut 2016 110 x 260 cm https://static1.squarespace.com/static/54d53b78e4b0a28c3de58d01/577bdb7bbebafbe36df4ddd0/577bdca76a4963d30fb2177b/1467735207830/ Bottleneck http://www.adifluman.com/the-perfect-lamina daily 0.75 2021-05-04 https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1516916946550-2YIBX56GD6BE33T277Z1/Adi+Fluman%2C+2017%2C+Exhibition+view+%282%29.jpg The Perfect Lamina - The Perfect Lamina 2017, installation view, Dvir Gallery, Tel Aviv, Israel. Photo: Elad Sarig Identity politics and gender studies of the opaque: Ruminating on the art of Adi Fluman Do artworks have an identity? When we look at a work of art we usually know immediately “what it is”, which identity we should apply to it according to clear categories – a painting, a sculpture, a drawing, and a photograph. It is actually the medium of photography, the one that supposedly holds the highest amount of adherence to reality, which made things more complex, redefining, in favor of a more exciting level of complexity (or confusion), the aforementioned act of identification. The first big break happened with the movements of the 1960s and 1970s – conceptual art, minimal art, performance art, land art, pop art, and arte povera. Following this moment, artworks, especially photographs, started to be distributed as photographs without being actually so, the most obvious example being photographic documentation of performance and land art. The second big break came with the digital revolution and the growing awareness of virtual spaces, which are generated and exist elsewhere. “Elsewhere” is exactly where Adi Fluman ‘sculpts’ her works. Within the three-dimensional generated space of computer software, Fluman builds scenes, which are first constructed and then covered with specific surfaces. Despite any assumption and easy conclusion she also creates, through the observation of materials such as hair, fabric (from aged cloth to iridescent velvet), leather and glass, the surfaces of the objects built in this virtual space. After the scene, with its objects and related surfaces, is complete, the artist deals with the source, or sources, of light and finally directs the digital eye in order to virtually photograph the scene she created. This shot is consequently printed on paper, making its transition from the virtual space to the other space, our space. The identification of this object is, as anticipated, quite far from the immediate simplicity introduced above. Is it a photograph? Is it a sculpture? Is it a print? There are multiple answers to these questions and all of them can be easily deconstructed and put under scrutiny. While the artist is perfectly aware of all these issues and lets us “wander in the dark” trying to translate her cryptic creations (perhaps a slightly sadistic reward for her laborious accomplishments) she also does not miss the opportunity to give us clues, leading us to what she thinks about the essence of the things she makes. Indeed the trap* lies in the frames. Following the print, or rather simultaneously to the creation of what we can encounter through the print, the artist also designs customized frames, which are fabricated with a clear and yet oblique connection with what we see in the print. For instance, the print of a chunk of digitally sculpted brunette hair is inserted into a wooden frame that not only has the same shades of brown, but it also echoes the existence of every single hair through the veins of the wood. Another example is a print in which we can see a piece of cloth similar to those used to cover the internal part of cases built to collect precious coins. The said print is then presented inside a frame whose shapes, despite the difference in size from an actual case like those, suggest an actual open case as if the cover had been removed leaving half of its zipper on view. In other words, despite coming from the field of photography, Adi Fluman finally reveals herself as a “digital sculptress” clarifying her total belief in this other space, which is the one generated by the software she uses to make her work. However this conclusion should not let us think that we now left the aforementioned complexity; quite the opposite, the more we think we know what we have in front, the more the thing itself tries to run away from clear definitions. The last element, which adds more complexity to this scenario, comes from language, another form of communication meant to aim at objectivity. The best example in this regard is the title of Fluman’s first mature presentation, which anticipates this body of work. Entitled Bottleneck** it glorified that gray area, that opaque territory, in which elements of living and non-living objects are superimposed through formalism, makings us wonder, again, and again, and again. Nicola Trezzi * In English, the verb “to frame” has a direct meaning, to insert a bi-dimensional object into a frame, and a metaphorical meaning, which is to provide false evidence or false testimony in order to falsely prove someone guilty of a crime, to “trap” a person with unfounded accusations. ** While English stays genderless when it comes to objects, other languages, such as Hebrew (Fluman’s mother tongue) and Italian (my mother tongue), apply gender to objects, adding another layer to this gray area in which dichotomies such as bi-dimensional (photography) and three-dimensional (sculpture), virtual and real, the representation of things (the print) and the thing itself (frame), living and non-living, become two sides of the same coin. https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1516916946550-2YIBX56GD6BE33T277Z1/Adi+Fluman%2C+2017%2C+Exhibition+view+%282%29.jpg The Perfect Lamina - The Perfect Lamina 2017, installation view, Dvir Gallery, Tel Aviv, Israel. Photo: Elad Sarig Identity politics and gender studies of the opaque: Ruminating on the art of Adi Fluman Do artworks have an identity? When we look at a work of art we usually know immediately “what it is”, which identity we should apply to it according to clear categories – a painting, a sculpture, a drawing, and a photograph. It is actually the medium of photography, the one that supposedly holds the highest amount of adherence to reality, which made things more complex, redefining, in favor of a more exciting level of complexity (or confusion), the aforementioned act of identification. The first big break happened with the movements of the 1960s and 1970s – conceptual art, minimal art, performance art, land art, pop art, and arte povera. Following this moment, artworks, especially photographs, started to be distributed as photographs without being actually so, the most obvious example being photographic documentation of performance and land art. The second big break came with the digital revolution and the growing awareness of virtual spaces, which are generated and exist elsewhere. “Elsewhere” is exactly where Adi Fluman ‘sculpts’ her works. Within the three-dimensional generated space of computer software, Fluman builds scenes, which are first constructed and then covered with specific surfaces. Despite any assumption and easy conclusion she also creates, through the observation of materials such as hair, fabric (from aged cloth to iridescent velvet), leather and glass, the surfaces of the objects built in this virtual space. After the scene, with its objects and related surfaces, is complete, the artist deals with the source, or sources, of light and finally directs the digital eye in order to virtually photograph the scene she created. This shot is consequently printed on paper, making its transition from the virtual space to the other space, our space. The identification of this object is, as anticipated, quite far from the immediate simplicity introduced above. Is it a photograph? Is it a sculpture? Is it a print? There are multiple answers to these questions and all of them can be easily deconstructed and put under scrutiny. While the artist is perfectly aware of all these issues and lets us “wander in the dark” trying to translate her cryptic creations (perhaps a slightly sadistic reward for her laborious accomplishments) she also does not miss the opportunity to give us clues, leading us to what she thinks about the essence of the things she makes. Indeed the trap* lies in the frames. Following the print, or rather simultaneously to the creation of what we can encounter through the print, the artist also designs customized frames, which are fabricated with a clear and yet oblique connection with what we see in the print. For instance, the print of a chunk of digitally sculpted brunette hair is inserted into a wooden frame that not only has the same shades of brown, but it also echoes the existence of every single hair through the veins of the wood. Another example is a print in which we can see a piece of cloth similar to those used to cover the internal part of cases built to collect precious coins. The said print is then presented inside a frame whose shapes, despite the difference in size from an actual case like those, suggest an actual open case as if the cover had been removed leaving half of its zipper on view. In other words, despite coming from the field of photography, Adi Fluman finally reveals herself as a “digital sculptress” clarifying her total belief in this other space, which is the one generated by the software she uses to make her work. However this conclusion should not let us think that we now left the aforementioned complexity; quite the opposite, the more we think we know what we have in front, the more the thing itself tries to run away from clear definitions. The last element, which adds more complexity to this scenario, comes from language, another form of communication meant to aim at objectivity. The best example in this regard is the title of Fluman’s first mature presentation, which anticipates this body of work. Entitled Bottleneck** it glorified that gray area, that opaque territory, in which elements of living and non-living objects are superimposed through formalism, makings us wonder, again, and again, and again. Nicola Trezzi * In English, the verb “to frame” has a direct meaning, to insert a bi-dimensional object into a frame, and a metaphorical meaning, which is to provide false evidence or false testimony in order to falsely prove someone guilty of a crime, to “trap” a person with unfounded accusations. ** While English stays genderless when it comes to objects, other languages, such as Hebrew (Fluman’s mother tongue) and Italian (my mother tongue), apply gender to objects, adding another layer to this gray area in which dichotomies such as bi-dimensional (photography) and three-dimensional (sculpture), virtual and real, the representation of things (the print) and the thing itself (frame), living and non-living, become two sides of the same coin. https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1516916965285-N19RXHS1JKDULA9E8YRZ/Adi+Fluman%2C+Untitled+%28Coin+Case%29%2C+2017%2C+207.5+x+67.5+x+11+cm%2C+inkjet+print+on+paper%2C+walnut+wood%2C+aluminum%2C+unique.jpg The Perfect Lamina - Untitled (Coin Case) Inkjet print on paper, Walnut wood, aluminum 2017 207.5 x 67.5 x 11 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1516916951667-NFCFN2JA39CII39356WB/Adi+Fluman%2C+2017%2C+Exhibition+view.jpg The Perfect Lamina https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1516916946025-Q7ECSKVGU16Y37RF197D/Adi+Fluman%2C+2017%2C+Exhibition+view+%283%29.jpg The Perfect Lamina http://www.adifluman.com/souvenir-damitie daily 0.75 2021-05-04 https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1601467288027-LSM5JXV68JS90QSVDJ9X/2020_09_17_0957-1.jpg Souvenir d’amitié - Puissions nous les imiter Digital sculpture, inkjet printed on paper in artist frame (oakwood), 2020, 62.8 × 92.8 × 8 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1601467288027-LSM5JXV68JS90QSVDJ9X/2020_09_17_0957-1.jpg Souvenir d’amitié - Puissions nous les imiter Digital sculpture, inkjet printed on paper in artist frame (oakwood), 2020, 62.8 × 92.8 × 8 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1601467299293-QSP1U4N5M8ZQW90BGGKH/2020_09_17_1036-2.jpg Souvenir d’amitié - Souvenir d’amitié 2020, Installation view, Center for Contemporary Art Tel Aviv, Israel. Photo: Tal Nisim In this exhibition, entitled “Souvenir d’amitié” the artist presents a new body of works that continues her exploration of the boundaries between representation and reality. At first glance, her works appear to be three-dimensional, but in fact they are flat prints created through the manual and Sisyphean digital “weaving” of tens of thousands of points that the artist connects to one another through 3D modeling computer software. This meticulous method she uses to create her “digital tromp l’oeil,” triggers the curiosity of the viewer, who often indulges in lengthy viewing sessions. In sheer contrast with the fast pace usually devoted to today’s consumption of images, especially digital images, Fluman’s work creates moments of disorienting contemplation. The works presented in the exhibition deal with the power of material objects and their capability to convey what appears to be immaterial. The starting point of this exhibition is an object found by the artist in the collection of the RISD Museum: a small wallet from the 18th century made in France by an unidentified woman for her husband as a symbol of their marital love, a customary habit of the time. Inspired by the idea of small objects carrying personal and universal feelings, often created through laborious and time-consuming crafts and artisanal techniques, Fluman appropriated images of such kind of belongings, which are charged with supposedly intangible values, such as love, intimacy and affection. Through the employment of her signature technique, the artist implements a series of actions on these objects – from enlargement to decontextualization, from fragmentation to dimensional transition. The latter action transforms these objects from three-dimensional, rare and collectible items into works of contemporary art consisting of bi-dimensional appropriated images, which are printed and showcased in artist frames, often echoing, through their materials, the texture of the image. These actions modify the original purpose of the objects, generating a nuanced sense of uncanny familiarity so that they shift from being personal effects in order to become publicly-displayed, embodiments of anonymous affects. “Adi Fluman: Souvenir d’amitié” is curated by Nicola Trezzi, Director and Curator, and Bar Goren, Assistant Curator, CCA Tel Aviv and it will be accompanied by a leaflet in three languages. The exhibition is part of a collaboration between three institutions in Israel – CCA Tel Aviv, The Negev Museum of Art in Be'er Sheva and The Bar David Museum for Art and Judaica in Kibbutz Baram. It is supported by OUTSET Israel and Dvir Gallery Tel Aviv / Brussels. https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1601467288510-3FO88BCH1MAKW3DJUV3K/2020_09_17_0948-1.jpg Souvenir d’amitié - Carte Amour Digital sculpture, inkjet printed on paper in artist frame (American walnut wood), 2020, 122.5 × 92 × 8 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1601467302383-SD3YXYXX3A7YI6PWQ7YU/2020_09_17_1043-2.jpg Souvenir d’amitié https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1601467304764-IMY5JHHQOATWE7W1RTNZ/2020_09_17_1064-1+%281%29.jpg Souvenir d’amitié https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1601467305880-BAMWE2I7IIZJGT7MWFMU/2020_09_17_1077-1+done.jpg Souvenir d’amitié https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1601467306865-GZXJH2FI64V12JH375KX/Untitled_Panorama1+%281%29.jpg Souvenir d’amitié http://www.adifluman.com/pandoras-box daily 0.75 2021-05-04 https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620071198713-WXKLDUCDBLIKYNUP5WCG/AdiFluman_00.jpg Pandora's Box - Pandora's Box 2021, installation view, The Negev Museum of Art, Be'er Sheva, Israel. Photo: Tal Nisim The hybrid and mysterious works of Adi Fluman bring together objects and images, the manual and the digital, three- and two-dimensionality, the artwork and its frame. Often inspired by images found on the Internet, her laborious creations trigger the viewer’s eye, asking to question what we think we see, to look beyond the surface of things – despite their seductiveness – and to appreciate the intrinsic power of man-made objects. Her creative process includes making 3D models using computer software, which are printed and presented in special frames she designs. She calls her works “inkjet-printed digital sculptures in artist frames.” This exhibition presents the development of Fluman’s practice through three series of works: “Bottleneck” (2016), produced as her graduation project at the MFA program (in Tel Aviv-Yafo) at Bezalel Academy of Arts and Design, Jerusalem; “The Perfect Lamina” (2017), showcased at Dvir Gallery in Tel Aviv; and “Souvenir d’amitié” (2020), premiered at CCA – Center for Contemporary Art Tel Aviv. Following the museum’s architecture, each room is dedicated to one series, presented in its entirety. On the ground floor, the “Bottleneck” series mixes body parts with objects and connects the human and the non-human, as well as biographical elements with scientific materials. In the first gallery on the top floor, “The Perfect Lamina” features works inspired by various toolboxes and containers, enriched by sophisticated and mimetic layers (laminas) and sculptural artist frames. Displayed in the last section of the exhibition, “Souvenir d’amitié” [French: reminders of friendship] are prints of 3D renderings so detailed and meticulous that they could be mistaken for photographs. These works are inspired by historical objects, now in museum collections, usually crafted by anonymous creators as expressions of immaterial values, such as marital love. The title of this exhibition is taken from the Greek mythological figure of Pandora, the first woman created by the gods and sent to humankind with a box filled with all the illnesses and hardships that the gods had kept secreted from humans. Her name means “all-gifted”, from the combination of pan (all) and doron (gift). Intended as a punishment to humankind after receiving from Prometheus fire he had stolen from the gods, Pandora was asked to keep the box closed. Unable to resist her curiosity, she opened the box, letting all the evil spirits out. Echoing this myth, the exhibition offers reflections on the notions of gifting, divine creation, technology, gender, and secrets. “Adi Fluman: Pandora's Box” is curated by Nicola Trezzi, Director and Curator of CCA Tel Aviv. Assistant curator: Bar Goren. This project is a collaboration between the Center, the Negev Museum of Art, and the Bar-David Museum of Art and Judaica in Kibbutz Bar’am, where Fluman will present its last chapter. “Talismans”, Fluman’s first monograph, accompanies the entire project, which is supported by OUTSET Contemporary Art Fund (Israel) and Dvir Gallery, Tel Aviv / Brussels. https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620071198713-WXKLDUCDBLIKYNUP5WCG/AdiFluman_00.jpg Pandora's Box - Pandora's Box 2021, installation view, The Negev Museum of Art, Be'er Sheva, Israel. Photo: Tal Nisim The hybrid and mysterious works of Adi Fluman bring together objects and images, the manual and the digital, three- and two-dimensionality, the artwork and its frame. Often inspired by images found on the Internet, her laborious creations trigger the viewer’s eye, asking to question what we think we see, to look beyond the surface of things – despite their seductiveness – and to appreciate the intrinsic power of man-made objects. Her creative process includes making 3D models using computer software, which are printed and presented in special frames she designs. She calls her works “inkjet-printed digital sculptures in artist frames.” This exhibition presents the development of Fluman’s practice through three series of works: “Bottleneck” (2016), produced as her graduation project at the MFA program (in Tel Aviv-Yafo) at Bezalel Academy of Arts and Design, Jerusalem; “The Perfect Lamina” (2017), showcased at Dvir Gallery in Tel Aviv; and “Souvenir d’amitié” (2020), premiered at CCA – Center for Contemporary Art Tel Aviv. Following the museum’s architecture, each room is dedicated to one series, presented in its entirety. On the ground floor, the “Bottleneck” series mixes body parts with objects and connects the human and the non-human, as well as biographical elements with scientific materials. In the first gallery on the top floor, “The Perfect Lamina” features works inspired by various toolboxes and containers, enriched by sophisticated and mimetic layers (laminas) and sculptural artist frames. Displayed in the last section of the exhibition, “Souvenir d’amitié” [French: reminders of friendship] are prints of 3D renderings so detailed and meticulous that they could be mistaken for photographs. These works are inspired by historical objects, now in museum collections, usually crafted by anonymous creators as expressions of immaterial values, such as marital love. The title of this exhibition is taken from the Greek mythological figure of Pandora, the first woman created by the gods and sent to humankind with a box filled with all the illnesses and hardships that the gods had kept secreted from humans. Her name means “all-gifted”, from the combination of pan (all) and doron (gift). Intended as a punishment to humankind after receiving from Prometheus fire he had stolen from the gods, Pandora was asked to keep the box closed. Unable to resist her curiosity, she opened the box, letting all the evil spirits out. Echoing this myth, the exhibition offers reflections on the notions of gifting, divine creation, technology, gender, and secrets. “Adi Fluman: Pandora's Box” is curated by Nicola Trezzi, Director and Curator of CCA Tel Aviv. Assistant curator: Bar Goren. This project is a collaboration between the Center, the Negev Museum of Art, and the Bar-David Museum of Art and Judaica in Kibbutz Bar’am, where Fluman will present its last chapter. “Talismans”, Fluman’s first monograph, accompanies the entire project, which is supported by OUTSET Contemporary Art Fund (Israel) and Dvir Gallery, Tel Aviv / Brussels. https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620071201773-2BNDATJETBZ235JC5X5B/AdiFluman_03.jpg Pandora's Box https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620071198378-FTBRT51E5EB900DV0BWH/AdiFluman_01.jpg Pandora's Box https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620071202908-XXIQZY16NZ2GRWCUVAW2/AdiFluman_05.jpg Pandora's Box https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620071205280-E9MXOVHZYEMDVRMXVH2V/AdiFluman_06.jpg Pandora's Box https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620071206137-C20KGUBQXI7X18BOU055/AdiFluman_07.jpg Pandora's Box https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620071208861-F86OJBMX9F5XHP4G9MXX/AdiFluman_08.jpg Pandora's Box https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620071435377-Z2LK12G81SBYTU4TN4OF/AdiFluman_09.jpg Pandora's Box https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620071211083-I6I8PF8U2Z4CDAEB2PWB/AdiFluman_11.jpg Pandora's Box https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620071211492-3G1QRARXY4SNQRH6IXDS/AdiFluman_14.jpg Pandora's Box https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620071212578-ZLLYA72V285MLJNPMYUN/AdiFluman_16.jpg Pandora's Box https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620147269112-BRX55ZE8XZ9CHDIL5VUH/AdiFluman_17.jpg Pandora's Box https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620071209443-AZUN15LLTW06XX9E9OGP/AdiFluman_10.jpg Pandora's Box https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620147299761-H0RHZQJZN48U9FWWCVXG/AdiFluman_12.jpg Pandora's Box http://www.adifluman.com/green-has-gone-to-war daily 0.75 2021-11-06 https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1635880769578-7L3J0FATW31QSSHS791E/_DSC1069+copy.jpg Green Has Gone to War - Green Has Gone to War 2021, installation view, Bar-David Museum of Art and Judaica, Kibbutz Bar'am, Israel. Photo: Dror Miler In this exhibition, entitled “Green Has Gone to War,” Fluman presents a brand new body of works that continues her investigation of the boundaries between representation and source, focusing on the transition from the concrete to the abstract. In this new chapter of her practice, the medium of painting – its origins, history and legacy – plays a pivotal role. For this exhibition the artist chose to avoid treating images as they are; in other words, “a helmet is not a helmet,” (echoing René Magritte’s 1929 The Treachery of Images) but rather a surreal flower that is about to open; a 3D replica of a gecko, so hyper-realistic it actually looks completely artificial; a drawing illustrating a fabric motif has been sampled and turned into pure abstraction. Repetition is also a crucial element in the exhibition. Three dusty mirrors ‘reflect’ a space haunted by memories that cannot be perceived as a whole, but only as fragments of a dreamful setting that has turned into a nightmare – the end of a golden age and the dawn of a new dark beginning. A detail of a chandelier, with light bulbs and crystal prisms, and a clock that stopped working appear through the mirroring surfaces covered by smeared dust. Created in a 3D modeling software, following images found online, these works seem to put into question the very essence of depiction while becoming windows to an unspeakable past that cannot be forgotten, despite all the efforts. The title of the exhibition is also a fragment, this time of a longer sentence connected to the color of a pack of cigarettes, echoing Fluman’s interest in boxes and containers as ‘vehicles’ of visual, social, cultural, and historical signs. In a famous advertising campaign that used the slogan “Lucky Strike Green has gone to war,” the tobacco company claimed that the change of color of its pack, from green – the guiding color of Fluman’s exhibition display – to white, was made because the copper used in the green color was needed for World War II. Although the white package was actually introduced to modernize the label and to increase the appeal of the package among female smokers, the official reason – and related campaign – became a convenient way to make the product more marketable while appearing patriotic at the same time. “Adi Fluman: Green Has Gone to War” is curated by Nicola Trezzi and it follows “Adi Fluman: Souvenir d’amitié,” presented at CCA Tel Aviv and “Adi Fluman: Pandora’s Box,” presented at the Negev Museum of Art in Be'er Sheva. This collaboration, and its related publication Adi Fluman: Talismans, are supported by Outset Contemporary Art Fund and Dvir Gallery Tel Aviv / Brussels. https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1635880769578-7L3J0FATW31QSSHS791E/_DSC1069+copy.jpg Green Has Gone to War - Green Has Gone to War 2021, installation view, Bar-David Museum of Art and Judaica, Kibbutz Bar'am, Israel. Photo: Dror Miler In this exhibition, entitled “Green Has Gone to War,” Fluman presents a brand new body of works that continues her investigation of the boundaries between representation and source, focusing on the transition from the concrete to the abstract. In this new chapter of her practice, the medium of painting – its origins, history and legacy – plays a pivotal role. For this exhibition the artist chose to avoid treating images as they are; in other words, “a helmet is not a helmet,” (echoing René Magritte’s 1929 The Treachery of Images) but rather a surreal flower that is about to open; a 3D replica of a gecko, so hyper-realistic it actually looks completely artificial; a drawing illustrating a fabric motif has been sampled and turned into pure abstraction. Repetition is also a crucial element in the exhibition. Three dusty mirrors ‘reflect’ a space haunted by memories that cannot be perceived as a whole, but only as fragments of a dreamful setting that has turned into a nightmare – the end of a golden age and the dawn of a new dark beginning. A detail of a chandelier, with light bulbs and crystal prisms, and a clock that stopped working appear through the mirroring surfaces covered by smeared dust. Created in a 3D modeling software, following images found online, these works seem to put into question the very essence of depiction while becoming windows to an unspeakable past that cannot be forgotten, despite all the efforts. The title of the exhibition is also a fragment, this time of a longer sentence connected to the color of a pack of cigarettes, echoing Fluman’s interest in boxes and containers as ‘vehicles’ of visual, social, cultural, and historical signs. In a famous advertising campaign that used the slogan “Lucky Strike Green has gone to war,” the tobacco company claimed that the change of color of its pack, from green – the guiding color of Fluman’s exhibition display – to white, was made because the copper used in the green color was needed for World War II. Although the white package was actually introduced to modernize the label and to increase the appeal of the package among female smokers, the official reason – and related campaign – became a convenient way to make the product more marketable while appearing patriotic at the same time. “Adi Fluman: Green Has Gone to War” is curated by Nicola Trezzi and it follows “Adi Fluman: Souvenir d’amitié,” presented at CCA Tel Aviv and “Adi Fluman: Pandora’s Box,” presented at the Negev Museum of Art in Be'er Sheva. This collaboration, and its related publication Adi Fluman: Talismans, are supported by Outset Contemporary Art Fund and Dvir Gallery Tel Aviv / Brussels. https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1635880747660-1MC6VVDF4O8U49GWF8D2/_DSC1038+copy.jpg Green Has Gone to War https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1635880772045-ASE0KSXMN2WCGR7LU7OQ/_DSC1074+copy.jpg Green Has Gone to War https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1635880806423-AB8O4O56PV8KJJJCT4HZ/_DSC1130.jpg Green Has Gone to War https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1635880758434-MC9ETSYYVFSIRY62I3PY/_DSC1058+final.jpg Green Has Gone to War https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1635880751633-XED88MI08T3WFJWJ3UWK/_DSC1051+copy.jpg Green Has Gone to War https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1635880782071-HXQO4D8ETUQ3SU8WKP5T/_DSC1095.jpg Green Has Gone to War https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1635880808351-GGCSC3UL6R6ICZ0SZO5B/_DSC1132.jpg Green Has Gone to War https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1635880760125-R7S1ORXP3PC0T3SPXVQU/_DSC1059.jpg Green Has Gone to War https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1635880789478-GXGLBW7QH2KL1BG4A68I/_DSC1102.jpg Green Has Gone to War https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1635880796644-X2OCQ5ECNQCSGQU3X3MH/_DSC1111.jpg Green Has Gone to War http://www.adifluman.com/home-1 daily 1.0 2021-05-03 https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1507676921120-C6J93ECS3MLW4Z46LVML/Soft%2BGreen.jpg Home http://www.adifluman.com/contact daily 0.75 2022-10-21 http://www.adifluman.com/works daily 0.75 2021-05-03 https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1635883890006-HCE2NAOSNXYDLRGIOCJ4/_DSC1016.jpg Works Untitled 2021, digital sculpture, inkjet printed on paper in artist’s frame (Mahogany wood), 105.4 × 86.9 × 5 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1635883887185-XFNE8ULMP1N4OYP66XBT/_DSC1009.jpg Works Untitled 2021, digital sculpture, inkjet printed on paper in artist’s frame (Mahogany wood), 95.4 × 78.8 × 5 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1635883882747-E8DH47910OV5FU8FNFNG/_DSC0986.jpg Works Untitled 2021, digital sculpture, inkjet printed on paper in artist’s frame (Mahogany wood), 105.4 × 86.9 × 5 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1635883886183-HHX44WDWZ8XSNINCFMB3/_DSC1000.jpg Works Untitled 2021, digital sculpture, inkjet printed on paper in artist’s frame (Aluminum), 82.2 × 62.4 × 1.8 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1635883882954-VCI9T9SWOYM9WRGY0O3K/_DSC0994.jpg Works Untitled 2021, digital sculpture, inkjet printed on paper in artist’s frame (Aluminum), 82.2 × 62.4 × 1.8 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1635883893556-1AAYW7L9IAT9PZFQALYD/_DSC1028+copy.jpg Works Untitled 2021, digital sculpture, UV printed on plexiglass, 150 × 95 × 8 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1635883891866-SNL2MFFEX1EN9NBI5GBN/_DSC1026+copy.jpg Works Untitled 2021, digital sculpture, inkjet printed on paper in artist’s frame (sprayed black wood), 83.5 × 55.3 × 4 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620074778772-ZW8QUZGHQKCSYEV3Z6MS/2020_09_17_0948-1.jpg Works Carte Amour 2020, digital sculpture, inkjet printed on paper in artist frame (American walnut wood), 122.5 × 92 × 8 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620074781726-BZ1SLI26ARY0I4S2DDM1/2020_09_17_0984-1.jpg Works Lucy Locket 2020, digital sculpture, inkjet printed on paper, mounted on black PVC, 2020, 30 × 200 × 0.3 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620077829044-MUXNKLPG4K2ADYF2RD2P/2020_09_17_1029-1.jpg Works Untitled 2020, digital sculpture, inkjet printed on paper in artist’s frame (sprayed black semi-matt wood), 155 × 111 × 4.5 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620074780520-N6CYZJBKT1PATY1ZW12T/2020_09_17_0975-1.jpg Works Untitled 2020, digital sculpture, inkjet printed on paper, mounted on cork, 52 × 180 × 0.5 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620074778409-PJXI7HI7FHDR7HE8BSP7/2020_09_17_0957-1.jpg Works Puissions nous les imiter 2020, digital sculpture, inkjet printed on paper in artist’s frame (oak wood), 62.8 × 92.8 × 8 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620074784325-VFD45RNGB88B6UTGJH38/2020_09_17_1004-1.jpg Works Untitled 2020, digital sculpture, inkjet printed on paper in artist’s frame (African walnut wood), 122.5 × 109.5 × 8 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620077038776-6NWX8H1EXRIQKFH21JUT/Untitled%2C+2020.+Digital+sculpture%2C+inkjet+printed+on+paper+in+artist%E2%80%99s+frame+%28maple+wood%29%2C+132.5%C3%9786%C3%978+cm.+Photo+Tal+Nisim.+Courtesy+of+the+artist+and+Dvir+Gallery%2C+Tel+Aviv-Brussels.jpg Works Untitled 2020, digital sculpture, inkjet printed on paper in artist’s frame (maple wood), 132.5 × 86 × 8 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620076373015-07L9UC38XYOV0BE544H7/Dvir_016.jpg Works Untitled 2020, digital sculpture, inkjet printed on paper in artist’s frame (sprayed black wood), 145 × 100 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620076454028-IGBS9ENYHTZJZ785V42V/9+Untitled+%28Bracelet%29.jpg Works Untitled (Bracelet) 2019, digital sculpture, inkjet printed on paper in artist’s frame (oak wood, linen), 95 × 350 × 9 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620076154392-5B6WQSOSRZF3JHCRKXUQ/Adi+Fluman%2C+Untitled+%28Brooch%29%2C+2017%2C+107+x+72+x+9.5+cm%2C+inkjet+print+on+paper%2C+glass%2C+mohogany+wood%2C+brass%2C+unique.jpg Works Untitled (Brooch) 2017, digital sculpture, inkjet printed on paper in artist’s frame (mahogany wood, brass), 107 × 72 × 9.5 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620570929849-JUCX52QP3WBIL1BC91I4/19.+Untitled+%28Cigarette+Case%29%2C+2017.+Digital+sculpture%2C+inkjet+printed+on+paper+in+artist%E2%80%99s+frame+%28maple+wood%2C+aluminium%29%2C+74%C3%9791%C3%9712+cm.+Photo+Elad+Sarig%2C+Courtesy+of+the+artist+and+Dvir+Gallery%2C+Tel+Aviv-Brussels.jpg Works Untitled (Cigarette Case) 2017, digital sculpture, inkjet printed on paper in artist’s frame (maple wood, aluminum), 74 × 91 × 12 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620076154611-FPIK3T2BRDHU5CRA0F1B/Adi+Fluman%2C+Untitled+%28Coin+Case%29%2C+2017%2C+207.5+x+67.5+x+11+cm%2C+inkjet+print+on+paper%2C+walnut+wood%2C+aluminum%2C+unique.jpg Works Untitled (Coin Case) 2017, digital sculpture, inkjet printed on paper in artist’s frame (American walnut wood), aluminum, 207.5 × 67.5 × 11 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620076157363-DLTEPH1E7UH8NS4DM3SC/Adi+Fluman%2C+Untitled+%28Tool+Box%29%2C+2017%2C+157.5+x+294+x+12+cm%2C+inkjet+print+on+paper%2C+oak+wood%2C+brass%2C+unique.jpg Works Untitled (Toolbox) 2017, digital sculpture, inkjet printed on paper in artist‘s frame (oak wood, brass), 157.5 × 294 × 12 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620076598612-ZAR0TQLQOQD5H2XY3EVB/_B0A6178-1.jpg Works Untitled (Pendant) 2016, digital sculpture, inkjet printed on paper in artist’s frame (painted MDF), 35 × 45 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620077039675-2XXMF6OSE9FVGSQWKA7Q/Soft+Green%2C+2016.+Digital+sculpture%2C+inkjet+printed+on+paper+in+artist%E2%80%99s+frame+%28painted+MDF%29%2C+110%C3%97260+cm.+Photo+Adi+Fluman%2C+Courtesy+of+the+artist+and+Dvir+Gallery%2C+Tel+Aviv-Brussels.jpg Works Soft Green 2016, digital sculpture, inkjet printed on paper in artist’s frame (painted MDF), 110 × 260 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620077030015-EE12EAQB7LL8ZJXNASU7/Neck%2C+2016.+Digital+sculpture%2C+inkjet+printed+on+paper+in+artist%E2%80%99s+frame+%28American+walnut+wood%29%2C+120%C3%9770+cm%2C+Photo+Adi+Fluman%2C+Courtesy+of+the+artist+and+Dvir+Gallery%2C+Tel+Aviv-Brussels.jpg Works Neck 2016, digital sculpture, inkjet printed on paper in artist’s frame (American walnut), 120 × 70 cm https://images.squarespace-cdn.com/content/v1/54d53b78e4b0a28c3de58d01/1620077029595-94PVWKQCLRCUU7LJGUBG/Pelvis%2C+2016.+Digital+sculpture%2C+inkjet+printed+on+paper%2C+mounted+on+plexiglass%2C+75%C3%9775+cm%2C+Photo+Adi+Fluman%2C+Courtesy+of+the+artist+and+Dvir+Gallery%2C+Tel+Aviv-Brussels.jpg Works Pelvis 2016, digital sculpture, inkjet printed on paper, mounted on plexiglass, 75 × 75 cm