Avi Nevo (1980) lives and works in Tel Aviv. An alumnus of both under and post graduate degree from Bezalel Academy of Art and Design, Jerusalem. Avi participated in solo and group exhibitions in Israel, including Herzliya Biennale, Rosenfeld Gallery, and Tel-Aviv Artists' Studios. Avi Nevo is a winner of the Lauren & Mitchell Presser Contemporary Art Grant of 2011.
If someone is not interested in finding a positive outlet for despair, with estrangement or disintegration, in an attempt to describe its experience, give it form, and move inside of it, then they have no apparent reason to be in this pit. If they have no interest in extricating something or someone from it, then for what? We cannot release the pit from the ground. It exists as nothingness. Art allows itself to deal with despair, and uses it in order to create different kinds of beauty; but is there a way to move inside despair and describe it with minimum poetry and minimum grace? to describe from the greatest of depths of the despair from everything - the world, the possibility of hope - and from the possibility of beauty? And if the 'fruit of despair' is total idleness, which is a common outcome, then this is also inefficient for the knowing of it. In a similar way to objectless situations such as anxiety and fear, on which Heidegger points as potentials for the encounter with presence, so does despair may bring to completion: if there is nothing which can be done, then we can simply be.
Avi Nevo, Herzliya museum - May 28th September 2016 - September 3rd 2016. Curated by Eitan Ben Moshe
But the fruits of this "just be" are not the fruits of real despair, that arises not out of completion and not out of rebellion, but from an involuntary movement, instinctual, of a hopeless body. The works of Avi Nevo looks to me more like these kind of fruits. This is not an attempt to be freed from the chains but a shaking of the body as a spasm of a cultural and aesthetic organism that realises it has arrives to a dead end. But blood yet insists on flowing and the body is forced to continue moving. The cultural relations are at times familiar and at times less familiar, and even if Kathy Wilkes or Jonathan Meese are somehow present in the works, with Nevo it looks more fucked and less comforting.
Eitan Ben Moshe
Polychrome pencils, cotton paper