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monotonous activity of running the patterns, inch by inch miritart 58 views Mirit Ben Nun: Shortness of breath 'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no reple...
May it never lack, neither diluted, nor dull for even an instant miritart 47 views Mirit Ben Nun: Shortness of breath 'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no reple...
מפתחת ציור אובססיבי הבנוי מעיטור גיאומטרי צפוף ודחוס miritart 72 views ביום ה', 14.10.10 תיפתח בבית האמנים תערוכה של מירית בן נון -- קוצר נשימה התערוכה כוללת ציורים ופסלים תלת ממדיים, העשויים חומרים ממוחזרים, מעוטרים בציורים צפופים. מירי...
'קוצר נשימה' בית האמנים 14.10.10 -- תערוכת יחיד miritart 131 views מירית בן נון: קוצר נשימה 'קוצר נשימה' הוא לא רק סימן של חולשה גופנית. 'קוצר נשימה' הוא מטאפורה למצב נפשי של תשוקה גדולה, שאינה יודעת שובעה: עוד ועוד, עד כדי גודש בלתי נס...
MIRIT BEN NUN 2010 miritart 195 views מירית בן נון: קוצר נשימה 'קוצר נשימה' הוא לא רק סימן של חולשה גופנית. 'קוצר נשימה' הוא מטאפורה למצב נפשי של תשוקה גדולה, שאינה יודעת שובעה: עוד ועוד, עד כדי גודש בלתי נס...
enviromental art work card board and wood painted relief miritart 588 views mirit ben nun sculptured paintings and painted reliefs painted card boars and wood turning gargage into a work of art mirit ben nun turning garbage into afine work of art
mirit ben nun acrylic art work on canvas and wood 2008 2009 miritart 373 views acrylic art work on canvas and wood 2008 2009mirit ben nun
patrice vuillard art exhibition at atrium of the democrat liberal party in berlin mirit ben nun miritart 403 views patrice vuillard art exhibition "peace/wall/freedom" berlin germany. mohamed murhaddin-iraq/ avner bar hama-israel/ ghass-iran/ mirit ben nun-israel/ lisa del medico-franc...
patrice vuillard art gallery hilton berlin presenting artist mirit ben nun miritart 328 views Points. Dots Period The exposing of the aboriginal painting, (The Aborigines Tribes of Australia) to the western world in the 1970s infused an adrenaline rush like ener...
mirit ben nun israeli artist and family traveling in berlin 2009 miritart 298 views Painting Outside the Box Ilan Wizgan The painting of Mirit Ben Nun avoids accepted definitions. On the one hand, an objective examination would classify it as Contempor...

About TV INTERVIEW ARTIST MIRIT BEN NUN ISRAELI ART MUSEUM

TELEVISION INTERVIEW
SOLO EXHIBITION "COLORFUL STRATA"
MUSEUM BAR DAVID KIBUTZ BARAM
ISRAEL - 14.2.09 ---- 9.5.09
מוזיאון בר דוד קיבוץ ברעם ישראל
אוצרת : סול לנזיני מרבצים צבעוניים 14.2.09 --- 9.5.09

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Jan 26, 2011

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Jun 23, 2008

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Painting Outside the Box
Ilan Wizgan

The painting of Mirit Ben Nun avoids accepted definitions. On the one hand, an objective examination would classify it as Contemporary art since indeed it is created in the present by a young sizzling artist. On the other hand, it lacks &amp;amp;amp;amp;amp;quot;Contemporary&amp;amp;amp;amp;amp;quot; features such as those that reflect the spirit of time and place. This is painting that speaks in an alien tongue that apparently belongs to another time and place; however, when we try to come close and point to them, we find ourselves wandering in time and space without finding a foothold.

Ben Nun's work is graced with powerful sensuousness and color. It has naïve characteristics and archetypes that refer to folk art relationships among various images in the same work that are not true to reality; and &amp;amp;amp;amp;amp;quot;erroneous,&amp;amp;amp;amp;amp;quot; in proportions - similar to those found in native tribal art in Africa, Oceania, and Australia. The surface is laboriously worked and the motifs are replicated as in the techniques of carpet weaving. This said, it is also possible to find in many paintings Western Pop Art. This combination of primeval motifs and Western Modernism charges Ben Nun's painting with historical and cultural tension, between the then and now and the there and here.

From the standpoint of form, the painting is generally divided in a schematic way, according to areas of color without intermediary transitions. Clear boundary lines separate the various areas and each area contains a different happening, complementing or contrasting that of its neighboring area. Thus, for instance, round forms are confronted with angular ones or human figures with flora and fauna. Often at the edges, the painting contains a &amp;amp;amp;amp;amp;quot;frame&amp;amp;amp;amp;amp;quot; that unifies and encloses all the parts of the work like a window within a window. In such a manner, uncommon compositions are made that break the formula of unity of subject, form and color. This breaking of the rules strengthens the wild quality, the &amp;amp;amp;amp;amp;quot;uncultured&amp;amp;amp;amp;amp;quot; character of the paintings.

The female figure and the relationships between the sexes are central to the oeuvre of Ben Nun. Women are represented as temptresses, by means of accentuating their round curves often in dance movements. Dance serves as a metaphor for courting and enticement; scarlet, voluptuous lips - at times heart shaped - symbolize passion and love. When it seems that implicit temptation is insufficient, the feminine figure is drawn en face with open thighs, in a composition that recalls the letter W. But when the two figures - male and female- meet, merging is complete and the figures meld one into the other, their profiles overlapping. When the figures are in a sitting position, the forms of the letters W and M interchange in a technique that accentuates that the opposites complement each other.

The heroes of the stories male and female figures are accompanied by lesser heroes: symbolic images, mainly fish, hands (Hamsa) and eyes. These are widespread in the cultures of the Middle East, symbolizing fertility, luck, and protection against the evil eye. Their presence in paintings alongside lovers implies that the issue here for us is not erotica that is essentially the lust of the flesh but rather true love like that which aspires to a shared home, intimacy, and offspring. Beyond this, these images provide the viewer a needed foothold, in that they bring together the whole work that seemed, at first glance, moving among various historical and cultural worlds, to this place of ours, here and now.

Mirit Ben Nun is a wild flower that grows at the sidelines of the main street of Israeli art, not in its central boulevard. Hers is a side path from which, like Cupid, she opposes the Israeli art establishment with her impish smile, shooting arrows of love. And when the arrows strike this passer by or that, love is instantaneous. Her paintings are full of charm and humor. The foreignness that typifies them conceals an uncanny magnetism, the kind of magic that the noble savage holds in the eyes of civilized man.

In the more or less pleasant sea of sounds that envelops us, rises the voice of Ben Nun as from the depths. It is a pure voice, puzzling and special that wanders about in the world, seeking the place of its tale: &amp;amp;amp;amp;amp;quot;Wafted sound of flute,/ What is the subject of its tale?/ Evil, good, whatever? All of these.&amp;amp;amp;amp;amp;quot; (Summer Festival, Nathan Alterman).)

Translation by Sandra Bruder

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לצייר מחוץ לקופסה
הציור של מירית בן נון חומק מהגדרות מקובלות. מצד אחד, בחינה אובייקטיבית תגדיר אותו כציור עכשווי, שהרי הוא נוצר עכשיו על-ידי אמנית צעירה ותוססת. מצד אחר, הוא נעדר מאפיינים &quot;עכשוויים&quot;, כאלה המשקפים את רוח הזמן והמקום. זהו ציור שמדבר בשפה זרה, השייכת, לכאורה, לזמן ולמקום אחרים; אך בבואנו לנסות ולהצביע על זמן ומקום אלה, אנו נמצאים משוטטים בזמן ובמרחב מבלי למצוא נקודת אחיזה.

ציוריה של בן נון ניחנים בחושניות ובצבעוניות עזה. יש להם מאפיינים נאיביסטיים וארכיטיפיים המאזכרים אמנות עממית; יחסי הגודל בין דימויים שונים באותו הציור אינם נאמנים למציאות, והפרופורציות &quot;שגויות&quot;, בדומה לאמנות שבטית וילידית באפריקה, אוקיאניה ואוסטרליה. פני השטח מעובדים בעמלנות והמוטיבים משוכפלים כמו בטכניקות של אריגת שטיחים. יחד עם זאת, ניתן למצוא בציורים רבים מוטיבים של אמנות פופ מערבית והצירוף הזה, של מוטיבים קמאיים עם מודרנה מערבית, טוענים את הציור של בן נון במתח היסטורי ותרבותי, בין אז לעכשיו, בין שם לכאן.

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