ORDER - Solo Exhibition | 2017
Hybrid Identity Through Language and Calligraphy
المخزن / אלמסן /Almacén Gallery
Tel Aviv Jaffa
Language and typography are defining elements of a culture. By using strict set of rules, they indicate the undisputed nature of it, both by content and visual form. ORDER is a contradiction to this concept. The artist is using diverse typography styles in different languages to create a hybrid outcome: the co-existence of multiple identities in a unified body of work.
ORDER is the outcome of a life in a state of roaming. The series of works in the exhibition were created through various stages of the artist's continuous transition from Tel Aviv to Berlin; continents, countries, homes, languages, cultures, relationships switch. The exhibition explorers and re-defines identity, the artist's as well as others. Human nature requires cultural uniformity, stiffness and unequivocal. However, a unified identity is rare; it is fluid, flexible and multifaceted.
Ella Ponizovsky Bergelson belongs to "generation and a half" of emigration. She was born in Moscow, immigrated to Israel in 1991, grew up in Jerusalem and recently immigrated to Berlin. As far as she knows, none of her ancestors lived for more than a generation in one place. Her family history is full of constant movement, through repetition of immigration and exile process. In these conditions the task of self-definition becomes complexed. By her work the artist reflects this complexity and undermines the demand for cultural uniformity.
The works consist of several ink on paper images, hand-cut and woven. The traditional weaving technique transforms the text into being unreadble, therefor illustrates the experience of
an immigrant, characterized by a lack of understanding of the surrounding reality, due to differences in language and culture. The end result is served as a fresh but stained wash, soaked with journey experiences.
Limited edition of 16 copies, ink on paper and a disposable camera, scanned and reprinted, 21x15 cm | 2016
Group exhibition, Jaffa Port Gallery, Jaffa | 2016
Group exhibition, Baalei Hamelacha Gallery, Tel Aviv, curator: Tamar Moshkovitz | 2016
This work is describing a single journey to a forest, that ended up as an identity definition quest through graphic representation of hybrid language.
Calligraphy in public space
Ink on woven Cellulose paper, 100x1000 cm
The main installation of the exhibition Mactub,
the Museum of Islamic and Near Eastern Culture, Beer Sheva, curator: Sharon Laor-Sirak | 2016-2017
The installation is based on handwritten typography. The sentence repeats over and over in a Mantric manner in two languages:
Hebrew ) אֶהְיֶה אֲשֶׁר אֶהְיֶה (
Arabic ( أهيه الذي أهيه ).
The original sentence appears in the Bible several times as one of many God's names. Hebrew is not an unequivocal language, therefore could be translated in many ways:
I will exist because I will exist
I exist because I exist
I am that I am
I am who I am
I will be who I will be
I am that which is exists
The interpretation of the current name of god is that he exists by himself for himself. He is the creator who was not created. He is independent of any force, concept or entity.
The sentence is being used in the Kabbalah as a Mantra since the 13th century. By repetition of it, one can achieve exaltation to a higher levels of consciousness.
The core of the project lies in the creation process; an examination of the meditative state of mantric, repetitive writing, using an ancient writing technique - pen and ink. This is an exploration of the visual and spiritual differences between the two languages. They are intertwined. Together, they create an organic pattern. The weaving technique dismisses the fragility of the thin paper and turns it into a strong and stable object.
The subject of this artwork is as the nature of the written sentence; an identity determination, of a place, of a collective and individual history. The artwork reflects on a complexed relationship between two collective identities that share history and present reality, in one geographical location - Israel / Palestine. Both exist by themselves for themselves, yearn for independent existence, yet, their history and identity are bind in an indivisible way. Their relationship is fragile as the thin, transparent paper. The two languages interfere one another, run over each other and disable each others readability. And yet, the combination of them creates a rich texture in an uniform, strong and stable object.
Series of Four Limited Edition (1-6) Arabic Calligraphy Linocut Prints on Paper | 2017
Berlin, 205x300 mm
Frankfurt, 230x300 mm
Cologne, 200x300 mm
Munich, 200x300 mm
Ink and watercolor on paper, 295x320 mm | 2016
A selection of Hebrew calligraphy works
3D video mapping installation at the Jerusalem Design Week | 2014
Illuminated contemporary model of Jerusalem, used for architectural planning and decision making. The model is hosted at City Hall, Jerusalem Municipality. During the Jerusalem design week, the model was illuminated. Each neighborhood and road came alive.
LiCHTPiRATEN - production, Concept & 3d mapping
Visual art, filming & editing by Ella Ponizovsky
Music by eplex. Produced by Eyal Vexler and Koby Even-Haim
Tech. Equipment: Doron Screens LTD.
Ink drawings on paper | 2016
Ancient Hebrew version, 330x220 mm
"The last thing that I thought of was the first thing that happened to me was the last thing that I thought of.."
Risograph print on paper, limited edition of 24 copies, 415X296 mm | 2016
Grand Opening, group exhibition, The Red House Gallery, Tel Aviv, curator: Oren Fischer | 2016
Typographia, group exhibition, La Culture, Kuli Gallery, Tel Aviv, curator: Itay Blaish | 2016
Risograph prints on paper | 415X296 mm | 2016
Charcoal and pencil drawings | 2005
A selection of calligraphy and typography works
Pastups in public locations | 2015