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.