The Lighthouse is Dark Between Flashes: Liora Kaplan

3 February - 9 April 2023
  • The Lighthouse is Dark Between Flashes

    Liora Kaplan
  • The Lighthouse is Dark Between Flashes is the first solo exhibition in the United States for Tel Aviv-Yafo based artist Liora Kaplan. Through the process of unearthing found ceramic vessels from her home region in Israel and combining them with new elements made from materials including wood, leather, metal, glass, and stone, Kaplan crafts towering sculptures that function as signals for the creative forces that connect us to nature, to each other and to our shared histories. Standing as pillars for Kaplan’s foundational influences in art, craft, philosophy, and music, her works become beacons that guide the viewer into her blended visions of retro-futurist construction and otherworldly contraption. 
  • Liora Kaplan, Color of Its Thoughts, 2022

     

     

    Liora Kaplan

    Color of Its Thoughts, 2022

    Glass and found Israeli ceramics from Kfar Menachem, Kad-Yad and Karmit factories

    96 x 20 x 25 cm

  • The ideas for this body of work first emerged from a vase that the artist inherited from her father, who...

                                Detail, Color of Its Thoughts

     
     
    The ideas for this body of work first emerged from a vase that the artist inherited from her father, who was an archeology enthusiast. Initially Kaplan thought that the object had a more archaic origin, but she would ultimately discover that it was not an artifact from a period long ago but was in fact an example of mid-20th century Israeli pottery. Upon further investigation, Kaplan would also discover that her father was an owner of a ceramic factory in the 1960s. This familial connection to ceramic production would eventually lead her to develop a personal and intellectual affinity for the shapes, textures, and history that informed such objects. Kaplan’s practice has now become devoted to the physical presence of the ceramic objects and the desire to transform them into talismans with transportive powers. Her work conveys a simultaneous sense of a journey to an ancient temple and a trip toward an unknown future landscape flourishing with new visionary architectonic forms.    
    The title of the exhibition is derived from text written by George Kubler in his 1962 book “The Shape of Time: Remarks on the History of Things.” Kaplan connected with Kubler’s description of actual reality as but a foggy undetermined experience between signals from different stages in time. “Actuality.” Kubler writes, “is when the lighthouse is dark between flashes: it is the instant between the ticks of the watch: it is a void interval slipping forever through time: the rupture between past and future: the gap at the poles of the revolving magnetic field, infinitesimally small but ultimately real. It is the interchronic pause when nothing is happening. It is the void between events.” 
  • Liora Kaplan, The Soul That Sees Beauty May Sometimes Walk Alone, 2023

    Liora Kaplan

    The Soul That Sees Beauty May Sometimes Walk Alone, 2023

    Wood, Brass, Steal, Leather and found Israeli ceramics from Karnat, Beit Hayotzer and Harsa factories

    170 H x 23 cm Diameter

  • Liora Kaplan, To Know Virtue, 2023

    Liora Kaplan

    To Know Virtue, 2023

    Wood, Brass, Leather, Steal and found Israeli ceramic from Kfar Menachem factory

    133 H x 23 cm Diameter

     
  • The notion of connectivity plays a pivotal role in Kaplan’s sculptural works. Starting from the vase, “the core of each...
    Detail, If Every Tiny Flower
    The notion of connectivity plays a pivotal role in Kaplan’s sculptural works. Starting from the vase, “the core of each work,” as Kaplan describes it, “is creating a body which extensions could only be created as a response to the unique presence of the vase. The careful selection of these cores – the vases – leads to families of totems, figures that exist as an ensemble and yet retain their own very specific personality.” Through her ongoing series of variations and orchestrations of materials that bring different ideas and visual fragments together. Kaplan’s process becomes a type of shamanistic ritual where the vases act as muses that guide her to create the new forms.
    In her book “Overlay,” writer and art historian Lucy Lippard writes about her own dual, and seemingly opposing, interests in ancient sites and contemporary art. Looking at prehistoric images and examining them with her overlays of knowledge in archeology, mythology, sociology and art, Lippard defines her “internal method”, as “that of collage – the juxtaposition of two unlike realities combined to form an unexpected new reality.” Kaplan shapes a new reality through the sculptural works created for this exhibition, writing that her aim is “to trigger the potential of human creativity and craft to generate reflections and ruminations that go beyond cultural constructions and therefore open a space filled with unforeseen associations.” Enhancing such a scenario, the exhibition is enriched by a soundscape created by the musician, producer, and string instrumentalist Ohad Elkouby, who extracted and sampled sound through physically playing the vases.
     
  • Liora Kaplan , If Every Tiny Flower, 2023

    Liora Kaplan

    If Every Tiny Flower, 2023

    Wood, Brass and found Israeli ceramics from Carmit and Harsa factories and the Atelier of Shulamit Miller

    131 H x 22 cm Diameter

     
  • In such a multisensorial space, her totems are poetic and potent transmitters for personal histories, shrines for those who believe...
                                Detail, An Hour Is Not Merely An Hour

    In such a multisensorial space, her totems are poetic and potent transmitters for personal histories, shrines for those who believe in new ways of thinking and being in the world. In bringing her work to KMAC, Kaplan initiates the possibility of an exchange in which the viewers from Louisville and those visiting from outside the region are called to be true protagonists. 

    “Liora Kaplan: The Lighthouse is Dark Between Flashes” at KMAC Contemporary Art Museum is part of a collaboration with CCA Tel Aviv-Yafo in Israel, where a sister exhibition entitled “Liora Kaplan: Rhythms of Permanent Resonance,” was presented in early 2022; both exhibitions will be followed by a monograph to be published later this year.

     
  • Liora Kaplan, An Hour Is Not Merely An Hour, 2023

    Liora Kaplan

    An Hour Is Not Merely An Hour, 2023

    Wood, Brass, Steal and found Israeli ceramics from Kfar menachem, Mannes and Palceramics factories

    205 x 30 cm Diameter

     
  • Liora Kaplan, Perpetual Becoming , 2020

    Liora Kaplan

    Perpetual Becoming, 2020

     

    Wood, leather, glass, brass and found Israeli ceramic from Kfar Menachem & Lapid factories

    H 170 cm, 60cm Diameter

     
  • Liora Kaplan, The Poet Doesn't Invent, He Listens, 2023

    Liora Kaplan

    The Poet Doesn't Invent, He Listens, 2023

    Halila stone, wood and found Israeli ceramics from Kfar Menachem and Dar factories

    160 H x 26 cm

     
  • The Artist
    Detail, Perpetual Becoming

    The Artist

    Liora Kaplan’s work explores the relationship between contemporary pop culture, shamanism and primitivism, while simultaneously striving to bring forth new understanding to the notion of appropriation, being that the readymade objects presented in her work have a strong cultural significance and are charged with the authorship of its craftsmanship. Through a collection of objects belonging to different cultures and traditions and created in disparate places, she dwells into what is considered to be symbolic. Kaplan wishes for her work to materialize the possibility of imbuing symbols with subjective meaning and underline the role of time and space as key conditions for such a process to happen. She always associates what she collects, and what she appropriates, with newly created sculptural elements. Such juxtaposition generates a new coded language that allows the viewers to project their own subjective interpretations onto the artworks, generating a feeling that is foreign and familiar at once.
  • In 2019, Kaplan started a series of totemic sculptures based on the combination of found mid century modern objects fused with newly created elements, which are at times crafted by her and at times outsourced to specialized artisans. Inspired by historical drawings of fountains, she defines these vertical objects as essential still images of the process of change, in which the potential of the infinite flows. The found objects presented in these sculptures are iconic pieces of Israeli ceramic, for which its aura is full of personal and collective memories, from the artisans who created them, to the individuals that owned the pieces throughout the decades; from the geographical and historical context that informed their creation to the cultural ideology that informed their design. 

    Through the juxtaposition of found objects and new objects, various surfaces, and different techniques, Kaplan honors the history of craft, and through their appropriation she creates conceptual shrines that are preserving the legacy of the artisans who came before her, individuals who often stay as “creators without a name.” 

    In the latest body of work, she seeks to pay homage to a very special chapter in the history of Israeli art and craft, echoing the kind of experimentation that was associated to these decades and touched all level of society. At the same time this new body of work is shedding light on the paradoxical figure of the “conceptual artisan,” who is mastering craft without being subjugated by its technicality, who follows cerebral and conceptual practices that do not disregard the prominent role of visuality, the tactile quality of surfaces and the sensual power of form. 

  • Liora Kaplan (b. 1974, Herzliya; lives and works in Tel Aviv-Yafo) studied at Avni Institute of Art and Design in...
                                Detail, The Soul That Sees Beauty May Sometimes Walk Alone
    Liora Kaplan (b. 1974, Herzliya; lives and works in Tel Aviv-Yafo) studied at Avni Institute of Art and  Design in Tel Aviv and at the Faculty of Arts – Hamidrasha at Beit Berl College. Her work has been the  subject of solo exhibitions at the CCA Tel Aviv Yafo (2022), Rozin Center Tel Aviv (2017) and Ferrate  Gallery, Tel Aviv (2013). Her work has been included in group exhibitions at Ramat Hasharon Gallery  (2020), Beit Ha’ir, Tel Aviv (2020), CCA Tel Aviv Yafo (2020), Braverman Gallery, Tel Aviv (2019), Red  House Gallery, Tel Aviv (2017), Hanut Gallery, Tel Aviv (2017), Beit Mairov Municipal Arts Center, Holon  (2013 and 2016), the Farm Gallery, Holon (2015), Port Gallery, Jaffa (2015), Tiroche Auction House,  Herzliya (2014), Rosenfeld Gallery, Tel Aviv (2014), Lilienblum 23, Tel Aviv (2014), Salon 96, Tel Aviv (2014),  SCOPE Art Fair, Miami (2013), See.me Gallery, New York (2013), Vitrina, Tel Aviv (2013), Florentine 45  Gallery, Tel Aviv (2012), @Gallery, New York (2011), ST-ART Residence, Jaffa (2011), Kishon Gallery, Tel  Aviv (2011), NARS Gallery, New York (2010), Mika Art Gallery, Tel Aviv (2010), LOFT Barcelona (2010),  Russian Academy of Arts, Moscow (2010), Art Whino Gallery, Washington D.C. (2008), among others.