Artist:
Ilan Averbuch
Title:
Harp the Sea and the Quiet Wind
Year:
1989
Adress:
Sir Charles Clore Park
www.israelpublicart.com:
Ilan Averbuch:"There is much to say about Harp...It is on the border between Jaffa and Tel Aviv overlooking the Hassan Back minaret and the massive modern hotels on the other side. When I built it you could see to the left the minaret and to the right Colbo Shalom which was the first commercial sky scraper in Tel Aviv, the hotels were not there. The other side is the Mediterranean and there you can not see but the waves. The stones and the wood are recycled from NY streets curb stones and old buildings. The original location was on a hill not far from the place it is now on, that was cut off in the last expensive renovation of the park and that is why it looks in such a bad state."
www.omuseums.org.il:
Ilan Averbuch notes that, ironically, his first environmental sculpture, which was created in 1983, was designed to be exhibited in Tel Hai. During the 1980s, environmental sculpture began to be perceived in Israel as a distinct genre that may exist independently of the local culture of commemoration. Averbuch's works for the public sphere, which build upon this distinction, make no allusions to historical events – focusing instead on universal themes which are, at the same time, highly personal. Harp, Sea, and the Quiet Wind (1989), the first work he created in Israel, exemplifies Averbuch's highly personal approach to sculpture in the public sphere. This sculpture, which is situated in the vicinity of the seashore in Tel Aviv-Jaffa, frames a view of the sea when see from its one side and a view of the city from its other side, while enabling viewers to feel the wind blowing through it. Significantly, it assimilates into the existing environment rather than intruding into it – a strategy characteristic of Averbuch's overall approach to public sculpture.
Ilan Averbuch:"There is much to say about Harp...It is on the border between Jaffa and Tel Aviv overlooking the Hassan Back minaret and the massive modern hotels on the other side. When I built it you could see to the left the minaret and to the right Colbo Shalom which was the first commercial sky scraper in Tel Aviv, the hotels were not there. The other side is the Mediterranean and there you can not see but the waves. The stones and the wood are recycled from NY streets curb stones and old buildings. The original location was on a hill not far from the place it is now on, that was cut off in the last expensive renovation of the park and that is why it looks in such a bad state."
www.omuseums.org.il:
Ilan Averbuch notes that, ironically, his first environmental sculpture, which was created in 1983, was designed to be exhibited in Tel Hai. During the 1980s, environmental sculpture began to be perceived in Israel as a distinct genre that may exist independently of the local culture of commemoration. Averbuch's works for the public sphere, which build upon this distinction, make no allusions to historical events – focusing instead on universal themes which are, at the same time, highly personal. Harp, Sea, and the Quiet Wind (1989), the first work he created in Israel, exemplifies Averbuch's highly personal approach to sculpture in the public sphere. This sculpture, which is situated in the vicinity of the seashore in Tel Aviv-Jaffa, frames a view of the sea when see from its one side and a view of the city from its other side, while enabling viewers to feel the wind blowing through it. Significantly, it assimilates into the existing environment rather than intruding into it – a strategy characteristic of Averbuch's overall approach to public sculpture.