Contemporary Agriculture in Israeli Art. Curator: Tali Tamir 19.2.2015 - 13.6.2015

In his life and art, Noam Rabinovitch maintains the routine of a farmer and hermit who sets off on his mission every morning. His work space is split in two: an unnamed wadi in the fields where he spends time, plants, hoes, and observes; and a studio space in which he translates his emotional and visual impressions into a set of actions, which also carry a repetitive and meditative nature: drawing on long scrolls, embroidery, piercing, or re-drawing on a single paper sheet (“running drawing”). These disparate acts are performed alone, without expropriating a space or drawing conclusions. Rabinovitch’s agricultural routine is foreign to collective notions such as “field,” “orchard,” and “territory,” yet acknowledges the “seedling,” “planter,” and “tree.” In his individual spirit and intimate proximity to nature and the land, Rabinovitch seems to realize A.D. Gordon’s vision: “We return to nature, neither as slaves, nor as masters, not even as tourists or scholars, […] but rather, as active partners and faithful brothers.”