The exhibition Free of Immediacy seeks to undermine the assumption regarding the immediacy of expression and perception recognized with the heritage of abstract art. Instead of tangible, unmediated appearances, the exhibition embraces the notion of the hindered, the distant, the evasive, and the filtered, within the context of contemporary abstraction. It does so in relation to the body of work of two artists, the sculptural work of Royden Rabinowitch (born 1943, Canada), and the photographic work of Matan Mittwoch (born 1982, Israel).
Rabinowitch’s floor and wall installations are a sort of sculptural topology whose formations were exclusively determined by an ordinary differential equation and configured in real space based on the rules of a mathematical operation. Rabinowitch’s work incorporates mathematical principles as a metaphor of an impersonal universe which lies beyond and is unconditioned by human experience, confronting the viewer with the limits of human perception, with the experience of the impossibility to experience.
Mittwoch’s Blinds series originates from a set of close-range shots made to a standard I-Pad screen, taken when the device is turned on but displaying no data. The prints, of uniform dimensions that correspond to a human size or to a wall-opening, were derived from the technical features of all aparati involved when pushed to their limit – from the digital data of the screen to printer specifications, the latter marking the ‘anachronistic’ end unit of the process.