Thierry Goldberg Gallery

Naama Tsabar

September 9 - October 28, 2012


Naama Tsabar, Critic's Pick by Colby Chamberlain
Fader Magazine interview with Naama Tsabar by Maia Stern
The Two Percent Exhibition Pick and Video by David Behringer

Thierry-Goldberg Gallery is pleased to present Propagation, the first New York solo exhibition of Naama Tsabar. The show will include a site specific installation featuring a series of sculptures that double as instruments, turning the gallery into a hybrid space with a program of live performances.

Known for her sculptures and installations that question both the functionality of objects and their relationship with the space around them, Tsabar’s newest work hinges on its use as a tool for creating sound in similar fashion to her “Untitled (Speaker Wall)”, 2010, a highlight of Greater New York at MoMA PS1.

With her new pieces titled “Work on Felt” (Variation one and two), and “Work on Paper” (Variation two), all 2012, Tsabar has transformed the raw materials into modifiable stringed instruments. Through the addition of carbon fibre, piano strings and guitar tuning pegs, the felt and paper pieces gain new features that contradict their natural character. One is immediately confronted with their minimal design and then given a chance to directly engage the work itself by plucking the strings, creating sounds from them.

Using the sculptures as musical instruments, Tsabar and a group of musicians will perform during the opening and on every Sunday following. As the exhibition progresses, the artist will tighten or loosen the strings, changing the degree of the bowing of the sculptures and the sound they make. The transformative nature of the work is such that the appearance of the sculptures, their erectness or flatness, directly corresponds to the pitch they produce.

Felt itself is a material with a significant history in music and art, including its functional application in absorbing sound waves in musical instruments such as cymbals, bass drums, and pianos. In his 1966 piece “Infiltration Homogen für Konzertflügel” (Homogeneous Infiltration for Grand Piano), Joseph Beuys wrapped an entire grand piano in felt, using the material as sound dampener, both literally and metaphorically.

Tsabar muffles the amplification of the sound from her sculptures with “Propagation,” 2012, three sections of speakers that have been pulled apart and mounted backward into the gallery wall. Their appearance resembles a schematic drawing, with allusions to Russian Constructivist painting or the Dutch art movement De Stijil. In “Singing Wall” (one and two), 2012, Tsabar has embedded stage monitors into two tilted walls, both face a microphone on a stand, which will be used by invited musicians and the public for scheduled or impromptu performances.

Naama Tsabar (b. 1982 Israel) lives and works in Brooklyn, New York. She received her MFA from Columbia University in 2010 and her Bachelor’s from the Hamidrasha School of Arts, Israel. Her work was included in exhibitions at MoMA PS1, New York; The X Initiative, New York; The Tel Aviv Museum, Israel (solo); The Haifa Museum, Israel; Thierry Goldberg Gallery, New York; Dvir Gallery, Tel Aviv (solo); Pianissimo Gallery, Milan (solo); Ford Project, New York; Casino Luxembourg, Luxembourg; and ExtraCity, Antwerp, Belgium. Tsabar’s work has been featured and reviewed in the New York Times, New York Magazine, Artforum, Artreview, Art Asia Pacific, and Fader Magazine.