Quartet, group exhibition, Binyamin Gallery, Tel Aviv, 2014
Excerpts from the text by Merav Shinn Ben-Alon
"(...) In a reversed process from a group exhibition in which close contents create a thesis, artists Noa Bin-Nun Melamed, Iris Hassid, Nurit Yarden and France Lebee-Nadav have created four mini-exhibitions, each on a separate wall, almost like a retrospective. Work on the Quartet exhibition, the outcome of a dialogue among the artists who curated the show in a joint group effort, began with the idea of attempting to examine each participant’s most outstanding motifs used over the years, and to create a personal lexicon of images from them. The process of examining the images together, while maintaining the autonomy of each artist, led to unexpected connections among the walls, images and narratives both overt and covert(…)
(…)Nurit Yarden's wall in the exhibition integrates artwork from her book Family Meal, from the series Scrabble, the exhibition Within Walking Distance, and her Facebook page. She considers this entire weave to be a kind of self-portrait. In the current syntax, we can find images of linoleum surfaces and wallpaper, toys, family album photos taken by her father, snapshots from adolescence, escorts’ calling cards, and more. The image of an Air France jet photographed from above, over the cloud layer, is taken from an impossible viewpoint which creates confusion and plays with the scale of a toy airplane. Yarden signals to the viewer that the photograph does not necessarily tell the truth.
For years, most of her photographs were staged and taken in the natural light of her balcony at home. Over the past two years, she began photographing outside, near her home, "the things that I chose to ignore until now", as she defined it.
During the past three years, Yarden has been creating a project on Facebook in which she posts images she photographs throughout the city: images of flowers on her wall are from her weekly series, Flowers for the Sabbath, as are the images from Tip and Laborers series. Yarden’s gaze on her immediate environment arouses the feeling of a renewed observation on the routine, the everyday, the pathetic and the poetic(…)”