Masha Rubin 1973 Born in St Petersburg, Russia Lives and works in

Masha Rubin
1973
Born in St Petersburg, Russia
Lives and works in Tel Aviv, Israel
Education
2003
Alma Hebrew College, Tel Aviv, Israel
2000
Bezalel Academy of Art and Design, Jerusalem, Israel
Selected Solo Exhibition
2011
3 for 10, The Israeli Center for Digital Art, Holon (with Marina Pomiansky and
Berger)
2002
Masha Rubin, Photosynthesis Gallery, Tel Aviv
Selected Group Exhibitions
2010
Golden ghetto, AFA Gallery Santiago, Chile
Grobman, Kishon Gallery, Tel Aviv
New additions to the collection of museum, The Israel Museum, Jerusalem
Young Art, Ramat Gan Museum, Ramat Gan
2008
Jaffa's Art, The Jaffa Museum, Jaffa
Snapshot, Gallery of Contemporary Art, Ramle
Goyim, New Gallery, Jerusalem
2004
Photo Bridge, The Israeli Museum of Photography, Tel Hay
Photo Bridge, The Moscow Museum of Photography, Moscow
Cosmopolite, Abraham Baron Art Gallery, Ben Gurion University, Beer Sheva
2002
Group Exhibition, Rosenfeld Gallery, Tel Aviv
Group Exhibition, Plonit Gallery, Tel Aviv
2001
Group Exhibition, Co-Art Gallery, Jerusalem
2000
Graduation Exhibition, Bezalel Academy of Art and Design
1999
Group Exhibition, Kosovo Foundation, Tel Aviv
1992
Group Exhibition, Journalist's House, St. Petersburg
Group Exhibition, Marble Palace, St. Petersburg
Projects
2011
2009
Award
2010
Contact
Venus Effect, Loushy Art & Projects, Tel Aviv
Knitting Fate, Loushy Art & Projects, Tel Aviv
The Minister of Immigrant absorption.Named Yuri Shtern, in visual art.
mashashu@yahoo.com
www.masharubin.info
+972549430101
Irina
I present a new photo series, which I have been working on for the last two years.
This series consists of staged photos that try to construct a new feminine history, sometimes through
a mystical fairy tale or a legend.
All of them are united by the idea of self-preseption and self-expression of the modern women.
I'm talking about the continuity of tradition, routine, as about the multifaceted nature of women :
ideal woman, a mother, a enchantress and sometimes a witch or “beast”.
All my works are built on one principle; they include 4 steps, which I borrowed from the mystical
Jewish tradition.
PARDES – a garden with fruit trees (literal translation)
Pshat — primitive, the simplest level — visualization.
Remez-hint - energy .
Drash - duty — thought.
Sod - the secret - the soul, feelings.
Note: The above transcript is my personal understanding of the concept of PARDES, and not an
official commentary.
My work has always incorporated the numerical and its meaning, the number and the word ... The
underlying notion is that nothing that happens by chance, that everything has a meaning.
My photos can be seen as a product of my ongoing dialogue with women, friends, ancestors,
goddesses, as, lastly, with my own self.
Venus Effect, 2011, Archival pigment print on paper.
136 x 176 cm
Edition of 5
The project “ Venus Effect” was triggered by the work "The mirror of Venus" by the artist Sir.
Edward Jones; Her new interpretation of the well known mythos presents the contemporary
meaning of the complete femininity. The composition, choice of multi age women, the feminine
intimacy between the naked figures and the short hair model of Venus build a discussion about the
difference between what is seen and what is shown. My agenda about the historical feminine power
is clear when disregarding the hierarchy between the multi age naked women, setting a red hair
mother and daughter at the center and freeing Venus to establish her appearance.
Knitting Fate, 2009, c-print, 120 x 150 cm
Edition of 5
The image of knitting or spinning as a quintessential mystical act is found in many cultural myths
alluding to the female world. Knitting is a metaphor for the woman's ideal role, a source of creation
outlining the thread of life and the line of fate. According to this perception, women weave the fate
of their loved ones, preserve their lives and dictate their natures. While knitting, the woman draws
into herself, engaging in the intimate creation of every detail and every loop, integrating the objects
of her passion and yearning into yarn.
Leonardo da Vinci's Last Supper provides me with a background for spinning the worlds of fateful
knitting. At the dramatic moment when Christ reaffirms to his disciples that there is a traitor in their
midst, he loses his defenses, exposes his fate, and the thread of his life is cut
short. In Knitting Fate, the myth of the male world, swathed in drama, hostility, and strife, is
metamorphosed into an ideal scene where thirteen women knit protection, life, and love. The
women's postures correspond with those of the disciples in the original painting, together
constituting a harmonious reality. As opposed to the table which represents the need to tie the
participants together while concealing their interrelations, in my work the intimacy between the
knitters is exposed in order to reinforce an overt encounter underlain by a latent secret.
Another myth addressed in the work is the story of the Moirae, the three Fates of Greek mythology,
who controlled the destiny of every mortal and spun his fate. In Knitting Fate, the myth's latent
aspects are reflected in the women's roles, oscillating between poles of creation, destruction, chaos,
and infinity, poles which are knitted to form a point of equilibrium in the composition.
46 x 70cm ,Archival pigment print on paper (2011)
46 x 70cm ,Archival pigment print on paper (2011)
60 x 60 cm, Archival pigment print on paper (2011)
100 x 100 cm, Archival pigment print on paper (2011)
46 x 70cm ,Archival pigment print on paper (2011)
60 x 60 cm, c print (2010)
Another project I would like to present is my “personal diary”, Since my first year in Israel (1994)I
have been photographing the same group of friends.
The project is very intimate; I respect the feelings, rights and the free choice of my friend's. I'm one
of them. I present the friends with respect and love.
I am continuing with my project, even though my-self and my surroundings have change
Selected Works:1995-2011
60 x 60 cm, c print (2005)
60 x 60 cm, c print (2009)
60 x 60 cm, c print (2009)
60 x 60 cm, c print (2002)
60 x 60 cm, c print (1998)
60 x 60 cm, c print (1996)
60 x 60 cm, c print (2006)
60 x 60 cm, c print (2004)