THE SCULPTURE BIENNALE IN EIN HOD
1994

Third Sculpture Biennale, Ein Hod 1994 pro nature anti nature Opening September 17th, 1994 Exhibition Curator: Dr. Michael Levin Associate curator: Udi Rosenwein Producer: Eli Ben Zvi Constructing manager: Amir Peleg Design & Sign-board fitting: A.D Special Workds Curator Prize Committee: Dr. Michael Levin, Chairman, Mr. Roni Ben Zvi, Mr. Zvi Goldstein, Prof. Nurit Canaan-Keidar, Mr. Moshe Kupperman Catalogue Design & Lay-out: Smadar Shindler Photographs: Mabat Studio - Ori Singer, Uzi Porat Editing, English & Hebrew version: Sharona Adini Curators Article: Zvi Ofer Computer Graphics: Tadpis, Haifa Color separation: Reprocolor, Tel Aviv Plates, printing & binding: Ayalon Offest Ltd. Haifa Dr. Michael Levin Every few decades, one may discern a reawakened interest in the works of forgotten composers. Musicians and music-lovers long reacquaint themselves with the music of the past and breathe new life into it. After some time, interest wanes and the music sinks deep into the past once again, waiting for new would-be rescuers to deliver it from oblivion. An analogous phenomenon is evident in the attitudes of sculptors towards nature. During certain periods, artists perceive nature as the ideal setting for their works. They aspire to blend into nature, to assimilate nature into their works and draw inspiration from its very existence. At other times, sculpture and nature appear detached from one another, as artists, collectors and art-fovers consider constructed, sheltered space as the location of choice for works of art. Over a decade ago, I participated in a symposium on sculpture gardens, held at the Yorkshire (England) Sculpture Park at Bretton Hall College, in cooperation with the International Sculpture Center in Washington. As part of this symposium, we visited the home of sculptor Henry Moore, his studio and the open fields in which he placed his works. In the heart of this cast open space is a small hill, on which Moore would place each new piece about to be completed, assessing its position in the landscape against a background of sky and earth. This hill was his proving ground. Only sculptures that passed this natural pedestal test were completed for display in galleries and museums. The day I visited Moore's home, a bronze work stood on that hill, A Sheep Piece, drawing its inspiration from the body of a sheep. A flock of sheep was then grazing in a nearby meadow. Henry Moore and his contemporary Barbara Hepworth believed that nature is the ideal location for creating sculpture: Sculpture is an art of the open air. Daylight, sunlight, is necessary to it. And for me its best setting and complement is nature.

Ann Sperry "Galactic Garden" Stainless Steel, Brass, Copper, Aluminum, Paint, Olive Pits. 225cm. D.	Shoshana Heimann "13.9.1993" Iron 120x120x40 cm.
Danny Karavan "1=2" Perspex, Olive Tree 300x400x23 cm.	Buky Schwartz "Facing Eternity" Naked Steel, Rust 310x300x300 cm.

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