The Fallers, Nadia Blumenfeld
The Fallers Nadia Blumenfeld Hanged. bodies no longer respond to the breath of the wind. Stretched, the busts are not appeased
We are at first glance caught and destabilized by the violence that emerges from this body, from this work.
The work is one body and the body gave birth to this work. Materials, because these are relief works in heaven and earth ink or even between sculpture and bas-reliefs, are the domain of poor art. Sheet, lace, Japanese paper, ink, wire, wax, fabrics. The eyes wrap themselves in this sheet, caught up as by a second skin, by a shroud. We think of footprints, we feel, immediately underlying, the many layers, which came to curl in the footprint, in the initial proposal: we see black and white but the absence of color is not that appearance and it is also in depth.
Often a work appears and is exhibited, here it is a reverse proposition that is made to us. the work is withdrawn itself, it advances masked, one can see there an inversion, a withdrawal in oneself: outside can create the world.
Folds, inks, traces, the photos cannot reproduce the full thickness of the proposal :: We also think of printing, texts.
The materials and forms destabilize, challenge and give the desire and the need to enter further into this body art and open.
Above the cliff, in the open wind, you can see the sea beating the rocks and rare bushes hanging on the stone flank twist in space. We can then imagine all at the same time a bird which flies while taking support on the air at rock level and we have the external vision, and suddenly see a fault in this falling there and penetrate, consent to be absorbed and calm dominates, the wind drops, the glow of the center of the earth appears.
I think of this text by Hans Jonas in « The concept of God after Auschwitz ». « Tsimtsoum » means contraction, withdrawal, self-limitation. To make room for the world, the En-Sof of the beginning, the infinite, had to contract in itself and thus let arise outside of it the emptiness, the nothingness, within and from which it has was able to create the world. Without his withdrawal in himself, nothing else could exist outside of God, and only his lasting restraint preserves finished things from a new loss of their own being in the divine « all in all ».
Nadine Kohn-Fiszel allows us to see the infinite contracted in itself and it is a rare privilege.