{"id":5711,"date":"2019-05-26T10:58:23","date_gmt":"2019-05-26T07:58:23","guid":{"rendered":"https:\/\/vertigo.org.il\/?p=5711"},"modified":"2019-05-26T10:58:23","modified_gmt":"2019-05-26T07:58:23","slug":"absorbing-designs-by-barry-davis-2","status":"publish","type":"post","link":"https:\/\/vertigo.org.il\/en\/absorbing-designs-by-barry-davis-2\/","title":{"rendered":"&#8220;ABSORBING DESIGNS&#8221; By Barry Davis"},"content":{"rendered":"<div class=\"position-control-0-in-div-1 mb25 article-top-box-data-main-wrap\">\n<div class=\"breadcrumbs-wrap\">\n<nav class=\"breadcrumbs\">&nbsp;<\/p>\n<\/nav>\n<\/div>\n<h2 class=\"article-top-box-data-teaser\">Ram Katzir returns to Israel with the Vertigo Dance Company\u2019s \u2018Leela\u2019<\/h2>\n<\/div>\n<div class=\"position-control-2-in-div-1 mb25 article-2016-main-wrap\">\n<div>\n<div><\/div>\n<\/div>\n<div class=\"article-section\">\n<div class=\"article-related-articles\"><\/div>\n<div id=\"ctl16_Div1\" class=\"social-share-buttons social-share-buttons-w\" data-share-url=\"https:\/\/www.jpost.com\/Israel-News\/Culture\/Absorbing-designs-589606\" data-share-title=\"Absorbing designs\"><button class=\"share-facebook-button share-button-w\" type=\"button\"><i class=\"fab fa-facebook-f\"><\/i><\/button>\u00a0<button class=\"share-twitter-button share-button-w\" type=\"button\"><i class=\"fab fa-twitter\"><\/i><\/button><\/div>\n<\/div>\n<div class=\"article-top-visual-obj-wrap\"><img decoding=\"async\" id=\"ctl16_imgArticle\" class=\"article-main-image\" title=\"RAM KATZIR Photo By: YOAV DAGAN\" src=\"https:\/\/images.jpost.com\/image\/upload\/f_auto,fl_lossy\/t_Article2016_ControlFaceDetect\/440286\" alt=\"RAM KATZIR\" \/><\/p>\n<div id=\"ctl16_dImage\" class=\"article-image-caption-holder\">\n<p class=\"article-image-caption\">RAM KATZIR. (photo credit: YOAV DAGAN)<\/p>\n<\/div>\n<\/div>\n<div class=\"article-content\">\n<div class=\"teads-inread teads-display sm-screen\">\n<div>\n<div id=\"teads0\" class=\"teads-player\"><\/div>\n<\/div>\n<\/div>\n<div>Imagination is often an artist\u2019s best friend, and Ram Katzir has a particularly fertile capacity in that regard. Katzir is a boyish-looking 50-year-old Israeli who has been living in Amsterdam for most of his life. He is currently over here to oversee the design of the set for Leela, the new production of the Vertigo Dance Company, choreographed by Noa Wertheim, and with Ran Bagno providing the musical backdrop. The curtain-raiser took place at the Suzanne Dellal Center in Tel Aviv on Monday. It will be followed by a second performance at the same venue on Tuesday, and slots at Hechal Hatarbut Hof Hacarmel, Ganei Tikva, the Jerusalem Theater and the Kibbutz Mizra Auditorium. There are also a couple of shows lined up for Italy in July.\n<\/div>\n<div>The dance company blurb explains that the name of the new show in Sanskrit refers to \u201ca divine play, an existence in which humans are mere pawns. Inspired by the fall from heaven, the creation Leela takes place in the space between illusive reality and God\u2019s cosmic play.\u201d\n<\/div>\n<div>Relating to ethereal domains and working on three-dimensional projects suits Katzir down to the ground. For want of a more precisely defining tag one might call him a visual artist, but that misses many of the finer points of his creational mindset and artistic ethos. Katzir studied sculpture and photography at the Cooper Union School of Art in New York, and animation at the audio visual department of the Rietveld Academy in Amsterdam.\n<\/div>\n<div>All of that comes into play in his work on Leela. He also fed off most of those disciplines in a previous stint with Vertigo. \u201cIn 2011, I was invited by Noa and Vertigo to be a guest artist with them at their village,\u201d Katzir relates. Vertigo is based at Kibbutz Netiv Halamed-Heh near the Eila Valley, in the environs of Beit Shemesh, and operates from its own sanctuary, where the members of the troupe live and work together. That, naturally, helps to create a sense of unison, which translates into a more harmonious approach to their onstage work, too.\n<\/div>\n<div>Katzir imbibed the familial vibe at the village, and left a mark or two on the physical aesthetics there. \u201cI spent three months at the village. We had all sorts of plans for me to design a sculpture garden, and do something with the entrance to the village.\u201d While Katzir is used to planning his project way ahead of time, and working to a schedule, at Netiv Halamed-Heh he found himself having to go with the Vertigo flow. \u201cIt is a dance group, which is the heart of the place,\u201d he says. \u201cThere is the ecological side of the village, and they want to do all sorts of things, but I did help them a little with the design of the entrance to the compound. I also took some photographs of one of their performances.\u201d<\/div>\n<div>THANKFULLY, THAT wasn\u2019t that for the Katzir-Vertigo creative synergy. \u201cI was on a visit in Israel around a year ago,\u201d Katzir continues. \u201cI went to a Vertigo show at the Suzanne Della Center and after the show, I went over to say hello to people. Noa had already asked me to design a set for her \u2013 it was all from today-to-tomorrow stuff. I work with institutions, and I couldn\u2019t free myself for that. But then Noa asked me to do something for Vertigo a year in advance, I said great.\u201d\n<\/div>\n<div>In the interim, Katzir kept tabs on Wertheim and the gang. \u201cI\u2019d just seen One One &amp; One, which is the show of theirs I loved the most, and that gave me the push I needed to go for it.\u201d\n<\/div>\n<div>Even with his long years of experience, and the international acclaim he has accrued in the process, Katzir found himself doing his fair share of head-scratching. \u201cIt was a pretty challenging process \u2013 that\u2019s an understatement.\u201d Working with a dance company is a very different proposition compared with, say, creating a sculpture. One might have thought that creating a set for dance production would be a little easier, as the designer has something to feed off \u2013 the show \u2013 whereas with a sculpture the artist has to produce something out of a corporeal and visual void.\n<\/div>\n<div>For Katzir it\u2019s quite the opposite. \u201cYou have to cook something up with four other chefs,\u201d he remarks, opting for a culinary line of explication. \u201cYou are all working on the same dish, and everyone pulls in their own personal direction.\u201d That is a foreign state of creative affairs for Katzir. \u201cI am usually the captain of my own ship, and I take care to ensure that the other ships around me are sailing in the same direction. Here I am one of the sailors on deck, which is fine, but you to have to know that the other deckhands are working on the same thing. You have to make sure that you and captain are in the same place. That was very challenging.\u201d\n<\/div>\n<div>That said, Katzir was more than happy to work alongside Wertheim. \u201cNoa is very open,\u201d he notes, although adding that he finds working on his own sculptures closer to his comfort zone. \u201cMy works of art are pretty conceptual, in terms of the fact that I first try to crystallize the message I want to convey \u2013 even if there are a number of messages \u2013 and then I look for most precise way to impart that. Here [with the dance production] it is far more abstract.\u201d\n<\/div>\n<div>Abstract? That\u2019s a surprise. Surely, having an extant production to work with gives the set designer a springboard for his work. \u201cDance is the most visual thing there is, but on the other hand, we are trying to understand things like time, place, context, environment, and the answers I received about that were very abstract. That\u2019s not a negative thing, but it\u2019s very different compared with, say, building a set for a theater production which, for example, is set in 18th-century France, and there is housemaid and a count. At least, with that, you know what you are starting with.\u201d<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; Ram Katzir returns to Israel with the Vertigo Dance Company\u2019s \u2018Leela\u2019 \u00a0 RAM KATZIR. (photo credit: YOAV DAGAN) Imagination is often an artist\u2019s best friend, and Ram Katzir has a particularly fertile capacity in that regard. Katzir is a boyish-looking 50-year-old Israeli who has been living in Amsterdam for most of his life. He<a class=\"read-more\" href=\"https:\/\/vertigo.org.il\/en\/absorbing-designs-by-barry-davis-2\/\">Read More<\/a><\/p>\n","protected":false},"author":15,"featured_media":5437,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[241],"tags":[],"class_list":["post-5711","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-leela"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.1.1 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>&quot;ABSORBING DESIGNS&quot; By Barry Davis - Vertigo<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/vertigo.org.il\/en\/absorbing-designs-by-barry-davis-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"&quot;ABSORBING DESIGNS&quot; By Barry Davis - Vertigo\" \/>\n<meta property=\"og:description\" content=\"&nbsp; Ram Katzir returns to Israel with the Vertigo Dance Company\u2019s \u2018Leela\u2019 \u00a0 RAM KATZIR. (photo credit: YOAV DAGAN) Imagination is often an artist\u2019s best friend, and Ram Katzir has a particularly fertile capacity in that regard. Katzir is a boyish-looking 50-year-old Israeli who has been living in Amsterdam for most of his life. 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