A few words about all of this.

                                

My name is Adar Goldfarb,

living and working in Binyamina, a village somewhere in Israel 

Here you will find a few thoughts about my artistic endeavors, a quote or two that inspired me and how i evolved from breaking toys as a toddler to recently teaching my car to play the violin. 

 

As most things go, it all started at my childhood...

 

 

As a child, I found an interest in breaking mechanical toys apart and trying to put them back together, mostly with no avail. most of the time the pieces just did not add up, why were there fewer pieces in the reconstructed toy than in the new toy I took apart? what is that buzzing noise it's making now ??? and Perhaps the most interesting question of them all, how come a limping robot looks much more Alive, than the new out-of-the-box slick moving robot ???

Growing older I realized that as a child I was not reassembling but re-purposing, taking a toy, breaking it apart and making a new toy with the pieces and in doing so revealing hidden possibilities for that toy. Everything I played with became building blocks for other re-imagined toys, everything had a hidden nature waiting to be explored, things didn't have to be the only thing they were designed to be.

Growing even older and taller, my interest in re-using tools increased. I began experimenting with Cutlery, developing my own technique of connecting the various shapes of spoons and forks, making them the building blocks for my sculptures. All the while the same questions kept popping back, "why would anything be just the thing it was designed to be ?", or "if something is designated a purpose, a tool, for example, are his other characteristics suppressed ?", "how can I free these objects from their limitations of designed functionality ?" 

Growing even older and a bit sideways, I rekindled my long forgotten interest in exploring mechanisms, interfering with the way they work by taking them apart, maiming them and exposing their flaws. 

Again, more questions arose, how is it that interfering with the way a machine works endows it with the semblance of a living creature? how can I create in the viewer a sense of empathy towards a machine? 

 

My best guess is that being human is to advance, to get stuck on something and to overcome it, to improve, to continue.. 

A machine consists of several parts each with a definite function, and together performing a particular task , damaging these parts or its overall function creates a sense of identification in the viewer, he wants the machine to overcome its obstacle, to advance, to fulfill its purpose, to march on, a sense of empathy arises when it doesn't.

 

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in his "An Introduction to Metaphysics", Henry Bergson writes: 

 "..But, then, I cannot escape the objection that there is no state of mind, however simple, which does not change every moment, since there is no consciousness without memory, and no continuation of a state without the addition, to the present feeling, of the memory of past moments. It is this which constitutes duration..."

 (Translated by T. E. Hulme )

 

Bergson writes that our sense of duration is based on our ability to accumulate memories, adding moments to the memory of past moments continuously.

In my "Duration Installations,"I try to take that duration apart, deconstructing it into memories that are instances that linger, and the viewer can observe separately.

The experience is non-linear, nor is it chronological, as a whole, it is accumulated yet fragmented.

 

 

Here is an example of one of my installations that explore these principles :

 

 

You walk into a room

 

In front of you, you see the cadaver of a washing machine.  

The naked drum is hanging by a thread on rusty springs and is attached to a disfigured sheet metal casing.

Sprawled beside the machine, a half-drowned sock, it is continuously convulsed in a puddle of glowing pink liquid as if gasping for its last breath of air. An electrical plug with a severed wire is drifting aimlessly on the floor. An assortment of various machine parts is scattered all around you, connected by an intricate, almost invisible web of strings.

Suddenly, you hear a low buzzing noise, then an increasing metallic shriek rolls in and almost immediately becomes a thundering mechanical roar as the motor comes to life.

 

EVERYTHING is engulfed with v i b r a t i o n

 

The observation    st  r   e       t       c          h             e               s  

 

Immediate judgment is stalled

Time is trying to stand still

A fraction becomes a duration

Constructed from disintegrating

Fluttering moments...

 

Are you at the epicenter of a continually Recurring explosion, or are you a visitor to a fragment of an instance?

 

 

The motor rapidly wanes and comes to a halt, you feel the ebbing waves lingering around you, and then, silence.

 

 

 

 

 

 

 

 

 

 

Many of my recent works revolve around my Car.

 

Cars, in my opinion, are the quintessential anthropomorphic machines.

They evoke emotions more than any other tool in humanity’s toolbox.

We love our cars, we name them, groom them, and tend to them.

They represent everything we admire and everything we loathe.

The way we drive them is a manifestation of our personality.

We glorify them and mythify them, they are extensions to our bodies and a mirror to our culture much like our children, but that’s a personal fatherly point of view.

(Sorry Car, I love you, but I’m not IN LOVE with you…)

I chose the window wipers because they are functional and mostly invisible and are the only mechanism that can be manipulated from outside the hood of the car.

One of the few mechanisms that perform an indispensable task when they are On but are completely forgettable when they are Off, the driver has no interaction with them unless he needs them, and they work by themselves at more than one speed!!!

Hidden inside them are so many other functions, waiting to be revealed.

 

Like bodily organs in an idle state, used when most needed.

 

 

This project is about getting closer to machines, enhancing their human qualities and making them immediately relatable.

(Using Cars, is easily the best way, all the groundwork is there)

This project is also about innovation, and how new uses and new qualities can be discovered by extending the functionality of the mundane and the invisible.

Finally, this project is about Humor.

Humor, being a key ingredient in all my works, shares similar traits with many aspects of innovation.

 

 

 

 

 

 

 

 

 

 

 

 

In the link below there is an answer to a question “The Autonomous Car Project” is also asking, what will be the relationship of humanity and machines in the upcoming future (their answer is much darker than mine…).

http://screencrush.com/where-do-pixar-cars-come-from/

 

 

 

I am fascinated by “Duration” and the ability to dissect occurrences. In a world where technological advancements are introduced on a daily basis, there is little or no time to appreciate or even be at awe at what is changing around us.

Yesterday’s newly introduced technology is already shadowed by the upcoming model, everything is a given.

Change is a fixed position.