היצמדות היא התנגדות" (קרישנמורטי)"
"Attatchment is rejection" (Krishnamurti)
Installations
מיצבים
"Storage Solutions"
an installation
in frame of an open studio
"Loving Art", Tel Aviv 2016
Hives storage, and a compact and economical space, built from brown unfashionable kitchen doors as its walls, serve as a basis for engaging in the buffer zone between the usable and the non-usable stuff. Organizing home is a process of packaging ideas; a process in which a person is looking for the meaning or meaninglessness of his objects and himself. The ratio between the foundation of the house and its partitions, framework and its content, body-object, passes through the interconnecting soul which creates "home". Re-placing the objects and handling the relationships exist among themselves, and between them and the containing construction, redefine the role of the "house" as the institution that a person implements upon himself.




"פתרונות איכסון"
מיצב במסגרת סטודיו פתוח
"אוהבים אמנות"
ת"א 2016
כוורות אכסון וחלל בית קומפקטי וחסכוני, קירותיו דלתות מטבח חומות שיצאו מהאופנה, משמשים בסיס לעיסוק בקו התפר בין השימושי ללא שימושי. ארגון הבית הוא תהליך של אריזת רעיונות, תהליך בו האדם מחפש את המשמעות או חוסר המשמעות בין חפציו לבינו. היחס בין מסד הבית למחיצותיו, מסגרת ותוכנה, גוף-חפץ, עובר דרך מיחברי הנפש הקושרים ביניהם. הצבתם מחדש של חפצים וטיפול ביחסים המתקיימים בינם לבין עצמם ובינם לבין המבנה שמכיל אותם, מגדיר מחדש את תפקיד ה"בית" כממסד שהאדם החיל על עצמו
"Fearful Fatherland" 2016
An installation, Ein-Hod Museum, 100 years for Dada Movement,
Iris Hever’s work, "Fearful Fatherland", is an installation based on objects with double meanings and texts based on errors in idiomatic phrases, typography, sound and video. The installation is built in two spaces, the "Upper City"– a space resembling a town square, and the "Lower City" in the Pit (a charged space in itself), resembling an open grave, filled with "Yahrzeit Candles". The descent to the Pit/grave suggests an observation in two worlds that are connected to one another through a "Big Brother" screen. The compressed city exposes the observer to a visual and verbal load, to a flooding of the senses with materials and shapes that stimulates disquiet, and feelings that range alternately from admiration to scorn, from sanctification to defilement, from worship to revulsion. The presented items, that mock the consuming culture and national-economical-religious myths, respond to social-political interests, hooked together in a paradoxical trap, leading to a dead end.
Curator: Itzhak Gaver
