Noa Eshkol Solo exhibition

01 Sep 01 Dec 2021 Casa do Povo exposição individual
Noa Eshkol, <i>The Chamber Dance Quartet</i>, 1975. Photo: T. Brauner. Courtsey of The Noa Eshkol Foundation for Movement
Noa Eshkol, The Chamber Dance Quartet, 1975. Photo: T. Brauner. Courtsey of The Noa Eshkol Foundation for Movement
Avraham Wachman, <i>The system of reference of one arm and one leg</i>, 1950. Courtesy of The Noa Eshkol Foundation for Movement Notation
Avraham Wachman, The system of reference of one arm and one leg, 1950. Courtesy of The Noa Eshkol Foundation for Movement Notation
Avraham Wachman, <i>The individual systems of reference of the body limbs are parallel to each other and to the overall reference system</i>, 1950s. Courtesy of The Noa Eshkol Foundation for Movement Notation
Avraham Wachman, The individual systems of reference of the body limbs are parallel to each other and to the overall reference system, 1950s. Courtesy of The Noa Eshkol Foundation for Movement Notation
John G. Harries, <i>Rotary Movement</i>, 1950s. Courtesy of The Noa Eshkol Foundation for Movement Notation
John G. Harries, Rotary Movement, 1950s. Courtesy of The Noa Eshkol Foundation for Movement Notation
Noa EshkoL, <i>The Chamber Dance Quartet</i>, 1975. Photo: T. Bauner. Courtesy of The Noa Eshkol Foundation for Movement Notation
Noa EshkoL, The Chamber Dance Quartet, 1975. Photo: T. Bauner. Courtesy of The Noa Eshkol Foundation for Movement Notation
Noa EshkoL, <i>The Chamber Dance Quartet</i>, 1975. Photo: T. Bauner. Courtesy of The Noa Eshkol Foundation for Movement Notation
Noa EshkoL, The Chamber Dance Quartet, 1975. Photo: T. Bauner. Courtesy of The Noa Eshkol Foundation for Movement Notation

Solo show featuring the Israeli choreographer, theorist and artist Noa Eshkol (1924, Kibbutz Degania Bet, Palestine – 2007, Holon, Israel).

Known for the creation of the Eshkol-Wachman Movement Notation, since 1973, her practice has included the creation of tapestries made from scraps of fabric sewn together by the dancers of her company. The exhibition will feature the tapestries and part of Eshkol’s archive, and will also include a dance workshop to put her legacy into mutual contact with contemporary practices.

Curatorship: Benjamin Seroussi and Marília Loureiro

Learn more about the artist here.

  1. Caroline A. Jones, Eyesight Alone: Clement Greenberg’s Modernism and the Bureaucratization of the Senses (Chicago: University of Chicago Press, 2005).
  2. Greenberg’s Modernism and the Bureaucratization of the Senses (Chicago: University of Chicago Press, 2005).
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