Uncategorized – Roi Carmeli

Fishing Hertz, 2023

Fishing Hertz, Sound performance commissioned by Moby – Bat-Yam Museum. Collaboration with Ariel Karash

Killing – Healing is a project started by researching Ecological Succession which is the process of change in the species structure of an ecological community over time. I was interested to see what comes after the chaos and the first life that emerge from it.

I created urban weapons from found objects in Tel -Aviv and did a sculpture performance to create the shape of the clay structure I built. From the beaten clay sculpture I grow wheat germ, for me, it was marking the energy and violence the clay absorbed and the transformation of this energy moving up the plants transforming violence into life.

Killing – Healing, Clay, Found object(Urban weapons), Wheat germ

Documention of performence

Killing – Healing, Installation view, Clay, Found object(Urban weapons), Wheat germ

Urban Weapons

From Nowhere to Nowhere . 2, 2022

From Nowhere To Nowhere is a project I made as part of an outdoor residency at Shdemama – which is an ecological community based 30 m south of Tel-Aviv https://www.shdemama.org/.

I used the urban image of a bus station to create a portal where one can have a non-physical journey.

As part of the exhibition, I invited musicians- colleagues – friends to play music inside the portal. And on the top, I grow Blue corn to represent the connection between the ground and the sky. In many indigenous cultures from south America such as the Inka or Aztek, Corn was the main food source and represent the connection with the gods, used for ceremonial and ritual purposes.

I would like to say thank you to all the musicians and friends that helped me realize this project, couldn’t do it without your help and support :

Maya Dunietz, Rafi Balbirsky, Yam Yam and Sharon Reuveni, Eran Nave, Kimono -Itay Sendowski, Francis, Yahli Himan Shohat, HMS -Haim Vitali, Max Gertzen and Sharon Reuveni, and to all the volunteers from Shedmama residency. Special thanks to Smulik Twig.

Photos by Omer Messinger.

From Nowhere to Nowhere, Metal, Mud, Wood, Ground, Blue Corn

Detail

Process

Performances: Maya Dunietz

Rafi Balbirsky

Eran Nave

Yam Yam and Sharon Reuveni

HMS -Haim Vitali, Max Gertzen and Sharon Reuveni

Kimono -Itay Sendowski, Francis, Yahli Himan Shohat

49, 2022

49 is a sound installation, as part of the exhibition ESTATICA at Zaratan in Lisbon, Portugal.

In many Buddhist traditions, 49 days is the total mourning period, with prayers conducted every 7 days, across 7 weeks. These Buddhists believe that rebirth takes place within 49 days after death. So these prayers are conducted to facilitate this journey of the deceased into the afterlife

https://zaratan.pt//pt/exhibit/103

49, bottles, speaker

Performers: Lea Kolitinsky, Roi Carmeli

From Nowhere to Nowhere, 2022

Installation view, Mixed media

Trasformation, Aluminum casting, 150X 50 cm

Untilted, Iron

Untitled, Sand, wax

Untitled, Aluminum Casting

Guardian, Ceramic, Candles, Aluminum Casting

Untitled, Aluminum Casting

Mother Opium, 2022

Guest artist as part of Sagit Mezamer show at Mamuta – Hansen house.

Untitled, Aluminum casting

Guardian, Ceramic

Guardian, Ceramic, Candles

Guardian, Ceramic

Ghosting, 2021

A duo show with Elad Larom at Barbur Gallery in Jerusalem.

Curated by Avraham Kritzman

A 3d scan of the exhibition made by Smadar Tsook : https://my.matterport.com/show/?m=3J6nTzYpkU7

Installation view, Barbur Gallery

Ghost, porcelain, kinetic eyes, 150 x 60 cm

Installation view, Barbur Gallery

Self-portrait, Wood, 350 x 200 cm

Self-portrait, detail, Wood

Guardians, Wax, various sizes

Untitled, Glass, Painting by Elad Larom

Untitled, Glass, 30 x 20 cm

Untitled, Glass, 30 x 20 xm

Mother of all snakes, porcelain, Aluminum, 90 x 20 cm

Mother of all snakes, Porcelain, Aluminum, 90 x 20 cm

Mumble Mood, Pallet, wood engraving, Tenis balls, 120x 100 cm

Untitled, Wax, Painting by Elad Larom

Burning bush, Wood, Wax, Painting by Elad Larom

Disintegrating, Porcelain burned by a pit fire on wood, 90 x 60 cm

Burrowing – Creative Lab residency, 2020

This is a collaborative project with artist Cameron Orr. We have been practising shamanic meditation using drumming techniques popularised by anthropologist Michael Harner. We have been using this method to inform and develop our work – specifically in the creation of collaborative paintings and music.

While on residency at The CCA, we experimented with music and sound – drawing inspiration from shamanic drumming sequences and creating our own contemporary interpretations. We created functional meditative tools using synthesizers, electronics and non-traditional instruments.

Throughout the residency, we hosted participatory sessions of sound meditation. The sessions lasted around one hour and a half and involved a private viewing of the works-in-progress, an introductory explanation of the project, and finally a guided shamanic meditation session. Participants listened to the audio sequence we made with their eyes closed and were given a set of guides to use in their journey. At the end, they were given the option to draw or write about their experience and discuss those with us.

The sculptures were made by me and were installed to serve as guardians to protect the participants and us during the shamanic journey.

**Journey #3,** collaborative painting with Cameron Orr, 150 x 127 cm

**Journey #1,** collaborative painting with Cameron Orr, 150 x 127 cm

**Journey #2,** collaborative painting with Cameron Orr, 150 x 127 cm

**Tempest,** collaborative painting with Cameron Orr, 150 x 127 cm

**Flower storm,** collaborative painting with Cameron Orr, 150 x 127 cm

**Gurdian – Apu – Mountain spirit**, Ceramic, 70 x 40 x 30 cm

**Guardian – Shaman sausage man,** Metal, Rubber, 220 x 60 cm

**Collaborative scroll of participants after doing the sound shamanic meditation**

**Untitled,** collaborative Drawing with Cameron Orr, 72 x 50 cm

Achterhaus, 2020

For my residency at the Achterhaus I decided to take a playful approach and take the time to explore Hamburg and get inspired by it.
A week after I arrived I decided to contact Esmeralda Rosenberg – a well-known local fortune teller and ask her what should I do with my time at the residency. I wanted to see what could come out of this experience of going to her and hear her projections about my future.
The work below( sculptural objects, lithography and woodcut prints) are inspired by our meeting.

**Sausage man,** styrofoam, wood, plasticine, 70 x 60 cm

**Untitled,** styrofoam, wood, candles, plasticine, 70 x 60 cm

**Untitled,** wood, wool, shoes, 183 x 50 cm

**Untitled,** styrofoam, spray paint, 150 x 60 cm

Portal, 2020

As part of my recent residency in Peru, I worked with anthropologist Dario Astengo to connect me to Don Humberto Soncco Quispe and Guillermo Soncco Apaza, esteemed “Paqos”- spiritual leaders from the Q’eros Andean community. I asked them to conduct a ceremony to bless the clay I was planning to work with. They led a Despacho ceremony, based on the concept of Ayni (=reciprocity)- sharing one’s gifts and energy with nature.
Later, I used the blessed clay in its liquid form to create a large scale wall print of an Inca gate. In the Incan tradition, the gate represents a portal to the spirit world.

As part of this installation, I created a video work called T’uru which means mud in Quechua. This video work accompanies the installation and documents the process of the Despacho ceremony.

Portal, Blessed clay, 380 x 250 cm

T’uru (18:10)

T’uru, still from video (18:10)

Durga, 2019

Goddess Durga symbolizes the divine forces (positive energy) known as divine shakti (feminine energy/ power), that is used against the negative forces of evil and wickedness.

Durga is a commissioned sculpture that was exhibited as part of Kraut Kunstfestival Lucerne.

Durga, Modular metal sculpture, Ceramic, Wood, Aluminum, Bronze, Straw, Plant, 250 x 300 x 180 cm

The Advantages of Poisonous Plants, 2019

Press release :

Zaratan – Contemporary Art is pleased to announce the opening of “The Advantages of Poisonous Plants”, a solo exhibition by Roi Carmeli, which presents a series of new works produced during his residency in Lisbon.
Carmeli proposes an ironic interpretation of the myth of Adam and Eve, highlighting the complex relationships between the innate material properties of symbols and their meanings in the contemporary world.

His residency at Zaratan was supported by Creative Scotland.

Text by Gemma Norris

Totem (An Ode to Adam & Eve), Collaboration with Tom Krasny, Plaster casting, 150 x 52 x 42 cm

Mother of All Snakes, Ceramic, Paint (tile panels mounted on wood), 70 x 50 cm

>|<(^)_-, Engraved plaster, Paint, 30 x 24 cm

Bacalhau, Glazed ceramic (tile panels mounted on wood), 66 x 34 x 40 cm

Adam&Eve, Found object, bent candles, time-specific duration, 43 x 36 x 40 cm

Guardians (in progress), Handmade candles, Site-specific dimensions and time-specific duration

Untitled, Fan, DC motor, wood, marker on wall, site-specific dimensions

Apple, Video HD, 1 channel, colour/sound, duration: 12 sec(loop),

Apple, Video HD, 1 channel, colour/sound, duration: 12 sec(loop), site-specific under the floor of the gallery

Hibernation, 2018

Hibernation is a collaborative project with Tom Krasny as part of our residency at Tenjinyama Art Studio in Sapporo, Japan.

The sculpture is a dual self-portrait of us getting eaten by a bear, which was conceived to relieve the tension created from constantly hearing bear references on one hand, and not encountering any bears in reality, on the other. Bears can pose a very real threat even in urban territories, perhaps due to food shortages in their natural habitats.

There are a lot of pop culture icons feeding on bear mythologies.

Additionally, The Ainu, Japan’s indigenous people, worship bears but also sacrifice them in a ceremony called “Iyomante“.

There was a kinetic element in the exhibition, ringing a “bear bell”, which the locals carry to alert the bear to go away when they travel in nature. The prints are made using only plants from Tenjinyama park, iron powder and mixed with water from lake Akan which is a spiritual place for the Ainu people.

Self-dual portrait getting eaten by a bear, Wood, wire, paper, fabric, bamboo, 200 x 90 x 70 cm

kinetic sound sculpture

Untitled, Eco prints, 200 x 90 cm

Untitled, Eco-print, 50 x 40 cm

Untitled, Eco prints on fabric, 100 x 90 cm

Beacon 2.0, 2018

Beacon 2.0 is a neon-sound installation commissioned by Mekudesht Festival for contemporary Art and Music, Jerusalem. The installation draws inspiration from ancient fire beacons and their historical use for signalling, whether imploring for help, or declaring a victory. Beacon 2.0 suggests a contemporary interpretation of this old-world way of communication and looks to capture the chaotic movement of burning fire in digital means.

Roi Carmeli, 2018

Beacon 2.0, Neon and sound Installation, 200 x 120 x 120 cm

Holy Wave, 2018

Holy Wave is a group exhibition curated by Roi Carmeli, with work by Ayelet Ben-Dor, Jedrzej Cichosz, Uist Corrigan, Roi Carmeli, Judith Leupi, Jonny Lyons, Tom Krasny, Tim Sandys and Alex Stursberg.

Part of Glasgow international across the city programme: http://glasgowinternational.org/events/roi-crameli-tom-krasny-jedrzej-cichosz-tim-sandys/

Holy Wave touches on the connection between art and ritual; a connection which is less obvious today, as art becomes increasingly self-reflective, and religious rituals abide by rules stemming from years of unchanged worship. It remains essential, however, in understanding art’s role in contemporary society and spiritual life. The artists view the art object as charged with power; a combination of intention and action; of emotions and thoughts that cannot be separated from material and labour.

Four Legged Island, PVC tubes, Foam, chicken wire, foam, fabric, 240x160×160 cm

Self-portrait as a migrant bird, Metal, car body filler, cardboard, resin, fabric, graphite, 183x 110×60 cm

Skara Brae at twilight, Ceramic, Candles, 130x160x70 cm

Earthly Delights, work by Jedrzej Cichosz, 400x 600 cm

Orgel, work by Judith Leupi, 240×120 cm

Gatekeeper, work by Tom Krasny, 120×90 cm

Dialling Tone, work by Jonny Lyons

Vessel (3 of 5), work by Alex Stursberg, 90x30x30 cm

God of Health and Safety, work by Tim Sandys, 190X200X100

Animal Magic, work by Ayelet Ben-Dor

Installation view

Don’t forget to bring me back, 2017

Mr.4 Legs, Ceramic, 60X25X8 cm

Mr.3 heads, Ceramic, 60X20X20 cm

Untitled, Ceramic, 62X30X25 cm

No where to run, Ceramic , 65X65X8 cm

Pig, Ceramic, 60x20x20 cm

Installation view, Watercolors, Ink

Mask, bark, plexiglass, wax, Rope, 40×20 cm

Mask, Ceramic, 40×20 cm

Installation view

Caveman Dance, 2017

This is not a mask, 2016

Installation view, Ceramic, wood, watercolors, Graphite

Cave drawing, Watercolors, Graphite, 84 x 59 cm

Cave drawings, Watercolors, Graphite, 42 x 30 cm

Cave drawing, Watercolors, Graphite, 84 x 59 cm

It’s better to sweat than cry, 2015

Installation view, Graphite on wood

Wood cuts prints

Installation view

This is not a mask, Sound installation documentation

This is not a mask, Sound installation, Wood, Graphite, Water solenoids, Micro controller

Sprinkler Man, 2015

Beer Aboulafia, 2014

In this project I curated an exhibition on a beer bottles and after made an event to lunch the beer I had brewed.
The exhibition includes 50 different artists that made the labels for the beer.