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Alona Rodeh »Gas Station 2000«, (2002), vegetation, industrial paint, light box, vinyl stickers, poster, water bottles; dimensions variable, installation at the Bezalel Academy of Art and Design sculpture workshop
 
Read the interview by our contributor Niche Berlin.
 

 
It was only last year that we discovered Alona Rodeh during Berlin Art Week, and we’re more than thrilled to hear that she’ll be exhibiting at this year’s abc! We were so curious as to schedule a studio visit, getting an exclusive sneak peak at Rodeh’s recent work … and here’s what she disclosed:
 
Alona, can you tell us about the artworks you will be presenting at abc?
Well, the work I’ll be showing with the Grimmuseum is the closest I’ve come to painting, and I am terrified to call it painting. This is not because I have something against painting – on the contrary, I’ve lately really enjoyed painting, when it’s good. I will show 21 hand-made graphic works that follow various designs of workwear. Some are based on classic designs, some refer to specific uniforms, and some are more abstract. In principle, it’s an ongoing series to which more and more designs can be added, and each one is unique but fits onto a very rigid grid.
 
Parallel to that I will show two more sculptural, but also very graphic, works outdoors. Very excited about it; I don’t want to spoil it, so I’ll only say the works are called “Car Huggers”. On top of that, I will also give a public talk – a lecture tracing the history of high-visibility clothing. It will be my first time talking about the subject in public; I hope people will be interested in hearing some insights.
 
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Alona Rodeh »Gas Station 2000«, (2002)
 
What initiated and still triggers your fascination for strategies and artifacts that alert one to danger in a man-made environment – such as sirens, high-visibility clothing, and fire prevention and alarm systems?
Hmm … it’s hard to trace what triggered me to notice the things you’ve mentioned, since it’s all so integrated in my aesthetic choices. But I guess that living in Europe – the small daily gestures of self-protection, through exposure as well as regulations –became my little obsession. Coming from the little crazy place where I come from, Israel, priorities are different. Safety take less of an official path. I will not add to that, as it’s too complicated!
 
What are you most looking forward to during this year’s Art Week?
I sense I’m heading towards a surprisingly holistic experience where a few things will connect together. That is far from what I expected, or from what is expected for an artist at an art fair. Parallel to abc, I’ll be starting my Artist Placement Residency at the Berliner Feuerwehr (the Berlin Fire Brigade) in collaboration with ZK/U: a 6-month adventure with the Berlin firefighters. Looking forward to that, it’s a dream come true. Then you, niche, organize this VIP tour to my homebase fire station in Wedding. We’ll meet some firefighters, check the cars, feel their vibe. Also, on the 15th, the day abc opens, my “Car Huggers” piece will be unveiled in Tel Aviv. The exhibition is curated by a good friend and colleague, Roni Haja, and will take place in a perfect wide parking lot. I always thought parking lots were ideal locations for both raves and exhibitions, so … voila!
 
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Alona Rodeh »Gas Station 2000«, (2002)
 
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Alona Rodeh »Gas Station 2000«, (2002)