Overdose Design art from the Galila Barzilai Hollander Collection
Design Museum Holon, Holon
April 25 – August 13, 2022
The exhibition, showcasing over 170 pieces from the Galila Barzilaï – Hollander Collection, aims to question the essence of the simple things that are almost impossible to notice, as well as to live without. The domestic functional objects people use every day are too often taken for granted and their role understated; with Overdose, their function is transformed and expanded, and the objects are given new life in a playful and childlike space.
In Overdose, chairs, coins, shoes, WC, utensils, microwaves, and other everyday objects have undergone a creative process of cutting, folding, erasing, copying, and disrupting, through which their essence is stripped, and their value altered to question their monetary worth. The exhibition recalls Andy Warhol and his signed one-dollar bill that, after the signature, rose in value and became a work of art. The Overdose exhibition spreads over the lower gallery and the upper gallery of the museum, mimicking the structure of a house, to create a museum – a home where the objects reconstruct everyday scenes and allow the visitors to have new perspectives.
One more work that challenges the conventional perceptions of privacy is Excrementorium (Atelier Van Lieshout, 2013), in which several toilets are joined in a circle. The installation blurs the boundary between the private and the public. The decision to situate this work at the center of the “house” offers a new perspective on intimate and social situations. “The last two years of the global pandemic forced us to look internally, which made us realize that museums are not the only places in which objects are curated, every one of us curates our own personal exhibits in our homes.
Galila’s collection is unique, both in the choices of which objects she collects, as well as the fact that she chooses to live among the collection in her home. Overdose transforms the galleries in the museum into a metaphorical house while taking a critical look at the day-to-day objects that surround us” comments Maya Dvash, Chief Curator at Design Museum Holon. The opening of the exhibition presents the work Ghost VII, by the Swedish designer Michael Johansson.
The work presents a huge wall, consisting of dozens of objects that are in one’s home: appliances, doors, drawers, cabinets, shelves, refrigerators, ovens, frames, and more. This work was initiated in collaboration with students from the Department of Industrial Design, Shenkar – Engineering. Design. Art., and with the support of the Swedish Embassy in Israel. The exhibition will also feature The Boiler Room, an interactive installation by The Design Lab.
This is a sphere that enables visitors to express their political and social stances, share their worldviews, and respond to one another by simply hitting a switch that “heats up” the discussion, at times without noticing the implications of their actions. The installation simulates a process of polarization while fostering discussion and independent research.
The use of the unique “boilerswitch” represents the ease with which a quick response enhances disagreements and abstracts complex problems into populist slogans. At Margalith Gallery the visitor will see the work Train Houses (2022), by Shaul Cohen, AvihaiMizrahi, and Neil Nenner. This examines housing from a social perspective, focusing on the gaps between interior, personal spaces, and exterior, public ones. The unified building facade represents the conflict between interior and exterior since it includes urban signage, window bars, shutters, and plaster, as well as laundry, flowerpots, and personal belongings.
Neil Nenner and Avihai Mizrahi, curators and designers, add: “Overdose enquires into the place and status of everyday objects. The name hints at excess, exaggeration, addiction, and obsessiveness. On the one hand, it represents the work process of the participating creators – the manipulation of objects and of their meaning through the transformation of certain components. At the same time, it represents a critical gaze at consumer culture and a reflection on its essence.”