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The Big Hunger

Noa Tavori-Minshar-76
Noa Tavori-Minshar-24
Noa Tavori-Minshar-54
Noa Tavori-Minshar-14
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Photography: Ephrat Beloosesky

The Big Hunger\Minshar Gallery, Tel Aviv Feb-March -2022

 Noa Tavori, Yoav Efrati

Curator: Smadar Schindler


Talk before the show

 Smadar Schindler in a conversation with Yoav Efrati and Noa Tavori


Smadar: What is this for each of  you "The Great Hunger?"

Yoav: You need hunger in the end. When you make art, you have hunger; You do not make art if you are full.

Smadar: Does it mean the endless dialogue between hunger and satiety?

Yoav:  Yes, such a circle or ball rolling of hunger. And everyone is hungry, it's not only in art but in all fields, in all the country, in all the world.

Everyone is hungry, no one is full. Everyone very very much wants something, they lack something, they want to achieve something.

Noa:  The great hunger also takes me to a very physical place - to the body. The conceptual hunger and hunger of the body - are summed up in these two words in some way. As theme or an idea, there is in the concept of "the great hunger" something that is very open and activates the imagination, as if

He manages to tell a very broad story in two words.

Smadar: A story that is at the same time both broad and personal. Because basically in the exhibition each of you tells a personal story.

Noa: It is interesting to think of this also in the context of the fasting artist or the trapeze artist of Kafka. Both are basically taking their art to the most extreme place.

No matter how far they go with their art, they still do not know satiety ...

Yoav:  from the  hunger..

Noa: Yes he is the master of fasting, not satisfied with his hunger.

Smadar:  This duality is reflected in the materiality of the works. For you Noa, the aspect of materiality on the one hand is very rich and on the other hand

very thin; And with you Yoav, as if you have a whole world in this one line you draw

Yoav: Now I am like a sculpturer, I mean, it's not that I am a painter or anything like that. When I make a drawing I think like a photographer, like a sculptor, like a video artist or installation artist; All these things.

Noa:  I agree very much with  what has been said about the connection between drawing and sculpture. In the exhibition I will work mainly with photography, which I also I refer to as a kind of spatial and sculptural thinking.

Smadar: What do you see in the drawing?

Yoav: Drawing moves on everything, anytime anywhere. It's anti - substance, it's erased, it's gone.

Smadar: But even in the Installation  of Noa the photography and the objects that lay on it it's as if for  that moment only, it's completely detachable.

Yoav:  But unlike drawing on a wall, it goes back to the studio.

Noa: That is true in the sense that there remains a remnant of the material for which one can later find some new incarnation. But the manner in which the material appears,

as he is in the exhibition, this does not return. It's a one-time thing because it's happening in space, in a specific position.

Smadar: What is the difference, in terms of feeling, between painting on a wall and painting in a notebook? Does the wall produce a stronger sense of urgency?


Yoav: It's something else and it's the same thing. This is a language that has been around for a million years and as such, it is very simple, it can be copied. I want and intend to be copied. What I do is very simple, these are things that can be copied. But no one does it, no one is not copying.

Smadar: You mean real copy? physically? Or copy the language?

Yoav: Copy  the drawing

Noa: Would you like this to happen to your art, to be copied?

Yoav: I want that it will be accessible to all and of all; Distribute it completely. I display everywhere, I create on papers as on walls. As matter of fact

as a  sign in the world, that's how I see myself.

Noa: It is important for me to create an unequivocal presence. The exhibition is an attempt to create by way of reduction; Reaching a reduction of decisions, trying to maximize in the meager, flat presence and power of the things I work with for a long period of  time, and each time they get a different visibility

and take another step deeper into the journey. These are transitions that interest me, between a material and a flat image, between an image that is a silhouette that swells and becomes three-dimensional again. It is an attempt to capture the presence of something and transfer it like  a metamorphosis.  Some kind of incarnation that in every existential state is different.

Smadar: If we go back to the name of the exhibition, I think the pair of words led us on a journey, out into the spaces of time. They served as a trigger

that managed to activate a dialogue and at the same time also tighten and refine the thinking in some way.

Yoav: It is a kind of  a signaling.

Noa: You say that the name tightened the thought, but perhaps there is a reversal here. The name can make  the thought that was already there

before understood.



This exhibition would not have been realized without the support and generosity of a dear friend.

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