{"id":6227,"date":"2017-01-12T18:49:43","date_gmt":"2017-01-12T17:49:43","guid":{"rendered":"http:\/\/revistalabolsa.com\/?p=6227"},"modified":"2017-01-12T18:49:43","modified_gmt":"2017-01-12T17:49:43","slug":"the-lightworkers-yehudid-sasportas","status":"publish","type":"post","link":"https:\/\/revistalabolsa.com\/index.php\/2017\/01\/12\/the-lightworkers-yehudid-sasportas\/","title":{"rendered":"The Lightworkers &#8211; Yehudid Sasportas"},"content":{"rendered":"<p><strong>The Lightworkers &#8211;<\/strong><\/p>\n<p class=\"first\">The image of the swamp, which is recurrent \u2013 physically as well as metaphysically \u2013 in Sasportas\u2019 work, came to her when she was on a train where a woman sitting opposite her was reading a newspaper with a picture of a swamp. The image attracted her in a special way, which Sasportas attributes to the sensitivity one develops as an artist: \u201cYou start putting more and more attention to this magnetism \u2013 like what kind of images attract your attention and why?\u201d Sasportas began to research the image, which finally brought her to the swamp in question. In order to be able to gain access to it, however, she had to pretend to be a scientist, which finally allowed her to explore its many layers: \u201cIt felt for me like the perfect visual representation of something that was not fully integrated in the subconscious field. And you have the possibility to encounter this on a visual level.\u201d<\/p>\n<p>\u201cYou\u2019re in and out at the same time.\u201d Sasportas\u2019 method is to try to create a space in which you activate your intuitive part as well as your analytical part, and the part that contemplates as well as the part that participates: \u201cYou create kind of a broken language.\u201d Sasportas explains that she works on a \u201cvertical line\u201d as well as on a \u201chorizontal line\u201d. The horizontal line is what can be seen, whereas the vertical represents going down into your subconsciousness: \u201cIt\u2019s kind of an elevator of consciousness that can take you down to your dream area. To all the areas that you cannot really control.\u201d<\/p>\n<p>( Interview by Kasper Bech Dyg at the Louisiana Museum of Modern Art in April 2015).<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>About the author:<\/strong><\/p>\n<p><strong>Yehudit Sasportas<\/strong> was born in Ashdod in 1969. In her early works, for example, \u00abCradle\u00bb (1991) and \u00abTrash Can Scale\u00bb (1996), she created three-dimensional structures based on images of household objects. Her work, \u00abThe Carpenter and the Seamstress\u00bb (2000), focuses on the architectural project of her parents apartment in housing project in Ashdod. In it she created a large installation from dimensions that combined sculpture and drawing. In the 2000s, her works began to include images from nature, mainly forests and swamps, and concrete and metaphorical dimensions. In addition, she began to work in the field of video. In 2007, she was the representative of Israel in The Guardians of the Threshold, 52 which took place at the Venice Biennale, Italy.<strong><br \/>\n<\/strong><\/p>\n<p><a href=\"https:\/\/en.wikipedia.org\/wiki\/Yehudit_Sasportas\">https:\/\/en.wikipedia.org\/wiki\/Yehudit_Sasportas<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The Lightworkers &#8211; The image of the swamp, which is recurrent \u2013 physically as well as metaphysically \u2013 in Sasportas\u2019 work, came to her when she was on a train where a woman sitting opposite her was reading a newspaper with a picture of a [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":6228,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","footnotes":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[61],"tags":[95,146,183,307,141,91,76,306],"class_list":["post-6227","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-videocreacion-en-la-web","tag-arte-experimental","tag-audiovisual-art","tag-experimental-art","tag-israel","tag-video-art","tag-video-arte","tag-video-creacion","tag-yehudit-sasportas","wpz-has-embed-code"],"jetpack_featured_media_url":"https:\/\/revistalabolsa.com\/wp-content\/uploads\/2017\/01\/maxresdefault.jpg","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p87Up8-1Cr","_links":{"self":[{"href":"https:\/\/revistalabolsa.com\/index.php\/wp-json\/wp\/v2\/posts\/6227","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistalabolsa.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistalabolsa.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistalabolsa.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/revistalabolsa.com\/index.php\/wp-json\/wp\/v2\/comments?post=6227"}],"version-history":[{"count":1,"href":"https:\/\/revistalabolsa.com\/index.php\/wp-json\/wp\/v2\/posts\/6227\/revisions"}],"predecessor-version":[{"id":6230,"href":"https:\/\/revistalabolsa.com\/index.php\/wp-json\/wp\/v2\/posts\/6227\/revisions\/6230"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistalabolsa.com\/index.php\/wp-json\/wp\/v2\/media\/6228"}],"wp:attachment":[{"href":"https:\/\/revistalabolsa.com\/index.php\/wp-json\/wp\/v2\/media?parent=6227"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistalabolsa.com\/index.php\/wp-json\/wp\/v2\/categories?post=6227"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistalabolsa.com\/index.php\/wp-json\/wp\/v2\/tags?post=6227"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}