A Daily Practice – One Is Always a Plural
A project by Yael Davids
The artist Yael Davids’s installations and performances engage the body as a site where personal and collective narratives intersect. For the exhibition project A Daily Practice—One Is Always a Plural, she stages art from the collections of the Migros Museum für Gegenwartskunst and the Van Abbemuseum in dialogue with her own works of sculptu-ral and installation art. Selected works from the collections serve as foundation for the development of performances and a series of regularly scheduled practice lessons based on Moshe Feldenkrais’s method; the public is cordially invited to attend and par-ticipate. Davids probes the potential of performative strategies and somatic techniques as alternative approaches to art that privilege a comprehensive bodily experience over visual perception and rational understanding. The Feldenkrais Method works with the accurate and slow execution of isolated movements. It helps practitioners become aware of their own (physical) habits, discern possibilities for change, and internalize alternatives. The selection of works reflects this conception not least saliently in Davids’s choice of artistic practice that regard deliberate unlearning and relearning as a source of creative energy. In this sense, the exhibition’s title, A Daily Practice, reads not only as “quotidian routine” but also as designating a posture that is integral to Davids’s under-standing of her work as an artist and her practice, which seeks to enable the audience to integrate art into their everyday lives in unconventional ways.
The exhibition project is produced in cooperation with the Van Abbemuseum, Eindhoven. It was initiated by Nick Aikens, research curator at the Van Abbemuseum, and is deve-loped by Yael Davids in close dialogue with Aikens. The exhibition originated in the context of Creator Doctus, a research format pioneered at the Gerrit Rietveld Academie, Amsterdam, with Davids as the first fellow. At the Migros Museum für Gegenwartskunst, the exhibition is curated by Nadia Schneider Willen, collection curator.
Solo exhibitions, installations, and performances by Yael Davids (b. Jerusalem, 1968; lives in Amsterdam) have been on view at institutions in numerous countries: Dying is a Solo, Museo Tamayo, Mexico City, 2018; documenta 14, Athens and Kassel; 2017, La distance entre V et W, Les Laboratoires d’Aubervilliers, Paris, 2015; Gesture in Diaspora, Galerie für Zeitgenössische Kunst, Leipzig, 2015; Ending with Glass, Kunsthalle Basel, 2011; Learning to Imitate in Absentia I, Picture This, Bristol, 2011; Where Time Becomes Art, Palazzo Fortuny, performance division, Venice Biennale, 2005; and others.