ARCHIVE_Behind all that

Behind all that Noam Levinger solo exhibition

Opening Hours.

Dec11 14:00 - 20:00  

Dec12 14:00 - 20:00 

Dec13-17 appointment* by

Dec18 14:00 - 20:00  

Dec19 14:00 -18:00 

*please make an appointment before the day you plan

In “Behind all that,” Noam Levinger alludes to liminal moments and spaces of potential intimacy and encounter between men, leaving the viewer to wonder if something is about to take place, has just occurred, or might even be happening beyond the frame. Like abandoned movie sets or crime scenes, many of these visions are void of people, haunted by the likelihood of pursuit and being pursued—offstage, behind the makeshift façade of blue vinyl sheets or overgrown foliage in midsummer. When bodies do appear, we glimpse them through the eyes of both hunter or hunted, yearning for forbidden

embraces fraught with danger. Even a butcher’s gaze, in its violent directness, suggests the peril that might lurk in these hidden desires. Coming from a generation in Israel exposed to images of gay cruising depicted in popular media, Levinger describes his early fascination with seeking ideal locations in public where one might “hook up” with another man—the toilet stall, the construction site, the empty parking lot. Yet, having grown up in a rural village and never actually had such encounters in his own life, these visions are, in fact, completely staged and fictional. They are imagined fantasies of what cruising might be like, based on popular culture and not on the more mundane realities of the actual lived experiences of most gay men. Illuminating the gap between what we carry in our minds versus what we actually practice,

these are dreamscapes for anonymous confrontation that could have happened but never did.

—Greg Dvorak


「Behind all that」では、ノアム・レヴィンゲルの作品は男性同士で育みえる親密さやあり得そうな出逢いの境界にある瞬間や空間を暗示しており、見る者はそこで何かが起ころうとしているのではないか、たった今起きたばかりなのではないか、あるいはフレームの外で何かが起きているのではないかとまで想像させる。置き捨てられた映画セットや犯罪現場のように、そのシーンの多くには人が無く、舞台袖の青いビニールシートや真夏の生い茂った葉の間にあって、追いつ追われつの世界に囚われる。そこに肉体が現れると、狩る者と狩られる者の目を通してそれらを垣間見て、危険をはらんだ禁断の抱擁を焦がれるようになる。肉屋の暴力的なまでにまっすぐに見つめるその視線にさえ、抑え込められた欲望に潜む危なさのようなものを感じさせる。レヴィンゲルは、イスラエルの大衆メディアで描かれたゲイクルージングのイメージにさらされた世代であり、トイレの中、建設現場、誰もいない駐車場など、公共の場で他の男性と「つながる」ことができる理想的な場所を探すことに夢中になっていたと彼は語る。とはいっても、田舎の村で育ち、実生活でそのような出会いを経験したことがない彼にとって、これらのビジョンは完全に演出されたフィクションである。多くのゲイの男性が実際に経験するようなありふれた現実ではなく、大衆文化に基づいて、クルージングがどのようなものかを彼なりに想像したファンタジーなのだ。私たちが心に抱いていることと、実際に実践することとの間にあるギャップを暴くこれらの作品は、起こり得たが決して起こらなかったことへの人知れぬ葛藤を表現した夢物語だとも言えるだろう。

—グレッグ ドボルザーク



 Behind All That // Intro text by Yusuke Koishi (Kleinstein) 

Noam Levinger's first solo exhibition in Japan, Behind all that Äi0is a new attempt to depict the relationship between people and space. 

In our contemporary society, space has been symbolized and is drifting through society as numerical data. The data illustrate a road, an outdoor field, a seat in a movie theatre, or the place where you are standing right now. Places are symbolized as data, like seat numbers or GPS coordinates. 

Born in Israel, where the air of the Middle East and the Mediterranean mix at the edge of the Eurasian continent, he began his career as a journalist in Tel Aviv. By looking at his casual photography taken in Japan, we can feel at the same time the sunlight of Tel Aviv and the shadows of Central Europe, the origin of his grandparents. They were Holocaust survivors born in Hungary, in a small village that after the change of the borders that happened post WW2 became a part of Slovakia. 

Goethe once said, "Each traveler should know what he has to see, and what properly belongs to him, on a journey". 

Indeed, as he says, no matter what historical landmarks you travel to, if you do not know the human activities that once took place there, the wilderness in front of you is not a place of historical struggle; it is just a wilderness. Likewise, the road that stretches into the open field is just that, a road, not the path that many people once walked in the diaspora. 

A specific seat in a crowded restaurant, if you don't know that it was once the favourite seat of a great man, is just a corner of space. Likewise, if one from the future had not seen the records of this gallery, they would have no way of knowing that the place where you are standing now is the place where Noam Levinger held his first solo exhibition in Japan. 

In the past, people passed down records of the relationship between people and space and left them in books. Nowadays, if you pick up a smartphone and take a picture in front of you, it will be stored in the cloud and recorded as a symbol. 

On the other hand, Behind all that Äi0is an exhibition that depicts images beyond the mere record of people crossing each other. This exhibition shakes up the stories of the past. The stories once existed in the sea of the viewer's memory. 

Behind the record of space and event, there are the shifting emotions of the moment when people interact. There are the intimacies between people at that moment and place, the heat, the shadows of people's expressions. They are acts that cannot be recorded, but they are inscribed on the individuals there. Through the act of intersecting people's bodies and emotions, the space takes on a personal meaning. It becomes engraved in the person as a story. One's existence and actions become the medium of the space and others. Human beings are media. In Marshall McLuhan’s words, one messages the other and the space simultaneously, inevitably carving a story behind all that. Noam Levinger's images are his personal memories, the footprints of his intimate interactions with people. However, they are not just records, but ripples of abstract images lurking behind those footprints, recorded in his unique hue, messaging the 

viewer and attempting to materialize a story that lies outside the viewer's body. It is up to the viewer to resist or embrace it. 


ノアム・レヴィンゲルの初の個展”Behind all that”は人と空間との関係を描く新しい試みだ。 




ノアム・レヴィンゲルはイスラエルの北部にあるティベリア(Tiberias)出身の写真家である。ユーラシア大陸から中東の空気と地中海の空気が混じり合うイスラエルに生まれた彼は、テルアビブ(Tel Aviv)でジャーナリストとしてキャリアを開始した。彼が日本国内で撮影された何気ないイメージを見ることで、我々はそこに日差しの強いテルアビブの光、とホロコーストサバイバーでありスロバキアで生まれた彼の祖父母の原点でもある中央ヨーロッパの陰影を同時に感じることができる。 


かつては人は人と空間との関係性の記録を語り継ぎ、書物に残した。今ではスマートフォンを手に取り、目の前の写真をあなたが撮影すれば、それはクラウド上に保存され記号として記録される。しかし、この”Behind all that”はただの記録を超えて、人と人との交差が起きたことで生じる抽象的像のイメージを提示し、鑑賞者の記憶の海の中に存在する過去の物語を揺さぶる。