Julio Morales Lara Prize for Printmaking, 51st Salon of Visual Arts Arturo Michelena,
Valencia, Venezuela, 1993.


“…In the series of etchings titled Turangalila, the mechanical element is even more prominent.[than in the series of sculptures Horowitz the Story Teller: Cahier de Voyage 1992-1994. L.T]., These are prints made after close-up photographs of music boxes. Again boxes, but this time the gaze focuses on the inner mechanism inside them – the gear wheels, metal components and other parts – which looks like the innards of some monumental pre-electronic machine. The primary inspiration here too comes from music, this time from the work by the contemporary French composer Oliver Messiaen – a symphony, which is called “Turangalila”. The meaning of this Sanskrit word “turanga”: time that passes and streams like the sand in an hour-glass, and “lila” play, game, in the sense of the divine action upon universe, the game of the Creation, the game of the destruction and of building anew; in other words, the game of life and death. Another meaning of the word “lila” is love. The title in this case is the key to a reading of the entire series, for it contains all the meanings embodied in it: a love song, a hymn to joy, time, movement, rhythm, life and death. A contemplation of the etchings in the series reveals a perception that is almost Futuristic (in the sense of adoration of the machine), except that here the arrow of time is reserved, and instead of looking forward towards progress, there are almost nostalgic yeaning for a “machine of long ago” – those music boxes which were meant to amuse us with their melodious sound, naïve machines. This is not Flusser’s monstrous and threatening machine, but a controllable “human” machine, the inside of which is no yet sealed. In this series the musical context resonate in the from of tonal rhythms, relations between empty and full, light and shadow, hollows and protuberances, air and mass, matter and spirit. The act of creating a close-up, which involves a shift of scale, and the juxtaposition of components which in their original contexts are not to be found proximity to each other; also bring about reversals of the music boxes into symphony, monumental structures…”

Tami Katz-Freiman
Taken  from “In Quest of the Lost Ark”
LIHIE TALMOR
WORKS ON PAPER
IRON SCULPTURES
1991-1993
The Artist’ House, Jerusalem, 1993