Bridges of the Jordan (3), 1975-2017
₪2,600.00
by Efrat Natan
photography, collage, archival pigment print
21 x 29.7 cm / 8.2 x 11.6 in
Edition of 3
Details
Efrat Natan, Bridges of the Jordan (3), 1975-2017, photography, collage, archival pigment print
21 x 29.7 cm / 8.2 x 11.6 in
Edition of 3
Condition/State
- Excellent
- Unsigned (COA provided)
- Dimensions of work excluding margins: 16 x 10.5 cm / 6.30 x 4.13 inches
- Original photography works by Deganit Berest and Tamar Getter (1975)
About the Artist and Work
Efrat Natan (b. 1947) is a multidisciplinary Israeli artist whose work has been central to the development of conceptual and performance art in Israel. Over a five-decade career, she has created iconic works and imagery that resonate with personal memory, collective experience, and historical consciousness. Natan’s practice draws from her life story, political events, and the Israeli landscape, while consistently challenging the conventions of medium, form, and national identity.
Her work is held in major public collections, including the Israel Museum, Jerusalem, and the Tel Aviv Museum of Art. Natan has received numerous awards, among them the Minister of Education and Culture Prize (2006), the Minister of Science and Culture Prize (2006), the Israel Lottery Council Prize for the Arts (2009), and the Sandberg Prize for Israeli Art (2013).
The series presented exclusively via givononpaper.com is a sequence of collage-based photographic prints created by Natan, using original documentation of her 1975 performance ״Jordan Bridges״ (documented in collaboration with artist Tamar Getter).
The original work (1975) was a performance-based action piece consisting of a series of gestures, objects, and texts. In it, Natan washed her hands in a basin, carried a mattress across the space to symbolically form a bridge over the Jordan River, and repeatedly stood with crossed legs, marking a physical axis down her body – aligning herself with the map of the land. This tension between bodily control, national symbolism, and poetic gesture was known to combine feminist critique with physical endurance and sculptural presence.
Natan applied visual acts of erasure, removing traces of the audience and isolating her own body and gestures. The resulting images offer a reflection on the performative moment, shifting the work from public space into an intimate room, a studio, or a void.
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