The exhibition, comprised of 23 works made within the last five years, is composed of two parts representing both the dynamic and static vectors in Rovner’s practice.
Continuing her interest in making site-specific installations, Rovner has responded to the bibliophilic nature of Ivorypress and created works which relate and respond to the written word. Using a compelling mixture of archaeology and the physical format of books as contexts for her kinetic images, Rovner’s works convey themes of historical documentation and record keeping as well as the notion of the written word being a basic instrument to articulate the human condition.
Displayed on notebooks and ancient stones, Rovner’s enigmatic figures, reduced to their most emblematic and least individualized state, read like texts. Stripped of all detail, these works escape definitive meaning and associations presenting unresolved and endless texts about humanity.
The core of the exhibition focuses on Rovner’s Fields of Fire, a large-scale dynamic video installation first exhibited at the Jeu de Paume in Paris (2005-2006). The work, a compelling global portrait of the power of nature and mankind’s relentless desire to harness one of the earth’s most valuable resources, draws on footage originally shot by the artist in the oil fields of Kazakhstan. Halfway between painterly abstraction and animation, Rovner has transformed the flames of fire around burning jets of gas rising from the surface of the oil fields into a riveting visual experience set to a dramatic, original score by German composer Heiner Goebbels.