Guy Goldstein (b. 1974) Lives and works in Tel Aviv
He holds MFA (2005-2007) from the Bezalel Academy of Art and Design; BA in Visual Communication Art and Design (1997-2001) from WIZO Haifa Academy of Art and Design.
Goldstein is a bass player member of the Israeli rock band “Reines Girls”. He is the director of the Visual Communication department in Musrara Art School in Jerusalem.
Selected solo exhibitions: Artport Tel Aviv (2022); Joslyn Museum, Omaha Nebraska (2021) Petah Tikva Museum of Contemporary Art (2018, 2014); Herzliya Museum of Contemporary Art (2017); Školská 28 Gallery, Prague; Katzen Arts Center, AU Museum, Washington DC (2015); Omi International Art Center, Ghent, New York (2014); Rooster Gallery, New York (2012)
Selected group exhibitions in: Galeria Labirynt, Lublin (2021); Contemporary Jewish Museum, San Francisco (2016); Ostrale O16, Dresden (2016, 2019); 5th Mediations Biennale, Poznań , (2016); Israel Museum, Jerusalem (2016); Palazzo Dona, Venice Biennale; Haifa Museum of Art, Israel (2007); Ashdod Museum, Israel (2019, 2013, 2009); Petach Tikva Museum, Israel (2014); Herzliya Museum of Art, Israel (2007, 2010) and many more.
Selected awards and grants: Keshet Award, Herzliya Museum of Contemporary Art (2017); Lottery Council for Culture and Art grant (2015, 2020); Artis grant (2015); Outset Contemporary Art Fund grant (2014); Israel Ministry of Science and Culture Award (2012); America-Israel Cultural Foundation Award (2008-2009)
Guy Goldstein is known as a sound and installation artist, whose unique language employs the materials and tools of music and sound to translate them through innovative technological means to visual image and vice versa. Vocal tension, collisions between mechanical objects and vain attempts to foster cooperation and harmony between objects, sounds, and narratives, characterize his work. The relationship between sound and image is rarely linear or teleological, and the transition process may be influenced by chance or random mistake. Guy often uses a cyclical logic where each form is an impetus for another kind of form, as a mean to investigate the viewer’s mechanical and emotional perception.
The virtual materiality of sound enables Guy to mold it into a form that holds a multiplicity of possible positions, as abstract diagram which is capable of materializing in countless manifestations.