A Collective Set Free
A Collective Set Free
A Collective Set Free
A Collective Set Free
A Collective Set Free
A Collective Set Free
A Collective Set Free
A Collective Set Free
A Collective Set Free
A Collective Set Free
A Collective Set Free
A Collective Set Free
A Collective Set Free



A collective Set Free, 2005
Bicycles, clothes and name tags
The Tel-Aviv Museum of Art, Helena Rubinstein Pavilion for Contemporary Art
Curator: Tali Tamir
Installation view
A collective Set Free, 2005
Bicycles, clothes and name tags
The Tel-Aviv Museum of Art, Helena Rubinstein Pavilion for Contemporary Art
Curator: Tali Tamir
Installation view
A collective Set Free, 2005
Bicycles, clothes and name tags
The Tel-Aviv Museum of Art, Helena Rubinstein Pavilion for Contemporary Art
Curator: Tali Tamir
Installation view
A collective Set Free, 2005
Bicycles, clothes and name tags
The Tel-Aviv Museum of Art, Helena Rubinstein Pavilion for Contemporary Art
Curator: Tali Tamir
A collective Set Free, 2005
Bicycles, clothes and name tags
The Tel-Aviv Museum of Art, Helena Rubinstein Pavilion for Contemporary Art
Curator: Tali Tamir
A collective Set Free, 2005
Bicycles, clothes and name tags
The Tel-Aviv Museum of Art, Helena Rubinstein Pavilion for Contemporary Art
Curator: Tali Tamir
A collective Set Free, 2005
Bicycles, clothes and name tags
The Tel-Aviv Museum of Art, Helena Rubinstein Pavilion for Contemporary Art
Curator: Tali Tamir
A collective Set Free, 2005
Bicycles, clothes and name tags
The Tel-Aviv Museum of Art, Helena Rubinstein Pavilion for Contemporary Art
Curator: Tali Tamir
A collective Set Free, 2005
Bicycles, clothes and name tags
The Tel-Aviv Museum of Art, Helena Rubinstein Pavilion for Contemporary Art
Curator: Tali Tamir
A collective Set Free, 2005
Bicycles, clothes and name tags
The Tel-Aviv Museum of Art, Helena Rubinstein Pavilion for Contemporary Art
Curator: Tali Tamir
A collective Set Free, 2005
Bicycles, clothes and name tags
The Tel-Aviv Museum of Art, Helena Rubinstein Pavilion for Contemporary Art
Curator: Tali Tamir
A collective Set Free, 2005
Bicycles, clothes and name tags
The Tel-Aviv Museum of Art, Helena Rubinstein Pavilion for Contemporary Art
Curator: Tali Tamir
A collective Set Free, 2005
Bicycles, clothes and name tags
The Tel-Aviv Museum of Art, Helena Rubinstein Pavilion for Contemporary Art
Curator: Tali Tamir
|+|A Collective Set Free \ Tali Tamir

The five bicycles that comprise Yael Yudkovik’s installation represent an entire family: two parents and three children. Organized in an arrow-like formation, the family of cyclists maintains a traditional patriarchal hierarchy by which the father takes the lead and the mother and children follow the route that he marks. By presenting the family structure so clearly, Yudkovik conveys her awareness of the fact that she is ignoring the superstructure of the group. The historical tension that developed within the kibbutz movement between the family and the group, and the attempt to undermine the authority of the bourgeois head of the family by replacing it with that of the kibbutz establishment, eventually succeeded in perpetuating the institution of the family. But Yudkovik’s “bicycle family” is subject to yet another threat: the threat of stereotypical identity. Every “character” in the family represents a typical and much-desired Israeli identity that kibbutz culture particularly fostered: from the father, whose bicycle is “clothed” in a mixture of military garb and work clothes and adorned with parachute wings and the Air Force symbol; through the mother and her “flowery” bike; to the eldest son, whose bicycle is “dressed”, among other things, in a Golani shirt, the daughter, whose bicycle is fashioned in shades of pink, and the youngest child, whose bike is “clothed” in plaid shirts and a shirt with the Israel flag printed on it. The clothes from which Yudkovik made these “bicycle garments” were all taken from the kibbutz warehouse, and together they create an accurate weave of features and identities. Despite the fact that Yudkovik imbued her bicycles with a thrust of freedom, the image that emerges from the details is one in which each character grows into his or her corresponding stereotype without the possibility of flying off to other places or going beyond the expected and pre-paved path. The irony put forth by this bicycle formation stems from the notion that these very bikes offer kibbutz members free and unsupervised cycling routes: a rare commodity in a community that is used to limiting its members’ rights. But, after all, even these conveyors of freedom are tied down and led down predetermined routes. So they stand in space, each with an Israeli identity tailored to his or her needs, and yet they evoke a sense of refuge and neglect.