Brueghel’s two monkeys (Wislawa Szymborska)
“This is what I see in my dreams about final exams:
Two monkeys, chained to the floor, sit on the windowsill,
The sky behind them flutters,
The sea is taking its bath.
The exam is History of Mankind.
I stammer and hedge.
One monkey stares an listens with mocking disdain,
The other seems to be dreaming away-
But when it’s clear I don’t know what to say
He prompts me with a gentle
Clinking of his chain”

The Israelian artist return to Rome after four years passed first in Houston (with a scholarship as resident artist at the Museum of Fine Arts) and afterwards in New York. At present he lives between New York and Tel Aviv where he teaches at the Shenkar College of Engineering and Design at Ramat-Gan. For this occasion Gilad presents a new cycle of pictorial works in which the color is removed, taken away from the canvass where previously it was spread out, like archeological layers meticulously revealed. The exhibition, composed by three different but complementary narrative units, begins along the corridor where little apes seem to look at the spectator: their staring interrogates, alienates and muddles up. After this vision, marked by a peculiar sensation, the moonscapes increase the perception of the absence: “grooved and fissured surfaces, light and heavy stones and sand,  arid areas. In all these images, the subject and a defined time is absent. There is no sign of History, no past, present nor future. There is no content, only a piece of land, a simple surface. Having no name, no identity, these are regions of abstinence, of contemplation, of a possible intimacy.” 1 At the end of the exhibition this intimity, unusually hurting, becomes enhanced by a clean, aseptic  rappresentation of the Ansaar prison, testimony of a real existing place, but alluding mostly to our mental imprisonment.

[1] Drawn from a text of Ayelet Lilti (PhD student in comparative literature at the University of Paris VII)