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Русский(2007)
To state that we live in the epoch of Post-Modernism means unconditionally acknowledging agreement with the often used maxims: the world of images surrounding us is a system of repetitions and reproductions, citations and allusions, the creation of an original in today's conditions is impossible. From this point of view the art of Naftali Rakuzin is an ideal example of Post-Modernist thinking: it is difficult to find a more favourable example of "style" than the redrawing of reproductions, copying of reproductions.
(Catalog of the exhibition in Haifa Museum, 1999)
The paintings displayed in the current exhibition are the fruit of desire, desire and yearning. The painter longs for the object of his desire, yearns for it and admires it. He sets out every day to re-create the object of his desire and to anchor it to paper and canvas.
(1992)
At huge modern art bazaars like the FIAC, or the recent "Découvertes" exhibition, the artists seem to be trying to shout each other down, putting all their strength into drawing the spectator's attention by whatever means. And, as a rule, this does take all their strength, and if the spectator responds to someone's shout, it turns out that the artist in fact has nothing more to say. He can only keep repeating: "Look at me!"
(1981)
The special relationship between the "book" and the inner world of Naflali Rakuzin is best told by the artist elsewhere in this catalogue. The word "book" should be understood both in its spiritual context—the contents, and the material one—the volume. Rakuzin's works exhibited here tend to express this duality.
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