Blue White High is about language, interpretation and the meaning of generic patterns borrowed from the urban routine. It is made of 235 names of low-cost fashion stores along Jaffa Road and Eilat Street – the main route from downtown Tel Aviv to Jaffa. The store names are displayed in a minimalist, decontextualized and non-stylized manner, inviting the viewer to produce the contexts.
Kakon refers to the consumer culture and the way city dwellers are being manipulated. The names on display echo different realms of splendor and prestige, and their association to the inner city and its stores produces a gap which caricaturizes consumer culture and the fashion world. The use of international names and the attempt to flatten the world make us reflect about the globalization process, alienation and immigration and their effects on the existing gaps between local realities and the desire to be part of the “big world”.
(sic)2 is inspired by the artist’s preoccupation with tarpaulins and covers of different kinds, mainly those used to protect against the forces of nature – cold, heat, rain and pests. Inside the museum, the makeshift shed becomes an architectural element. At first glance, the artwork seems to be built of ready-mades, but then turns out to be the result of meticulous assembly work – the abstract shed images are based on photos of a different shed – merged, blown up and blurred. The shed seems to suggest and enclose a space hidden behind it, but this is a fiction, as this is a degenerate space, which contains only its outline.
The title sic is the term used after quotes to indicate that they have not been revised or corrected. It alludes to the relation between the museum object and the real-life object that inspired it, and raises the issue of the artistic object’s source.

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