Sebastián Mejía

Sebastián Mejía characterizes his experience during his residency in Tel Aviv, the White City, as tabula rasa. This reorientation in unfamiliar surroundings resembles the beginning of a painting process on white canvas. Every artistic activity begins, much like life away from home, in a childlike, a priori state. Foreign ground must be made accessible and canvas space has to be filled. Mejía applies this metaphor of the white surface to the context of the museum, turning the exhibition room

Jens Pecho

Language serves as a point of departure for much of Jens Pecho’s work. He reveals hidden subtexts and emphasizes double meanings in order to analytically destabilize the authority of written as well as spoken utterances. For the exhibition at the Herzliya Museum of Contemporary Art, Pecho has produced the work Endless Wood. The work’s title is taken from the product name of the flooring material that the artist displays in the exhibition hall. It articulates an attempt to modify natural

Barak Ravitz

Barak Ravitz’s artistic strategy of choice relies on the sculptural attributes of readymade and found objects, which dictate a set of characteristics such as a range of colors and materials and cultural associations. His intervention in the objects, which is usually minimal, is subtly ironic, stimulating thought. Ravitz is interested in the industrial and global aspects of commodities: their designation, consumption, distribution, and adaptation to local markets. Mobility is implied in the easy

Cliff Evans

Cliff Evans’s childhood was passed in a secluded little commune, with limited media access. He recounts that he used to spend most of his time wandering through the woods, and that his first acquaintance with the art world was through some films and comic books. He then went on to study cinema and video at the School of the Museum of Fine Arts in Boston, where he began his artistic career. This unique biography has naturally affected Evans’s outlook on life, as well as his artistic

Exhibitions – February 2015

On February 14, 2015 a series of new exhibitions and unique projects opened at the Herzliya Museum of Contemporary Art. They are all informed by a pursuit of the complex space straddling the natural and cultural, or the realistic and unrealistic. On view are one-person shows by Tal Frank and Uriel Miron; a project by French artist Julien Salaud, one of the most interesting voices on the contemporary international art scene, who

Inward Gaze

Participating Artists: Rotem Balva, Shibetz Cohen, Irit Tamari, Noa Zait The group exhibition Inward Gaze comprises four works of art created at the Herzliya Museum of Contemporary Art at different times. In each, the museum building and dominant architectural details within it play a central role. On view in the museum’s entrance hall, the exhibition directs an inquiring gaze at its unique building, which has undergone structural and functional changes over the years.

Signifiers of Place

Contemporary Israeli Photography from the Museum’s Collection

Aziz + Cucher

… The Word in the desert Is most attacked by voices of temptation, The crying shadow in the funeral dance, The loud lament of the disconsolate chimera. – T.S. Eliot, “Burnt Norton,” from Four Quartets An escape to the desert holds a promise for an announcement. The primacy of the desert, given in terms of its aridity, vastness, its seeming archaic topographic structures, creates, one may think, an ability to welcome an other –

Shay Zilberman

In recent years, the media of choice of Shay Zilberman, an Israeli graduate of the École des Beaux-Arts in Paris, have been hand-made collage and etching. On the paper surface he interweaves figures and fictional scenes, whose protagonists he culls from diverse, feverishly collected sources: travel albums, architecture and landscape books, encyclopedias, and contemporary and old magazines. Zilberman has no use for Internet search engines as sources for his images. Instead, he insists on

Uriel Miron

Uriel Miron’s one-person exhibition at Herzliya Museum of Contemporary Art spans three bodies of work created in recent years: the first, installed in the large hall, is a group of four large-scale, white, wooden sculptures (2013 – 2015), whose unique shape is at once amorphous, minimalistic, and relatively abstract, like a drawn line extending into the exhibition space; the second is the sculptural installation Unraveling (2012), comprise of manipulated generic plastic chairs –