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Omer Fast
The exhibition includes a significant bulk of Fast’s current works focusing on documentary materials processed into fictional formats – interviews and closed-circuit videos, TV and movie genres, aerial photographs and unmanned satellite footage: The Big Message (“De Grote Boodschap”, 27 min., 2007) presents a story in Flemish in a studio-apartment format reminiscent of TV sitcoms or situational dramas. The story shifts from a dying old woman and her World War II
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Ruti Nemet
Uri Geller, 2009, Oil on C-print Group (Ben Gurion), 2010, Oil on C-print Egg Eyes, 2011, Oil on C-print 1948, 2011, Oil on C-print Desert Fox, 2009, Oil on C-print
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Christoph Büchel
Parade, 2005, DVD, colour, sound, Duration: 00:09:36 (loop) Christoph Büchel’s work in this exhibition–a video of a parade in Teheran in 2002–reflects his interest in propaganda and psychological warfare. He found the footage in 2004 on the website
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Zvi Goldstein
Room 205 – The Voices, 2011, installation “Room 205 – The Voices” is a constructed sequence of two adjacent rooms: an array comprised of architecture, voices, object, text and images. The central wall of the left-hand room is inhabited by “Reconstructed Memories (Lariam B)” (2001-2005): a wall-displayed object that is divided into an open and a closed section. Through the broken glass on the right side of the work are revealed, as in an instantiation
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Fabrice Gygi
Star System, 2008, Steel Adaptation Bag, 2005, Metal, Leather Fabrice Gygi’s work often refers to the viewer’s physicality and gaze. His works represent and define area and action by way of site-dependent installations and functional
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Nir Evron
Nir Evron’s work features a movie camera’s traveling shot along a track, as it revolves 360 degrees inside the frame of a building. The structure itself was once meant to be the summer palace of Jordan’s King Hussein. Its construction was begun before the Six Day War in territory that was then under Jordanian control and afterwards halted with the outbreak of hostilities and occupation of the area by Israel. Evron made the movie without the help of a cameraman, using a robotic
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Nina Canell
Another Ode to Outer Ends, 2010, Cement, water, ultra sound generator, slag glass, basin Canell’s expanded and (quite literally) expanding conception of sculpture as ‘an fixed, durational phenomenon’ is most insistently reflected in her assiduous
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Michal Helfman
Forgive Forget, 2011, Mixed Media on Stage In her one-woman show titled “Just Be Good to Me” (Israel Museum, Jerusalem, 2007; curator: Amitai Mendelsohn), Michal Helfman divided the Billy Rose pavilion into two areas. The first is a backstage passageway
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Lothar Hempel
Verkehr, 2010, photographs, found traffic light, mdf, paint, sand, rocks, remote control, fixings, can, electrical components In his works Lothar Hempel combines sculpture and photography. The work that he’s exhibiting at the biennial accords with his overall approach: two cuttings of two almost identical photographic enlargements, which capture and freeze the motion of two groups of dancers. The clipped photographic presences are glued to cut-out MDF boards and function
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