Shir Handelsman

No More Candies for You, 2022 Video installation, 15 min The ability to imagine seems to be an inextricable part of being human, almost as much as breathing. Imagination is essential to freedom of thought, affecting everyday actions, big and small, and the formation of self-identity. Both a person’s private world and universal development and progress are shaped, nourished, and largely affected by the imagination. Imagine a world without imagination. But occasionally, the

Uri Zamir

Delirious Sailing Sculpture installation, mixed media The installation Delirious Sailing sits in the museum space like an improbable and captivating mirage, shrouded in layers of primordial knowledge, as a kind of primeval collective subconscious gathered from the dawn of human evolution. It is an amorphous space replete with symbolism – a cross between smart entertainment venues, sacred halls, and polished exhibition spaces – with sensual and seductive sculptures,

Noa Yafe

Exodus, 2022 Multifocal installation: mixed media, sound Since time immemorial, journeys to distant planets have always fired the human imagination. Human beings imagine that beyond the solar system lies a captivating space, teeming with novel alien intelligences, with the potential to save humanity in the aftermath of an apocalypse. Space is the unknown: extraordinary, dangerous, volatile, but also harboring hope; we are not alone. The possibility that other civilizations

Reouth Keren

Soul Seeker, 2022 Deconstructed installation: videos, 3D prints, sound In an age of accelerating technological development, far-reaching scientific discoveries are occurring at a dizzying rate. They evoke astonishment accompanied by a feeling of horror, and offer a cure, improvements, and even alternatives for the human. Soul Seeker is a reflection on the ramifications and meanings inherent in humanity’s ability to conjure the “non-existent,” to forge

Tal Gafny

Personal Values, 2022 Sculpture installation, mixed media The belief in life after death has transcended historical eras, and is shared by many cultures and religions. What happens after death? Does one go to an actual place that exists somewhere out there? And how does the transition take place? These questions have preoccupied humanity since time immemorial. It seems as though “this world” and “the afterlife” are intertwined, that one is an extension of the other.

Maya Aroch

After Hours, 2022 Installation, mixed media The installation After Hours is a fantastic environment set between reality and dream, a monumental configuration of sculptures and drawings that creates a synthesized landscape on a monochromatic white-gray-black spectrum. The installation’s title suggests a “parallel” time taken out of the linear timeline, subverting the tangible and belonging to a world of fantasy and hallucination that disregards

Collection+ | Ilana Efrati

About three years ago, fashion designer and artist Ilana Efrati visited the Herzliya Museum of Contemporary Art and expressed interest in the textile works in the museum’s collection. At the collection storage rooms, she was drawn to an impressive and large tapestry by a rather forgotten artist, Diana Schor (b. 1926, Romania). The tapestry, titled Birds’ Paradise, was part of the museum’s permanent exhibition for a long time. It was subsequently put in storage for over twenty years,

Collection+ | Hand Built

Yoav Admoni, Netaly Aylon, Hedwig Grossman, Nora Kochavi and Naomi Bitter, Abraham Kritzman, Gedula Ogen, Ligal Sofer, Talia Tokatly The name of the exhibition – Hand Built – refers to a set of ceramic techniques that do not involve the use of instruments, including slab construction, coil construction, pinching, and press molding. The exhibition presents the works of artists of various generations who use these techniques, in a quasi-genealogical arrangement.

Inward Gaze V | Eli Singalovski

Text by Aya Lurie Herzliya Museum was founded in 1962 by a group of art-loving residents, headed by Eugene da Villa. They donated paintings from their private collections to establish this cultural institution in the young town. In 1965, at the invitation of the city council and the developer Moshe de Shalit, the architect Yacov Rechter proposed a program integrating a Yad Labanim memorial hall for fallen soldiers and the Municipal Museum. Designed by Rechter, the new building,

Rechter

The Israel Pavilion at the Venice Biennale Giardini, designed by Zeev Rechter and his son Yacov Rechter in 1952, precisely fits into the main exhibition gallery of the Herzliya Museum of Contemporary Art, which was designed by Yacov Rechter and his son Amnon Rechter, and inaugurated in 2000; the two spaces are precisely the same volume. Following this realization, the idea emerged to explore all “Rechterian” architecture of art venues. It is interesting to examine the inter-generational principles