Ruth Dorrit Yacoby

Assistant Curator: Julia Yablonsky Ruth Dorrit Yacoby (1952–2015) left behind one of the most enigmatic bodies of work in the history of Israeli art. The totality and intensity of her studio practice in Arad, in the Negev desert, reflected the obsessive nature and individuality of her artistic practice. The exhibition reexamines Yacoby’s oeuvre from two main perspectives: a feminist viewpoint, engaging with issues such as motherhood, femininity,

Aharon Avni

Aharon Avni (1906–1951) is one of the most important forgotten artists in Israel. Avni was a prolific painter, an influential educator, the founder of two leading art schools, whose artistic activity had a significant cultural impact on the artistic field of pre-independence Israel.

Yael Frank

Yael Frank’s exhibition combines moving image and installation of sculptural elements, creating an immersive environment which extends beyond the gallery space, spilling over into the entrance hall of the Museum. This site-specific project includes the film Salami, which was shot in the Museum and features a large sculptural object in the form of an elaborate, fantastical cat house forming the word Peace. This sculptural object responds to the museum’s scale and interior architecture,

Anna Perach

The name of the exhibition – The Moon Prophecy –draws its inspiration from apocalyptic sermons and astrological theories that linked the phenomenon of lunar eclipses to biblical prophecies of the End of Days – as in Joel 3:15, “The sun and moon will grow dark, And the stars will diminish their brightness.” Anna Perach brings to her exhibition a darkly appealing visionary dimension of a closed transformative system, in which the inanimate comes alive, the meek become dominant,

Hilla Toony Navok

Text: Hilla Toony Navok As Far as Matter Goes Merchandize is stored in the dark and exhibited in the light. I went down eight steps, the beat of music turned to silence. In the basement, the bolts are set side by side, all crammed, waiting for the moment they’ll be transferred to Ground Level. From the back-of-the to the front-of-the, from the cardboard to the shelf. In the warehouse, they are handled by dirty fingernails.

Marik Lechner

The exhibition features eleven huge tapestries from a series produced by Marik Lechner over the past three years, along with several pencil drawings on paper that echo the monumental tapestries in alternately complementary and contrasting fashion. The woolen tapestries recount an epic apocalyptic tale of dynamic visions of life cycles under existential threat.

Noy Haimovitz and Tamir Erlich

Since time immemorial, humanity has been preoccupied with prophecies of the End Times and the fear of an apocalypse or catastrophe that brings about the end of the world – from natural disasters to nuclear attacks. The exhibition creates a New Age-like space that highlights the fear of the End; fear of death, both personal and collective, where external threats become abstract and amorphous, until they are synonymous and interchangeable. In the absence of a distinct danger, the horror vacui

Smadar Eliasaf

Text: Ayelet Zohar Smadar Eliasaf’s studio functions as a camera obscura – a space that generates images as traces of touch and movement, footprints, marks left by body and skin. The paintings are performed by the walls and floor, in a process that corresponds to photography and Automatism, as traces of presence, indexical expressions of a process that lies beyond sight, volition, consciousness, decision, or even choice. In this the paintings reflect Freud’s reference to

The Third Dream

The title The Third Dream – which encompasses an ensemble of seven solo exhibitions – is taken from the title of a painting by Pesach Slabosky, which is on display in the Museum’s entrance lobby (fig. 1). At the center of the painting, the artist had written in printed letters (in Hebrew), “This is the third dream I remember,” in keeping with his custom of incorporating into his works snippets of sentences that he had randomly picked up in his surroundings.

Dina Shenhav

The large sculptural object at the center of Dina Shenhav’s exhibition is made entirely of yellow sponge (polyurethane). It sits at the center of the empty white hall in a way that accentuates its singular isolation in space. From the outside, its form is made up of fairly smooth planes, so that it resembles an abstract sculpture, a commissioned or readymade industrial object, with a gaping empty space within. Visitors are invited to enter the sponge tunnel, which is XX meters long. The material