Sharon Balaban

Eucalyptus, 2008, video loop The video frame is filled with a close-up of a green-red leaf. The camera moves slowly along its central vein, crossing the frame at the center. The slow, incessant movement along the “horizon” and the close-up filling the entire field of vision draw the viewer to the leaf’s scale, which transforms into a landscape. The camera surveys the topography of the “landscape”-marked by bifurcating veins and red territories

Shai Kremer

Ze’elim, 2007, photographs Shai Kremer presents photographs from a series created over a period of several years, following the traces of military presence in the Israeli landscape: IDF camps, training facilities, combat training zones. The photographs document

Ruthi Helbitz Cohen

Mind the Gap, 2008, installation Having entered the space of Ruthi Helbitz Cohen’s installation Mind the Gap, the viewer finds himself at the heart of an imaginary nightmarish space. The setting, consisting of painted paper cutouts, initially calls to mind

Ron Amir

Jisr-Caesarea, photographs, 2002-08 Three panoramas surveying the village of Jisr a-Zarqa end to end, from two different directions, are hung on the concrete wall. Ron Amir’s choice of Jisr a-Zarqa as a shooting location is not arbitrary: the village

Sze Tsung Leong

Horizons, 2001-08, photographs The set of photographs extending across the walls consists of 85 images taken in sites diverse and far-removed in terms of both geography (e.g. China, Egypt, the Dead Sea, Rome) and essence (large cities, beaches, historical

Lior Shvil

Dessert Land, 2008, video animation, 8 min Lior Shvil presents a video animation piece taking place in an Israeli military base. The camp is revealed by means of a spotlight moving along its borders, each time illuminating a different part in the

Jan Henle

Con el Mismo Amor (‘With the Same Love’), 2005, video, 20 min “You know what you are doing, because you live a certain way, and the work stems from this life.” –Jan Henle Jan Henle’s video documents the process

David Claerbout

American Car, 2005, video installation Entering the space, the viewer comes across a familiar image ostensibly extracted from a thriller: two men are seen from behind, sitting in an American car, looking at something outside the frame, with the engine running. The pouring rain outside the car blocks one’s field of vision, preventing clues as to the men’s identity, the object of their gaze, or the setting in which they sit in wait. While in Hollywood films this

Anila Rubiku

Casa all’italiana – Superleggera, 2008, sculpture Anila Rubiku presents a small house with a slanting roof, akin to a naïve scheme of a house in children’s drawings. The dark space is illuminated with light emanating through the fine tissues and apertures

Irit Batsry

Beach at Night Fall, 2008, video installation Wave breaker, 4’07” (right projection) Vanishing Line, 3’19” (left projection) Fire Birds, 4’52”, (middle projection)