Tadasu Takamine and Masashi Iwasaki

Inertia, video, 1999, 16:00 min The video approach is both simple and extreme, raising many questions on sex and violence, speed and technology, control and chaos, infatuation and fear. The sheer exhilaration of Inertia forces the viewer to quickly puzzle together signs and meanings; The work of art becomes a sort of intellectual video game where the heroine needs to be saved by semiotics.

Avi Mograbi

‘At the back‘, video, 2000, 32 min ‘The camera is following a woman from her back […] The editing rate seems arbitrary, but it’s not. The cut is made every time the woman starts to turn her face towards the camera-photographer-viewer […] then she turns to the camera, but it drops to the floor, as the collision of two opposing motion vectors.’ Uzi Tzur (Haaretz, 24.11.2000)

Alix Pearlstein

Partners, video, 1998, 14:30 min “Partners continues and extends my investigation into the role of the still picture in time based media, by literally juxtaposing a live action figure with a paper cutout. These two dimensional people act as surrogate performance partners, presenting a wide range of identities, with whom I interact, react to and mirror in a series of attempts to ‘connect’ with an ‘other’ physically, psychologically and emotionally…

Cheryl Dongen

Craft, video, 1994, 13:30 min Donegan eats her way layer by iconic layer through a white bread and KRAFT American Cheese sandwich – crafting hearts, stars, faces and bunnies as she goes. Through a strategic use of close-ups and an aggressive rock n’roll soundtrack, Donegan ironically probes the auto-eroticism inherent in the production and consumption of the “art object” in contemporary America. Gag, video, 1981, 8:44 min

Sharon Balaban

‘I examine the body as a source of expression of power relations and identity formation. In the body one can see the contrast between the animal and the human and between the cultural and the biological.’ Sharon Balaban Sharon Balaban was born in 1971, Israel.

Photography in Palestine

The exhibition characterizes and maps key lines in Jewish and Arab photographic activity in Eretz Israel/Palestine in the 1930s and 1940s. During these years, Jewish activity in this media was established and developed, due to the large number of immigrants from Germany on the one hand, and to the escalation of the Jewish–Arab conflict on the other. In those years, the Jewish establishment gradually became aware of the potential inherent in the medium of photography, and in view of the growing

Max Friedman

‘I leave the house with a bag that has cartons and gouache tubes in it, and then suddenly, I meet the outside. I draw from looking, I bring back to myself the senses that have disappeared in the city. It sounds naive. It’s like other people go on vacation, but I’m not for vacation, I’m for freedom.’ Max Friedman Max Friedman was born in 1962, Israel.

Sigmar Polke

“The forty gouaches presented here are all 70X100 cm and were all made in 1996. In them Polke presents a contemporary chamber recital of “cosmic tasters” of his entire artistic output, at the same time affording an insight into its riches. Their close proximity allows us to follow the artist’s thinking with greater immediacy. if the sight of them creates an impression of tenderness and beauty, then this is a natural result of the processes involved and not of some

Yosl Bergner

Bergner casts an ironic and humorous eye on the Zionist Jewish activists who gather at congresses in Basel, proud and solemn, to discuss Jewish affairs and the Return to Zion. The tillage and drying of the swamps are foreign to these Zionists, nevertheless they were the ones who led to the establishment of the state of Israel. Yosl Bergner was born in 1920, Vienna.

Binyan Haaretz

Amos Gitai, Public Housing performance, video installation, 1999 Gilad Ophir, How Housing Projects Look Today, photography. Documentation 1951–1999