2016

  • Assaf Evron

    Assaf Evron

    For several years now, the artistic explorations of Assaf Evron (b. 1977) have centered on architectural ornament and decoration. In the current exhibition, he presents ornamental elements taken from the Brutalist concrete building of the Herzliya Museum of Contemporary Art (designed by the architectural office Rechter-Zarhy-Peri between 1965 and 1975), and from its immediate urban vicinity. The sculptural collection on view is unique to Herzliya and, at the same time, captures an aesthetic look

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  • Ben Lam

    Ben Lam

    I am interested […] in the stuff of life – in how matter creates culture and philosophy, an outlook and a moment in time, the materiality that leaves its traces in our lives. – Sara Chinski[1] The exhibition “Ben Lam: Editorial Fashion” offers a new reading of visual imagery created by Ben Lam (born 1940) in the late twentieth century for the printed press. Featuring a collection of images produced over three decades, the show presents a piece of Israeli visual history

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  • The Recipients

    The Recipients

    Twenty six artists are the recipients of the 2015 Ministry of Culture and Sport Awards in the fields of visual art and design, in four categories: Life Achievement Award in the Field of Visual Art, Minister of Culture and Sport Award in the Field of Visual Art, Young Artist Award, and Design Award. Naturally, this exhibition comprises works by veteran, established artists alongside young artists at the start of their careers. Consequently, it features a multitude of identities, languages, outlooks,

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  • Zong Ning

    Zong Ning

    The installations of Zong Ning (b. 1984, Mongolia; lives and works in Beijing, China) combine painting, photography, and found objects, and in many cases performances, too. His works draw on Chinese culture yet also make reference to western culture. Zong Ning’s works often engage with conceptual pairs considered opposites by western culture, such as exterior and interior, micro and macro, chaos and order, or life and death; however, in Chinese culture, which regards Yin and Yang as inextricable

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  • Open Sketchbooks No. 2

    Open Sketchbooks No. 2

    Sketchbooks allow us an intimate look at one of the elements of the creative process. Their use does not require a specific place or financial resources. This accessible, traditional format allows the drawing or writing hand free – at times automatic or offhanded – expression. A sketchbook may also reflect a rejection of the romantic notion of the muse as inspiration, revealing instead the artist’s painstaking daily efforts and discipline.

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  • Avi Nevo

    Avi Nevo

    The works of Avi Nevo (b. 1980) seem like the fruit of true despair, which grow neither from coming to terms nor from rebellion but rather from the involuntary, instinctive movement of a hopeless body. Accumulations of despairing moves, with one’s back to the wall. Not an attempt to break free of one’s shackles, but rather shaking the body like the spasm of a cultural and aesthetic organism which realizes it has reached a dead end,yet the blood still insists on flowing through it and

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  • Orly Sever

    Orly Sever

    Rich, dense, black materiality is typical of Orly Sever’s sculptural installations, which have been on view at the Herzliya Museum of Contemporary Art (2005), Haifa Museum of Art (2008), and Tel Aviv Museum of Art (2015). Her work opens up a mentalscape encoded in matter; it offers an abstracted, pithy move presented through signs of the creative body’s action, and its material expression is both enticing and repulsive. A persistent ritual act leaves in the material charged traces that combine

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  • Uri Lifshitz

    Uri Lifshitz

    Uri Lifshitz (1936-2011), a virtuoso who engaged in painting, sculpture, etching, collage, and drawing, is one of the most prominent and talented artists to have worked in Israel. He is also one of the most controversial. The exhibition title points to an artistic and biographical study of Lifshitz; an exploration of the human figure in his work; and a consideration of both in a cultural and social context. For six decades, starting in the 1960s, Lifshitz produced an extensive, varied, challenging

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  • Open Sketchbooks

    Open Sketchbooks

    Sketchbooks allow us an intimate look at one of the elements of the creative process. Their use does not require a specific place or financial resources. This is an accessible traditional format that allows the drawing or writing hand free expression – at times automatic or offhanded. A sketchbook may also reflect a rejection of the romantic notion of the muse as inspiration, revealing instead the artist’s painstaking daily efforts and discipline. In the late fourteenth century artists increasingly

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  • Julian Rosefeldt

    Julian Rosefeldt

    The narrative videos produced by Julian Rosefeldt (b. 1965, Germany; lives in Berlin) often address the ritual aspects of daily life, which express a wish to find meaning in our lives by imposing order on the chaos surrounding us. His works, referring to different sectors in society, stretch the boundaries of engaged art through aesthetics aimed at arousing the viewer’s empathy. Rather than “aesthetic correctness,” he says (in analogy to the concept of “political correctness”), he prefers

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