Dana Yoeli

The exhibition presented by Dana Yoeli (b. 1979) consists of a two-part video installation: a bidirectional projection, and a puppet theater object. In this installation, she continues her examination of the aesthetics and ethics of the mechanisms of commemoration, conservation, and national memory and ethos that are encapsulated in conventional objects and ceremonies in Israel. Her engagement with this subject, which was already evident in previous sculptural installations of hers, stems from

Jacob Mishori

Amit Cabessa

Amit Cabessa (born 1977) seems to work in a place of natural, unbroken time, which is somehow removed from the hectic mainstream. But do not mistake him. Feverish vectors extend from him, constantly flowing inward and outward, seeking to decipher and explore art-historical notions, discussions of locality and identity politics, while touching on spiritual roots, the depths of the soul, archaic rituals, and Pop culture. They all serve to keep Cabessa’s hand, with urgent obstinacy, on the beating

Curatorial Exercises

The role of the museum curator has changed greatly over the years. Currently, this role definition stretches from the curator as an expert in charge of historical research and archival classification to a view of the curator as a cultural agent and creative initiator. The project “Curatorial Exercises” seeks to expand and challenge the range of the curatorial endeavor. A group of talented children aged nine to eleven have responded to our invitation on the social media, undertaking an educational

Sharon Fadida

In his new work at the Herzliya Museum of Contemporary Art, Sharon Fadida (born 1976) brings together two forms of painting that have characterized his work in recent years: one is vividly colored wall painting that he creates by spraying directly from a spray can, using templates and a brush; the other is drawing on paper, usually in a restricted palette, with a marker, a pen, or by digital means. In both cases, his distinctive aesthetic is immediately apparent, featuring impossible combinations

Nir Segal

For the past seven years, during which he has studied in London, Nir Segal (born 1980) has made his way by tube to the Slade School of Fine Art and back almost daily. En route, he has passed each day by the tabloid dispensers distributing thin, disreputable, sensationalist newspapers free of charge. These tabloids abound with ads, gossip, astounding revelations, and celebrity photos. In time, Segal collected a large number of copies, a tangible reflection of the passage of time. Segal’s

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

Yohanan Simon

Yohanan Simon (1905–1975) is known and admired as one of Israel’s ideological Realist painters, who were fully committed to the socialist collective idea. He was one of the leading proponents of iconic portrayals of the kibbutz as an ideal lifestyle. This exhibition shows an entirely different aspect of his character: intimate, fun-loving, highly affectionate, somewhat playful, and above all, individualist.[2] As explained by one of his daughters, Aya Simon Ben-Sedef, who conceived the idea

Michel Opatowski

Some people are etched in your memory from the moment you meet them, because they walk on the edge, or because they are “born sharp,” to quote Schultz, the eponymous protagonist of a pioneering 1979 film by Michel Opatowski. Or perhaps because, like us, they are subject to fear (in Hebrew, pahad). We are all subject to fear, but some people know better than others how to give it form. Pahhad was the title of an avant-garde magazine that Opatowski founded in 1979, which, combining

The Xerox Wars

The exhibition is a panoramic overview of the short history of fanzines published in Israel since the 1980s. Focusing on groundbreaking publications, it renders visible a field whose key figures have mostly acted under the radar (for fear of a hostile establishment, or due to a militant ideological outlook). Few in number, fanzine makers in Israel have taken a stand against the prevailing order, challenging the government, army, education system, established art, the bourgeoisie, sexual abuse

2017