Inward Gaze III Exposures

The Mundi_Lab Group, which holds a research workshop at the Technion’s Faculty of Architecture in Haifa, is hosted for three months by the Herzliya Museum of Contemporary Art. During this time, the group will explore a number of aspects related to the physical and conceptual ties between the museum and the public space around it, both near and far. The group’s research focuses on the relationship between, on the one hand, artistic and design acts and, on the other hand, the community and social

Hilla Ben Ari

The video installation Rethinking Broken Lines by Hilla Ben Ari (born 1972) is based on the artist’s comprehensive research into the work of Israeli choreographer Heda Oren (1935–2008). It is the latest chapter in a series of tributes by Ben Ari, in which she engages in dialogue with the bodies of work produced by veteran Israeli artists in diverse artistic disciplines. Through this dialogue she draws out possible genealogies of proximity and difference, affinity and tension between

Ronit Porat

In January 1931, a sensational murder made the headlines in Weimar Berlin: Mr. Fritz Ulbrich was murdered by Miss Lieschen Neumann, a beautiful sixteen-year-old girl, and her boyfriend, Richard Stolpe. Neumann was sentenced to eight years in prison, and her partner-in-crime was condemned to die by hanging. About a decade before, Ulbrich, a watchmaker, had turned his backroom office into a pornographic photography studio, where he indulged his erotomanic, pedophile fantasies by photographing over

Talia Sidi

Text by Irena Gordon Talia Sidi’s short yet intensive career lasted about ten years, from her time as a student in the art department at the Bezalel Academy of Arts and Design, Jerusalem, from which she graduated in 1997, to her untimely death in 2006, at the age of 35. In this short period of time she gained recognition and acclaim, and held a number of exhibitions. Marking ten years to her death, five of her monumental works are on view at the entrance hall of the Herzliya Museum of

Miriam Chalfi

The dome of blue in heaven is suspended from nothingness When I close my eyes I see – Miriam Chalfi, from “Bare Eyed”1 Blue sky (painting), suspension and leaning (sculpture), seeing and masking (poetry) – in the work of Miriam Chalfi (ca. 1917–2002) each field touches on another, and an enigmatic, unexpected element is inherent in all. “When I close my eyes/ I see,” she writes in her poem “Bare Eyed.” Chalfi’s work is one organic whole

Moran Shoub

For years, Moran Shoub has engaged in attentive, intimate, sensuous encounters with books and the sense of the world they emit. Her keen, loving eye has traced the intellectual, emotional, spiritual, and aesthetic roots and layers created by elements such as cover and endpaper design, typography, diacritical signs, interrelations between text and illustration, quality of paper, printing, and spine stitches. Often, these encounters produce in her works a direct, accessible point of view that faithfully

Hinda Weiss

Up a Slope: Perspectives, Movement and Dwelling in Hinda Weiss’s Works By Rotem Rozental A visit to Mitzpe Ramon. Hinda Weiss (born 1980, Cleveland, Ohio; lives in Tel Aviv) strolls with her camera and finds herself deep in a fog that envelops an unknown environment, in utter contrast to the urban landscape in which she dwells. In fact, she cannot see anything at all. And then, out of the fog, from beyond the blind, dead spots, appears a Nubian ibex – and Weiss, still lost, decides

Tamar Latzman

The video Mrs. Tadd’s Visit by Tamar Latzman (born 1978, Israel) was inspired by the artist’s research into Eadweard Muybridge’s extensive photographic locomotion study in the late nineteenth century. Muybridge photographed sequences of motion performed by approximately one hundred figures engaged in diverse actions. His work has attained iconic status in the history of still and film photography, yet the figures he photographed remain largely unknown since his plates do not identify any

Michal Heiman

Michal Heiman’s exhibition includes an installation, performance, video, sound, photographs, floor work, objects, documents, and archival display. In 2012, she came across the book The Face of Madness: Hugh W. Diamond and the Origin of Psychiatric Photography (1976), and had a crucial encounter with a photograph in it – Plate 34. This image led her to undertake a project that seeks to envision the political, cultural, gendered, and psychic conditions of possibility of a “return.” Heiman’s radical

In Her Footsteps

The current group of exhibitions at the Herzliya Museum of Contemporary Art is comprised of eight shows by women artists. Six of them are projects by women artists and curators who present research journeys undertaken in the footsteps of real or fictional women from diverse times and places. The stories of the artists and the women who are the subject of their exploration have become bound together – these are women who create, act, love, despair, search relentlessly, inflict and sustain hurt;

2017