Exhibitions

The artist Aïm Deuelle Luski focuses his work The 21st Year to the Demise of Hilmi Shusha (2017) on a specific political event that occurred during the First Intifada. The two works present a reality in which the endless cycle of disaster, threat and terror produces a contemporary form of indifference and alienation. French philosopher Jacques Derrida describes this as a process of disconnection from the suffering of others. The suffering becomes transparent and denied, in a process of formative and defensive violence exercised by the state’s institutions.

The exhibition "A Private Moment in Public" addresses the capture of personal, intimate moments that remove the usual defenses and masks donned in front of the camera. Such intimate moments appearing in the public eye evoke sensations poised between distance and closeness, familiarity and concealment, intimacy and publicity.

The exhibition focuses on works of art that correspond with wax museums featuring historical and celebrity figures that reflect our interest in watching famous characters. Visitors can pose next to a famous character and “meet” the subjects of admiration, which are unapproachable, in terms of place and time.

The new cluster of exhibitions presents eleven new exhibitions, five of them solo exhibitions and six group exhibitions. The exhibitions presents works by seventy Israeli and international artists. The current cluster of exhibitions deals with the vanishing boundary between the public and private spheres, exhibitionism, narcissism and voyeurism, which are some of the hottest topics of the twenty-first century.

Dvora Morag's oeuvre is characterized by a tension between continuity and fragmentation, and between construction and deconstruction. In her works she explores how identity is defined by the memories that accumulate within objects. Indeed, memory is a recurring theme in her work – which

Pavel Wolberg displays a new series shot in an amusement park in Düsseldorf, in which he continues to engage with costumes and masks as the unmistakable characteristics of the gap between the self and its representations. This preoccupation takes a new turn in the current series of photographs:

The evolution of surveillance techniques is bound up with the development of photographic technology – from earlier aerial photography to satellite photography. In the 21st century, security cameras on street corners, in shops, and in public buildings quietly document every step we take, while

On the threshold between performance, visual art, and objects' theater, Dina Goldstein's works seek to evoke surreal fantasy worlds, drawing on her passion for the marvelous and a desire to bring beauty and magic into daily life. The encounter between low-tech means, video and screening technology

The preoccupation with daily urban occurrences – the center of this exhibition– is rooted in the heritage of mid-20th century "Decisive Moment" photographers, such as Henri Cartier-Bresson, Walker Evans, Robert Frank and others. Street photographers used techniques meant to emphasize the

In her works, Ruthi Helbitz Cohen creates an atmosphere of a ball and a masquerade, where identity is transient and can be replaced by other, more creative and theatrical personas. According to curator Uri Dessau, Helbitz Cohen creates a setting that posits self-identity as a sort of performance