Exhibitions

The ecological discourse is one of the main issues appearing in Benni Efrat's works throughout his career. His works engage in a serious discussion regarding the future of Earth and humanity. Inspired by a sense of mission, Efrat depicts the future possibilities facing mankind, his dystopian-utopian images serving him in a futuristic-archeological history project.

Ran Slavin's project reflects a technologically, culturally, ethically, and aesthetically complex portrait of the present with respect to time, place, and space. Slavin works with layered digital 3-D animation, reflecting on the meaning of our disconnection from natural time. He proposes a technological space and time as a multisensory reflection of the virtual-digital age, in a simultaneous, hybrid utopian world.

Navon’s works are comprised of multiple layers and strata, which seem to fuse reality and imagination, exploring a perceptual process in the mind and in the world. These works are based on a world view according to which inner contemplation, listening, and the abandonment of egoism for its own sake are able to bring humanity to a better, more decent place.

In a roundabout dialogue with Postmodernism, and against the backdrop of modernism ideas, Elie Shamir chooses to re-focus on the Human. His characters seem to come out of the fabric towards the viewers, arousing questions about Man's place in modern-day society.

This exhibition is concerned with oscillation between worlds, between various opposing poles – earth and sky, the physical and the spiritual, the real and the imaginary – as an expression of the meta-modern approach. The exhibition explores the ways in which the viewer experiences the work in conditions of movement, instability, doubt, perpetual change and drift.

The day after 9/11, Richard Drew's photograph The Falling Man was published, showing a man, his head pointing downward, falling from one of the towers of the World Trade Center. The destruction of the Twin Towers as a catastrophic event that caused the collapse of a modernist monument obliges us to again question the fate of modernism in the postmodernist age. Is contemporary art gripped by a neo-utopist, or neo-catastrophic nostalgia? This question is at the center of the exhibition.

What will happen if John Lennon's dream of "Imagine there's no countries... Imagine no possession..." will be mutated into a Neo-Capitalistic nightmare - where Western culture will demolish the borders of all countries, until "otherness" becomes nothing but a worthless expression.