Exhibitions

Khen Shish’s expressionist works are moving, thought-provoking, and galvanizing. In the words of the writer Doron Braunshtein, her works "make you want to go out and do something [...] to act."

Yefman's multidisciplinary works challenge normative definitions of otherness and examine the way in which personal and collective traumas shape inherent identities.

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 street artist known as AME72 draws inspiration from pop culture and uses bold colors in his stenciled and freehand graffiti works. His installation features ten life-size policemen drawn on wooden boards: smiling on one side, frowning on the reverse. The policemen are designed to resemble LEGO minifigures, a recurring motif in the artist's work.

The first part of the exhibition focuses on the notion of anonymity as a crucial component in contemporary female activism. This motif opposes the idea of intimate and personal familiarity with the female image.
Judith Butler in her book Precarious Life (2004) analyzes images of victims in the media. The victim’s narrative is always told in the first person. We identify with the victim by getting to know his or her family, education, and lifestyle.

Vik Muniz's floating installation Lampedusa was launched during the 56th Venice Biennale in 2015. Constructed in commemoration of the 360 immigrants who drowned during their journey from Libya to Italy, the 14-meter-long paper boat was coated with a giant reproduction of the Italian newspaper that reported the tragedy.

This exhibition examines the artists' perspective on struggle and protest and the degree of their involvement, which can range from artistic homage to pronounced activism. The works depict battle scenes, rallies, or protests – some well-known while others are none recognizable. The exhibition revolves around two central images: the mask and the knight. The mask is used for concealment and protection. It provides anonymity and can help the wearer lose his or her inhibitions and express personal freedom.

The liberal political stance that seeks to define the limits of the LGBTQIA space is based on two complementary assumptions. First is the assumption of otherness, which presumes an inherent difference between the LGBTQIA community and heterosexuals – one that transcends any other form of kinship that may exist between the two groups.

Dede's activity as a street artist spans over a decade, and his works are exhibited in galleries and museums. He draws inspiration from the pulse of the cityscape – architecture, rhythms, voices, and passers-by. He is motivated by a desire to leave his own mark on the city, which has become an integral part of his work.