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| Das & Shuf |
| Zivia Kay Yoram Aschheim Topaz Loushy Kay |
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| December 2023 |
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| Das & Shuf by analogy to Tiger & Crane describes action towards harmony. One, towards harmonies of fine art and the other towards harmonies of movement, both are balanced within time and space. |
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| Black Smog |
| Yigal Pardo |
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| November 2023 |
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| Reality and the black and harsh feeling all around took over Yigal Pardo's perception of work and he took the photograph 'Black Smog' in the exhibition space, which commemorates 4 of his previous works that were taken in different places in Israel after reality did not pass them by either. |
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| Knucklebones |
| Edna Segev |
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| September 2023 |
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| The stones in the project are not only a material medium for Segev’s work, they are cultural means, used for covering and burial, and at the same time, expose their existence as memorial stones. |
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| In Movement Circles |
| Etti Abergel |
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| March 2023 |
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| In the current project, the works peel away, layer by layer, undressing for the gaze, which has transformed from a vehicle for action into a receptacle. Reversing the direction of observation, like closing one's eyes, allows Abergel to discover how the world around her is reflected inside her. |
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| Stepping Stones |
| Dana Nechmad |
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| September 2022 |
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| The works are installed in the space as a choreography along a dance route that runs amid color stains. The dance simulates skipping between milestones, between relationships, between scattered thoughts and fragments of reflections. |
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| Such and Such |
| Daviv Gerstein |
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| June 2022 |
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| The project is an adventure in which Gerstein harnesses the creative rhythm characterizing him in favor of a new perspective. In this body of work he opts, for the first time, for an intimate situation of introspection, looking inward as opposed to his routine gaze outward, at everyday life around him. |
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| Bride, Birds, and Jugs |
| Khen Shish |
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| December 2021 |
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| As part of the second collaboration between Khen Shish and Loushy Art & Projects, Shish paints six screens. Unlike decorative painting "on" screens, she uses a "pictorial sentence," which transforms the surface into a double-sided object, a screen. |
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| Small and Wild |
| Group Exhibition |
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| September 2021 |
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| Small and wild, 32 works that do not take into account - what is commonly thought, how it is customary to make art or what should be said. |
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| The Great Eagle |
| Ruth Dorrit Yacoby |
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| January 2020 |
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| Ruth Dorrit Yacoby (1952–2015) was a total artist. She regarded art and life as one medium, a single entity on every level. Her intensive work attests to a daily pursuit of art as a way of life. At the same time, her use of materials and the technical manipulations she developed to transform them into painterly surfaces, suggest a formative, fundamental decision to blend territories and fields. |
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| Land of Two |
| Tsibi Geva |
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| September 2020 |
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| Subverting the marble's polished image, Geva tattoos it with abstract images of unprocessed material stains. He uses sand tones, and defines bright flashes of color, alongside conflicting areas in red and black that have dried up. |
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| BLUE |
| Group Exhibition |
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| March 2020 |
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| MoonSun |
| Avigail Segal |
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| January 2020 |
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| Segal relates to cultural realities as an aggregate of ceremonies designed to create a balance of social forces. The project comprises nine works that express the tension that can be created when balancing polarized forces. |
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| The Colorful |
| Eitan Buganim |
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| July 2019 |
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| The heart of this series bears a deep-rooted, desperate hope for the fantastic, the mythical and the ?sthetic, a desire for headstrong flight into the rarefied air that is in short supply above the clouds, a fool’s errand that conforms with yet contradicts the sober and harsh recognition of ruthless, two-faced realities that do not sit well with the present, nor with the past that is gone forever. |
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| Self Mirroring |
| Khen Shish |
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| April 2019 |
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| The open object reveals the hidden parts of the triptych, two thirds of which are otherwise unseen, leading viewers into a dual process of replication. |
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| Text | Tekes | Textile |
| Zivia Kay |
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| December 2018 |
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| A thread passing through each work connects material and thought, woven in a ritual object. The ritual is thus ordained, calling for elimination of the cultural conditioning that demands the delineation of separation lines. |
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| Not All Shadows Are Dark |
| Amy Simon |
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| October 2018 |
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| The women in Simon’s works do not reconcile themselves with the glower that entices them to despise the limitations imposed on them in the name of religion, culture or nationality. |
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| 50' 60' 70' 80' 90' |
| Igael Tumarkin |
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| June 2018 |
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| The materials and the language of these works are unquestionably identified with Tumarkin. By contrast, the relation between the nonchalance and preplanned moves reflect a broad range of action types. |
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| No More Reality |
| Group Exhibition - Curator: Marc Scheps |
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| March 2018 |
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| This exhibition is based on my long-term interest in Loushy’s activities, based on a new kind of connection between artist and curator. Loushy invited artists to collaborate in special place-time projects in which the artists can reveal a new reality, deriving materials and inspiration from it for works reflecting their personal visions, thereby creating an innovative statement. |
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| In the Palm of the Hand |
| Michael Druks |
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| May 2017 |
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| This exhibit portrays Michael Druks’s characteristic perception of reality from a distant point of view. With systematic intuition, Druks develops the ideas that concern him into works of art that embody his sense of humor and pessimism alike. Druks expresses his position by relating to the time dimension, rendering the future contingent on a sober view of the present, while specifying the price exacted by the past. |
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| from Shivta to Lifta |
| Elger Esser |
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| November 2016 |
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| "...Esser wandered through local landscapes following an inner logic he set for himself. The field work was performed via pensive meandering among sites. Esser's freed presence in the process may be likened to a child assessing options of play in a new playground..." |
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| The Suprematic Bible |
| Pavel Pepperstein |
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| June 2016 |
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| Pavel Pepperstein paints canonical stories from the Bible in The Suprematic Bible, his second project and exhibition with Loushy Art & Projects. |
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| Thinking Path |
| Gilad Efrat |
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| March 2016 |
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| In the collaboration with Loushy Art & Projects, Gilad Efrat conceived a series of works entitled "Thinking Path", employing his unique personal language in a new manner. |
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| White Hum |
| Volker Hueller |
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| June 2015 |
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| In his solo exhibition "White Hum," New York- and Berlin-based artist, Volker H?ller, presents a project conceived in collaboration with Loushy Art & Projects. The works combine different doses of materials previously used separately to refine the format and concept. They are installed in the space as a cyclic sequence of abstract intervals, much like the phenomenon of white light which contains all wavelengths of the visible spectrum. The sequence is a humming, a noise whose volume consists of a multiplicity of sounds. |
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| Breakwater |
| Michael Sailstorfer |
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| November 2014 |
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| Berlin-based artist Michael Sailstorfer presents a project conceived in collaboration with Loushy Art & Projects in a solo exhibition, "Breakwater." Moderately introducing notions that flooded him following a research visit to Israel, he translates them into images, from which he constructs powerful yet nonviolent sentences. These formulate a humanistic world view which returns the responsibility for reality to the individual. |
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| House Tables |
| Nahum Tevet |
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| June 2014 |
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| Chairs, boats, books, and tables in varying dimensions and scales, ranging from the ordinary to the miniature, are revealed in "scenes" which change with the viewer's movement, disrupting the perception of space, measure, and distance. |
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| View. Material. Thought. |
| Michael Druks |
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| June 2013 |
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| In a recent interview with Hans Ulrich Obrist, Druks attested to his intricate thought—an ultra-Jewish, indirect thinking... |
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| Bin There |
| Max Frisinger |
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| November 2012 |
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| The secret of Frisinger's appeal lies in the fact that he leads his life as a work of art. His practice does not amount to studio work or fantasy. He lives as one of his artworks: entirely exposed, externalizing content, not "kicking away"; neither compressing, not throwing, he preserves, mends, observes, and renews—use as well as viewing. |
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| The Berlinians + One |
| Laura Bruce, MK Kaehne, Michal Levy, Cornelia Renz, Sophia Schama |
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| April 2008 |
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| Exposure of new projects - 5 projects in procces with artists from Berlin + One - a video work from Tel Aviv. |
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| Last Skies |
| Michail Grobman |
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| November 2007 |
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| Michail Grobman formulated Magical Symbolism in Moscow, in September 1967, for the first time encapsulating his artistic approach, which had begun to crystallize in 1959. Perceiving it as "a system of (visual) signs decipherable through spiritual introspection |
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| Catalogue Available |
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| Low Landscape Low Reality |
| Igael Shemtov |
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| November 2004 |
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| The photographs shed light on a process that unfolds over the course of years, fusing time periods, layers and perspectives in a journey of observation. Exploring the place, the environment, and the landscape resembles a high tide of changes taking place before dusk and sunset. |
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| Catalogue Sold Out |
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| Gewalt |
| Reza Aramesh, Diann Bauer, Amanda Beech, Aya Ben Ron, Candice Breitz, Jake & Dinos Chapman, Nigel Cooke, David Falconer, Gunther Herbst |
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| February 2004 |
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| Gewalt is a German word that carries this double sense of violence: on the one hand, it means a ruling power – the government, the state, the authorities, the laws – while it is, on the other hand, the word for an erratic and overwhelming violence and force. |
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| Catalogue Available |
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