The common issue underlying all works is everlasting circuits, not ending in a specific place or time, symbolizing the constant rhythm of life’s ups and downs in a kind of "carousel show".

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. She steps outside the familiar realms of reality and focuses on her own individual space.

Reflection This is my reflection

I have adopted Robert Capa's saying: "If your photographs aren't good enough, you weren't close enough". But in retrospect I add a corollary: If you're too close, you lose perspective...

Bauer moves from the impersonal to the highly personal - his soiled and stained mattress. It is transformed from being an intimate, soft, and familiar refuge at home to being hard, cold, and exposed to the public gaze...

Bauer turns himself into a contemporary Argos, taking hundreds of small photographs to make up the single final image. However, the process is not like simple mathematics, where the sum of the parts makes up the whole.

The piece is really an oversized flip book that yields a different series of images depending on where your fingers happen to begin flipping and in which direction the pages start to flow.

At first sight Aya Ben-Ron's Blister resembles a multidimensional greeting card blown up into a wall object. The viewer is drawn into this aesthetic and appealing mold, only to encounter images which are difficult to look at.

The music project is an edition of 50 picture vinyl disks, each printed with 2 drawings by Laura Bruce. Each vinyl disk comes along with an original hand drawing by the artist.

Even the most casual glance at Aya Ben Ron’s recent project, Clastic, sets into motion the mechanisms of fascination and horror that pulls viewers into its beautiful, complex and contradictory surface.

I could not stop focusing on the people behind it, that is, the songwriters and/or singers who lived the lives they wrote about. Their songs are about noble issues of love or lost love, hope or lost hope, attempts...

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 ...

As the artist observes: 'the moment I cut through the canvas I get rid of the grandiosity of painting'. The processes of cutting, patching up, fitting back together, re-assembling are central to de la Cruz’s practice.

In a recent interview with Hans Ulrich Obrist, Druks attested to his intricate thought - an ultra-Jewish, indirect, different type of thinking...

The idea that the works offer a visual interpretation of the artist's "Thinking Paths" implies that the unanticipated spans of emergence of thoughts which took the path, guided the marking and blurring principles, typical of Efrat in this project.

from Shivta to Lifta surrenders an illusion ostensibly originating in a general view of a large scenic terrain, but in fact evolves as an acute cross-section into the depths of the local reality. Work on the project was conducted along several concurrent levels, using various tactics of observation and photography.

The super-hermetic shrink-wrapped "universal subject" is the refuge of uber-reason, an ossified structure, fortified against digestive attack; made allergic to difference and alterity by the Kant-God program.

Litter is an object of 1 or 2 balls of new-born mice babies. They are hairless with closed eyes. They are very foetus-like. Together, a mouse's babies is called a litter, Hence the title: "Litter", also means rubbish or garbage.

Bin There shifts observation to the scope of the problem. Having previously engaged in the myth of leftovers and practices of reuse, collecting, assembling, and transformation, in the current project Frisinger explores the means employed to collect, channel, and eliminate waste.

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.

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.

Exodus 17:6 “…smite the rock, and there shall come water out of it “.

In my own drawings and paintings, motifs that resemble wire or tree branches are not uncommon. All of this has fascinated me from childhood onward.

In ‘Textones’, the first two works, Holzapfel rolls up the Kabbalistic spheres/disciplines along with the texture of the landscape. In these pieces, he "folds" the metaphysic power of the Hebrew letters with the symbolism of the numbers, recalling the technique of Jewish sacred objects.

Examination of the works as discrete intervals along a continuum reveals the meaning of H?ller's hum: a multicolored multi-participant world. Avoidance of the notion of the "other" highlights the place of the one of many.

In this series, Jabbour uses her own body as a vehicle for self-expression. Posing as Mary Magdalene, both a sinner and a repentant, the artist Evokes both sensuality and innocence, lost on the verge of discovery and self-discovery.

All of us, including Yakovlev, went to Kabakov. We looked at his objects, llya told us of his ideas. Indjikh said that what Kabakov is doing, American artists are only about to begin, and that he has gone far ahead of them.

We continuously try to deal with reality in order to survive (which is very stressful). At the same time we also feel constantly insecure because we live with the invariable idea that we don't really know what reality is.

The object 'Suit' is based on a combination of the business suit uniform and the army uniform pouch vest. This overlapping of two different worlds creates an absurd mobile home for the daily survival in contemporary life.

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.

Pincemi et Pincemoi sat in a boat. Pincemi drowned, who remained? A common game of words adopted by children all over the world. The rules are clear, the one to whom it is applied answers as if there is nothing to it and gets pinched.

Krysztal Kramberg reveals her self-perception as a persona superimposed from figures who serve different duties: a local stranger, a culture researcher, a historical carrier, a woman, a lover, a mother…

The hank of human hair separated from its natural context appears on the colorful tub stoppers and brings us back to those seldom moments when we realize that we are not the ones to blame.

This project consists of 10 original works and encompasses a flair for the nostalgic, forceful and immanent ‘backyard’ of the typical Israeli atmosphere, ultimately subverting Pop Culture, internet clip-art and accessing latent issues.

This is a machine-city that functions at the fervent rhythm of cylinders, maintaining a quasi- "organized chaos". Amidst the city's dull hustle and bustle two structures aspire to detach themselves from the rest.

Screen and Totem speaks of the place it occupies. It reflects and screens it; it projects on it and is projected by it; it interferes with the space by dividing it; it creates a place, a new one.

Nechmad depicts the figures in each work in two shades, akin to a color and its shadow, and blurs their gender identity. The figures are placed on a background of saturated, uniform color which is rendered as a depthless surface, thus eliminating the spatial dimension.

The balanced composition illustrates the idea that symbolical spatial alterations are needed, such as triangle, circle or other emblems, to be installed at various equilibrium points so as to obtain stability.

His choice of conceptual art and the suprematic notion enables Pepperstein to present the spiritual elements that he finds in the concepts of Judaism and the inner, hidden contents of the Biblical myths.

Feet Up opens a window to the world of the absurd that Philip Rantzer creates in his art. Rantzer alienates a mundane every-day object. He dissociates the object from its familiar context and relocates it in space.

Order and Tidiness at the Dead Sea receive opposing meanings but also complete each other in this series of works.

In my works I let the pre-pubescent girl, the cliched ‘girl-bride’, the eroticised nymphet undermine their cultural attributions and let them test an opposite, violent or threatening behaviour.

...the choice of multi age women and the feminine intimacy between the naked figures and the short hair model of Venus build a discussion...

...women weave the fate of their loved ones, preserve their lives and dictate their natures. While knitting, the woman draws into herself, engaging in the intimate creation of every detail and every loop..

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.

The choice of an object such as a fan has challenged Sasportas in terms of form as well as content, leading her to different artistic choices than those that regularly characterize her work.

Syria, for me, is a father's and a man's country. When I moved to the Federal Republic of Germany in 1978 I not only went through a cultural change, but I also lost my father.

Segal addresses states of balance as common ground for the development of similar rituals in various human societies.

For her, "breaking the rules" is not a metaphor that means playing out, but more like as the Kabbalistic view, it is an opportunity to vision one entire situation that holds qualities from different degrees.

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.

Eight objects manifest cooperation between Khen Shish and Loushy | Art & Projects, configured paradoxically as a divided triptych that never reveals the whole picture.

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.

Is a kind of testament to a time gone past. To a more formal time, when time stood still for tea, it oiled the social machine. To a time when conversation was a skill learnt, and practised. Like a game of bridge, it was a game.

In the project 'Under the Surface' Tevet creates an ambiguity between a functional object and a sculptural artifact.

Toren's hostile intervention in the smug bourgeois painting as-it-were shook up its essence and created a strange friction between its flat painterly language and the new three-dimensional language.

The Citizen Levin, poet of the marvelous ugliness, has brought forth the Israeli-Jewish repulsiveness to a top artistic degree, to a formative and poetical perfection.

The project titled “Slow, proceed with caution” is obsessed with the sounds of discarded information.