Wings Of Love
Solo exhibition by Majnuna / Hila Cohen
The Jaffa Well, Jaffa (2022)
At the heart of the installation is a window. A curtain decorated with gold coins hangs at its back as a reference to Gargush, a traditional hat of the Yemeni henna ceremony.
The video work, located within an interior space, is inspired by the song "Wings of Love." A series of photographs and a hologram are displayed around the window.
"Wings of Love" was created following meetings with 2 canonical artists in the world of Yemeni culture - the choreographer Ilana Cohen and the singer Tsvia Abarbanel.
Group exhibition, in collaboration with
Edmond de Rothschild Foundation, Tel Aviv (2022)
We experience time in different rhythms, especially in moments of transition. It’s as if these differences create a new dimension, where movement across the axis of time is possible and the transformation of thought and imagination is visible, affecting even what seems to be constant and universal.
Time Space borrows from and interacts with spacetime in the world of physics, where time and space meet, where the boundaries delineating them become fluid and the set of acceptable possibilities expands.
It is the product of an artist incubator focusing on the interaction between the identities and everyday lives of the collective’s communities and the time space we live and operate within. The exhibition brings together questions of identity and that physical concept, reexamining these questions; the works combine various media, alongside performance pieces.
Yakira Ament, Yuval Naor, Hanan Offner, Niv Fridman, Noa Simhayof Shahaf, Danielle Liberman, Ephraim Wasse, Lobna Awidat, Itay Matan, Neta Moses, Lee Shalev, Alina Yakirevitch
Omry Hefetz and Rom Sheratzky, Eliya David and Yogev Amsalem, Nadi Nadav Yoel
Solo exhibition by Noam Palombo
Artspace, Tel-Aviv (2022)
“Offset” is a collection of print works, born out of the exploration of the gap between expectations and reality.
It features replicated prints of text in binary code, encrypted and duplicated to reflect notions of exposure and concealment, shame, acceptance and compassion.
In a fragmented work process between lockdowns during 2020, the initial motivation of personal exposure had been processed into offset – a liminal state of broken continuity, which Palombo inspects in an attempt to embrace it – producing layered linocuts.
An animation work, based on extensive discourse between the artist and the curator on a creative process modified by incongruence, refers to those initial intentions.
“Offset” is on display in a transitional space between two sections of the museum, as an invitation into liminality. In its truncated movement, the exhibition calls for deciphering, coding and inspecting the gap between the layers.
Solo exhibition by Omri Danino
Artspace, Tel-Aviv (2022)
A first solo exhibition by Omri Danino, poet and visual artist.
The linguistic grid and Hebrew alphabet constitute the principal motifs Danino employs to inspect the tension between text, as conveyor of information, and its aesthetic role. The creative process is based on a draft of Danino’s poem “Language-orphan-Kaddish” (“Kaddish-yatom-safa”) from his first book, “Kol Hayakar Shomet” (Hebrew; edited by Anat Zecharia, Hava Laor publishing, 2022). The Kaddish prayer serves as a thematic, literal and aesthetic point of reference for four hand-woven surfaces and textual images.
This burial prayer, based on Aramaic and Babylonian syntax, has been enshrined into Jewish tradition since the 12th and 13th centuries. Taking the text apart and reassembling it challenges – but also preserves parts of – the original structure. The text rings familiar but its content is new.
The woven surfaces refer to the universal stages of language acquisition and development, which children all over the world go through in their early years.
This work seeks to re-examine language-induced discipline, and highlight the tensions that exist within the text itself and between the literal and the meta-literal. The act of disassembly leaves an open void showing the traces of presence and absence; it shows how fluid linguistic structures may be, spurring potential action around and within the grid.