Exhibitions

Pavel Wolberg displays a new series shot in an amusement park in Düsseldorf, in which he continues to engage with costumes and masks as the unmistakable characteristics of the gap between the self and its representations. This preoccupation takes a new turn in the current series of photographs:

The evolution of surveillance techniques is bound up with the development of photographic technology – from earlier aerial photography to satellite photography. In the 21st century, security cameras on street corners, in shops, and in public buildings quietly document every step we take, while

On the threshold between performance, visual art, and objects' theater, Dina Goldstein's works seek to evoke surreal fantasy worlds, drawing on her passion for the marvelous and a desire to bring beauty and magic into daily life. The encounter between low-tech means, video and screening technology

The preoccupation with daily urban occurrences – the center of this exhibition– is rooted in the heritage of mid-20th century "Decisive Moment" photographers, such as Henri Cartier-Bresson, Walker Evans, Robert Frank and others. Street photographers used techniques meant to emphasize the

In her works, Ruthi Helbitz Cohen creates an atmosphere of a ball and a masquerade, where identity is transient and can be replaced by other, more creative and theatrical personas. According to curator Uri Dessau, Helbitz Cohen creates a setting that posits self-identity as a sort of performance

Artistic depictions of voyeurism were already prominent in paintings since the Renaissance, for example in portrayals of Venus sleeping in a meadow, lying in bed or bathing, as well as in illustrations of the tale of Susanna and the Elders. These images were designed mainly to offer a classic

The German-born Jewish-American theorist Hannah Arendt, in her discussion of the celebrity phenomenon, referred to the public realm as a “space of visibility,” arguing that in this space, admiration becomes “something that should be used and consumed.” The admiration of the

The exhibition comprises twenty- five diversely framed eye drawings, alluding to 18th-century eye miniatures, or Lovers' Eyes, usually painted with watercolors on ivory or parchment. Decorated with gems, these miniatures depicted the eye of a beloved person or spouse, and were worn as bracelets

Thomas Israël creates interactive works, video installations, sculptures, and performance. Having begun his career in theater, his atypical approach to digital arts revolves around the themes of the body, time, and the subconscious.

Born in Germany, 1953 / Lives and works in Israel