Batia Kolton and Roni Fahima

Artistic Consultant: Lior Shvil The Syrian legend Monkey at the Loom tells of a monkey that is persuaded to learn to weave after its owner makes clear what would happen to it if it does not. It is one of seven tales, folk legends, and myths related to textile crafts on which the works on view by Batia Kolton (b. 1967, Israel) and Roni Fahima (b. 1978, Israel) are based – including texts by the Brothers Grimm, S.Y. Agnon, Norse mythology and others. These allow them to

Binge

TV series, dating apps, email threads, online shopping, disasters, and conspiracy theories are all part of the endless digital pursuit that has become an inseparable part of our lives. The five young illustrators featured in this exhibition – Shira Giladi (b. 1995, Israel), Sergey Isakov (b. 1991, Azerbaijan), Aviv Katz (b. 1996, Israel), Ben Molina (b. 1992, Israel), and Gai Safran Lulai (b. 1993, Israel) – completed their studies at design and art academies in Israel in the past five years.

Rock, Textile, Scissors

To see the works of influential illustrators, one need not go to a fancy art gallery or travel to a library in a far-off land – all one has to do is reach for one’s bookcase at home. Thus, Israeli readers have had the privilege of hosting in their home library the beloved works of three of Israel’s leading illustrators: Shemuel Katz (1926, Austria – 2010, Israel), Ruth Zarfati (1928–2010, Israel), and Erela Horowitz (1929–1994, Israel). The characters and compositions they designed

Aviva Uri

Assistant Curator: Natalie Tiznenko Aviva Uri passed away on September 1, 1989. In her lifetime, her works were exhibited at the best galleries, and in almost all the museums in the country. Thanks to these exhibitions she gained a canonical status of a groundbreaking artist and “a painters’ painter.” Her handling of paper and the virtuosity of her line influenced the leading artists of her time, who followed every innovation and development in her works with keen interest.

Rotem Amizur

The Flatland is a monumental project that began with Rotem Amizur’s chance encounter with a small and faded reproduction of one panel out of nine from The Triumphs of Caesar (1484–92), a famous painting by the Renaissance artist Andrea Mantegna. Amizur recounts that the reproduction, like any inspiring object, spurred her into action. She produced countless interpretations of the painting’s structure, with strong and vibrating colors, in a mixed technique of painting and

On Point

Assistant Curator: Ofra Lapid Courtesy of the LeRoy Neiman Center for Print Studies in the School of the Arts at Columbia University, New York Participants: David Altmejd, James Stuart Blackton, Trenton Doyle Hancock, Buckminster Fuller, Elliot Green, Ben Hagari, Jasper Johns, Joan Jonas, William Kentridge, John Kessler, Dr. Lakra, Ofra Lapid, Len Lye, Lothar Meggendorfer, Jonas Mekas, Lotte Reiniger, Aki Sasamoto,

Ivan Schwebel

Assistant Curator: Natalie Tiznenko More than a decade after Ivan Schwebel (1932–2011) passed away, this exhibition seeks to renew the acquaintance with the artist and his work. Through the vast archival material he left behind, and among the hundreds of his paintings, drawings, engravings and work journals, a total, febrile artist is revealed, for whom painting was an existential need and a refuge. Schwebel was born in the United States. In 1963, after years of wandering

Beyond Somewhere

In the 1960s, Hugh Everett – a young doctoral student of astrophysics at Princeton University – laid the groundwork for the theory of multiple universes (the Multiverse). At the core of his theory was the claim that countless other universes exist in parallel with our own. Today, scientists who subscribe to physics theories such as inflationary cosmology, string theory, and quantum mechanics, argue that every measurement conducted in space leads to quantum splits that cause endless bubble

Batia Apollo

Little has been written about the life and art of Batia Apollo (1946–2018). It is difficult to draw a coherent picture from the fragmented memories and partial facts that emerged from the stories of friends, acquaintances, and family members interviewed ahead of the exhibition, let alone to verify and organize her story on a timeline. The interviewees who were close to her maintained a certain distance, sharing little and reluctantly, protecting her privacy as she herself did zealously during

Daniella Meroz

Bouncing Ball, 2022 Video and animation, 15 min The video work Bouncing Ball shows a polarized world forged by just two actions – hitting the ball and escaping from it. On manicured lawns, a row of figures are seen being subjected to relentless attack from a single game ball, or running from it. The ball offers the central viewpoint of the work and is its plot generator. The video presents an imaginary world populated by characters that are fantastic, colorful,