Semblance of a Sabra

An unresolved paradox of nationality.

A mute testimony to the borders of deserted villages. The metaphoric evolution of the plant into the figure of the Hebrew pioneer.

The work is a cornerstone, offering a new point of view of the loaded reciprocity between two nations forced to share the same territory.

A representation of symbolic healing-

The patchwork of cactus leaves brought by the students from the various regions in which they dwell.

The leaves carry the concrete genetic stores of ancient bushes, as well as the symbolic evolution of the subjects they represent.

See the making of the art video:

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Women Ceramic Workshop

For the last two years, the gallery is operating a ceramic workshop, which introduce and trains local Arab women in ceramic crafts. So far, over 30 women have been training, and the workshop is developing a production-line for sell, in order to sustain itself, and provide modest income to the women. The goal of the workshop is to reintroduce local lost crafts to the Arab society, and to allow unemployed women to have a source of pride in their making.




Elham Rokni employs video installation and drawing to investigate memory and emotion through the lens of extreme daily situations and her personal history as an immigrant. Her work explores an intricate, multifaceted reality that challenges existing physical and political boundaries, and in the process, powerful psychic conditions both conscious and unconscious are revealed.
Rokni received her BFA and MFA from Bezalel Academy in Israel. She has participated in international film festivals and has received grants from the Israeli Ministry of Culture and Sport, the Yehushua Rabinovich Tel Aviv Foundation for the Arts, and the Fund for Video Art and Experimental Cinema in Israel. Her works can be found in various private collections.


Earthworks in preparation for planting the Ambassador Forest

Fazal Sheikh is an artist who uses photographs to document people living in displaced and marginalized communities around the world. His principle medium is the portrait, although his work also encompasses personal narratives, found photographs, archival material, sound, and his own written texts

Each of his projects is collected and published and is exhibited internationally in galleries and museums. He also works closely with human rights organizations and believes in disseminating his work in forms that can be distributed as widely as possible and can be of use to the communities themselves.

Fazal Ilahi Sheikh was born in 1965 in New York City. He graduated from Princeton University with a B.A. in 1987 and since then has worked as a photographer documenting the lives of individuals in displaced communities across East Africa, in Pakistan, Afghanistan, Brazil, Cuba, India and Israel/Palestine. He has received many awards for his work, including a Fulbright Fellowship (1992), a National Endowment for the Arts Fellowship (1994), the Infinity Award from the International Center of Photography, New York (1995), the Leica Medal of Excellence (1995), Le Prix Dialogue de l’Humanité, Rencontres d’Arles (2003), the Henri Cartier-Bresson International Grand Prize (2005), the Deutsche Börse Photography Prize (finalist, 2008), the Deutscher Fotobuchpreis (2009) and the Lucie Humanitarian Award (2009).

In 2005 he was named a MacArthur Fellow and in 2012 a Guggenheim Fellow.


Pines 6

Dor Guez (b.Jerusalem) is an artist, a scholar, and the head of the Photography Department at Bezalel Academy of Arts and Design, Jerusalem. His installations combine diverse modes of video and photographic practices.

Guez's work raises questions about contemporary art's role in narrating unwritten histories, and re-contextualizing visual and written documents.
The artist's cultural heritage, Christian Palestinian and Jewish Tunisian, is reflected in his artistic interest and examination of Arab culture. 

In 2009, Guez founded the Christian-Palestinian Archive (CPA), the first archive devoted to the Christian-Palestinian minority of the Middle East. 
It contains a growing collection of scanned archival materials from the first half of the 20th century that document the personal histories of the Christian- Palestinian community worldwide. His latest research project about archives, Pre-Israeli Orientalism, is due to appear this coming year.


‘’I think that heroics are tragic - i am actually talking about wars as a human bug”



Amon Yariv's work is created for the most part in the studio. He creates an object and builds the space which it then inhabits. It is only at the end of this process that the act of photography begins. Yariv constructs wood and iron boxes that are reminiscent at times of a stage, a room, solitary confinement or a birdhouse. His work has an allegorical and theatrical dimension to it, one of a restrained appearance.

Bio: Amon Yariv (1975) is an artist and photographer. He is represented by Rosenfeld Gallery and he had a solo exhibition at the Tel Aviv Museum of Art in 2007.






Tissue, Batia Shani’s installation echoes the unstable political situation in the Middle East & deals with issues of anxiety & fears.  
The word for Tissue in Hebrew is Rikma.
Rikma in Hebrew means cells tissue but it is also the Hebrew word for needlework.  

The installation consists of handmade, miniature dresses, made out of fabric scraps and pieces of army uniforms. The incorporation of male army uniforms, associated with army and with war (these dresses were made during the war in Gaza in 2014), within the dresses which symbolize femininity and tenderness, creates a sense of confusion. It is a mixture of masculinity and femininity, representing a shift of identities, an exploitation of authority and the ability to harm women – all reoccurring motifs in Shani’s work. 

Shani, who has been doing needlework since she was a child, has studied the technique, and holds a degree from the Royal School of Needlework in London.. The act of needlework, which evokes joining but also stabbing and wounding, is a childhood memory, taking the artist back to a safe place but at the same time awakening terrors, pain, and frustration, evident in the obsessive activity and in the unplanned disruptive processes in the works

Shani embroiders on IDF uniform pockets definitions of fear. She uses sayings & quotations of leaders & intellectuals relating to fear and to issues derived from it. 

On the walls are framed envelopes on top of which Shani embroiders her personal fears.  The engagement in anxiety is directly portrayed in those hung envelopes, which are an act of releasing and disposing of her fears, while at the same time writing those fears validates them. Few of the envelopes are hung backwards, a move which transforms the text into an abstract combination of symbols, thus rendering meaningless. 

If we examine the works formalistically the pockets & envelopes resemble each other. Both are designed to contain something, to carry something inside them, maybe even to hide something. In Shani’s case they don’t fulfill their purpose. All the information is on the outside, exposed on the surface, which creates a sense of vulnerability.

Mistakes, additions and disruptions appear in parts of these texts. The disruption of words expresses the anxiety which threatens to disintegrate the existing order. Moreover it demonstrates the tension between the desire to break free and the drive to preserve the existing, as well as the strive for perfection.

Post-Structuralist linguistics looks at the text as texture, a material woven out of many threads. According to Jacques Derrida, a text is etymologically linked to textile and texture, hence characterized by the same multifaceted materiality of fabric. When Derrida says that "there's nothing but text" he emphasizes the materiality and physicality of the language, as a sequence of signifiers; flowing into each other while crossing and annihilating accepted boundaries and binary contradictions

Tamar Dresdner


Menashe Kadishman is one of the few Israeli artists who succeeded in reaching out to an international audience. His artistic vision, however; is firmly rooted in his Israeli origins: the landscape of Israel, on the one hand, and the saga of his patents, the Zionist pioneers who fled persecution in Europe and dreamt of the creation of a just, non-alienated, new Jewish society on the other hand. The two were to him intertwined and all but unified. 

Towards the late l980s, Kadishman returned to sculpture and painting, where a naturalistic imagery gained new significance and took on a very important dimension in his work.

In all its styles and periods his artistic activity was informed by the idea of space as a living and intimate environment, or, in other words, as a motherland.

To Kadishman, messianism, as symbolized by Messiahs white donkey does not involve mystical events leading to the reestablishment of an ancient Jewish kingdom, but rather a mundane event or a series of human gestures and actions leading to the termination of bloodshed,peace, and the opportunity given to all Abrahams, Isaacs and Ishmaels to become the peaceful shepherds and peasants they should be.

'It's not a question of anxiety. Walking in a field holding a hot air balloon ‘

Tamar Ettun is a Brooklyn based sculptor and performance artist, she is the founding director of The Moving Company.  Ettun's multi disciplinary practice deals with the effects of trauma on the body in connection to empathy. 

Ettun received her MFA from Yale University in 2010 where she was awarded the Alice English Kimball Fellowship. She studied at Cooper Union in 2007, while earning her BFA from Bezalel Academy.

Her numerous exhibitions and performances include: Uppsala Museum of Art, Bryant Park, Sculpture Center, Diana Lowenstein Gallery, Fridman Gallery, The Watermill Center, Madison Square Park, e-flux, The Queens Museum, Braverman Gallery, Indianapolis Museum of Art, Herzelia Museum, The Jewish Museum, PERFORMA 13, PERFORMA 11, PERFORMA 09.

Ettun has been honored by several organizations including Iaspis, Franklin Furnace, The Pollock Krasner, Fountainhead Residency, The Watermill Center, MacDowell Fellowship, Art Production Fund, Socrates Sculpture Park, Artis, RECESS. 


Tamar Hirschl’s work primarily deals with present-day issues of political and cultural unrest, topics of particular interest to Hirschl, who migrated to Israel after the Holocaust. In recent years, the artist has begun exploration of the effects of human conflict and urbanism on nature and the environment in a series of paintings, murals, video, and mixed media sculpture.


The work was made after the second Lebanon war of summer 2006.

At that time, I was living in New York, and came for a visit right to the middle of the war. Being at my parents, who live in the north of Israel, became an uncanny experience. Fear penetrated the house I grow up in, and the Israeli reality, left me confused and frustrated. Couple of years later, I made Untitled 2006, with my partner, in our very small Brooklyn apartment. By fiscally mimicking the sound of a siren, the intimate position of a couple, suggests that what can seem close and safe, holds danger, and on the other hand, only the closeness and synchronicity of the couple, can bring their individual voices to sound like an alarming siren.


“Clay is a guide to understand the process of life communication, contact, touching and love.”
“Earth, water and fire fuse into living breathing entity. Existing from time immemorial, my woven sculpture is part of this creation. Within me are memories, ancient, old and new. These massive forms are at once imposing and fragile, alluding to function but in their impressive diminution and strong architectural values become abstracted, and achieve a beauty that is both formal and sensual.”