Sideline is a project by artist hanna sahar portraying a series of photographs created especially for this show.Hanna Sahar is an Israeli photographer who has exhibited widely in museums in Israel and across Europe. Over the years she was the recipient of numerous art prizes, the most recent being the minister of education and culture 2014 prize. Sahar’s works figure in important private and institutional collections both in Israel and abroad. Caught through the sensitive lens of hanna Sahar, the subjects in sideline series include local identified vistas as well as various unique views of sceneries and objects. The images are infused with poetic sensibility and a distinguished sensitivity to light, and are reminiscent of works from the 19th century from the era of the birth of photography. Echoing the idea of Peter Marom from the 1940’s and 50’s, whose photographs were sold in local department stores with the philosophy of being accessible to all, Sahar wanted to create a new series, which would be affordable to a large number of people. The photographs in this project will thus be produced as an unlimited, numbered edition, stamped and signed by the artist at the back.


QUARTIER DES BAINS GENEVA, 2009 In Israel, as in the rest of the world, the last decade in art witnessed the strong rise of young contemporary artists.Contemporary Israeli art crosses many boundaries, and has very naturally attracted the attention of world-renowned art institutions. Israeli artists have gained worldwide exposure through their highly regarded achievements. They […]


The drawings emerged from a desire to break free. Capturing the fleeting, random, moment, the technique of spray painting allowed a different physical experience than the Sisyphean task of academic drawing that the artist is used to. Hereby a sharp shift occurs from drawing to spraying that seals the painting onto paper and wall. All the stages of the creative process include painting and drawing, whereby the actual Sisyphean task consists in the preparation the stencil.
The exhibition is a kind of sketch – étude – on the inner scream that wants to burst out. This outburst resounds through the Pop tunes reverberating across the hall: Besides all t


“Collect yourself and reflect, for things are not as you thought following the first notion that occurred to you, but rather as is made clear through reflection…”
(Maimonides/The Guide for the Perplexed, Part I, Chapter II).

The exhibition showcases works by 9 contemporary Israeli artists: Maya Attoun, Yifat Bezalel, Rafael Y. Herman, Yitzhak Livneh, Rami Maymon, Tatyana Nazarenko, Sasha Serber, Guy Zagursky & Shira Zelwer. Eiyna is an Aramaic word for the Hebrew letter Ayin which also means eye.

All the letters in the Hebrew alphabet carry a numerical value known as “Gematria”, which were ascribed a mystical meaning in the esoteric Jewish tradition. The assigned numerical value of the letter Ayin is 70, which is a number of great significance in Judaism. For instance, there are 70 different perspectives of the Torah as well as 70 names for Jerusalem.

The letter Eiyna, Ayin, eye, symbolizes the act of observation and more so, spiritual viewing. Eiyna points at the most important human sense − sight. Jewish mysticism teaches us that through contemplation we can truly see. Through their work, the artists allow the viewer different ways of observing art, one that forces the viewer to not only look at something but also to see it. Other kinds of art are less bound to the artists’ intentions – though the viewer still feels the artist’s presence, there is more room for his eye and mind to roam. Eiyna, Ayin, our eye, is the link through which one can see beyond the form and colour. This contemplation is what allows one to see into the heart of an artwork

432 09 02

A car is parked in an empty street, right in front of the camera; a woman sits in the car that’s in front of the camera; a man and a woman stand beside the car that’s in front of the camera; a family and a car in a parking lot, in a group photo, all in front of the camera. This unique collection of pictures, gathered from albums of various families, depicts a small ceremony: here is something worth pausing for. It seems that documenting the family car was a common practice among 1990’s immigrants who had left the Soviet Union behind and started a new life in Israel.

Stay in the loop