The Israeli Program

Every year six Israeli artists in different stages of their artistic career are chosen for a yearlong residency program. The open call for the program is published once a year, and artists are chosen by an international independent jury that changes yearly.
During the residency year the artists continue their individual artistic practice while participating in weekly meetings, workshops and art tours. The process based program includes a studio at Artport, a monthly stipend, and close curatorial support.

The International Program

International artists and curators are invited to be part of the Artport residency program for a period of one to three months. The international residents take part in the residency activities, including weekly meetings, studio visits and art tours. They are provided with a one-bedroom apartment in Jaffa, and a studio at Artport’s building.
The International program is by invitation only and through exchange programs with similar artist in residence programs around the world.

Professional Tools Workshops

The Artists Career Development Program (ACDP) in collaboration with Asylum Arts, aims to strengthen the local art community by providing artists with professional tools to help them navigate the local and international art world. The three-day workshop, followed by other workshops throughout the year, focuses on subjects such as

Residency in Pictures

Artport is a home for the local art community and aspires to be a location for experiments, inspiration, communal learning and unexpected connections. The artists in the program are invited to work in an open and supportive environment. Artport’s gallery encourages artistic inquiry, critical thinking and stretches the definitions of art. Artport is a meeting place, and invites artists and curators to take part in activities in ways that will enrich their practice as well as the local art scene.

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Years 2019-2020 close
Israeli Program

Gil Yefman

By deconstructing and transforming canonized familiar myths from varied beliefs and traditions, and creating fantastic realms where characters with elusive gender, sexual and political identities serve as alternative cultural heroes – I try to challenge and undermine the structured definitions and portrayal of the “other”, in order to explore and cherish the intrinsic potential of the extraordinary. Through a manifold spectrum of practices and media, and with a prevalent predilection for the craftswomanship of crochet knitting, I indulge in the therapeutic virtues of knitting as means to dwell on personal and collective traumas, as well as to reflect upon recurrent obsessive patterns in mankind's societies. The act of knitting resembles writing: long, rapid, carefully calculated and monotonous movements, a collection of syllables that create a narrative, the object. The texts and contexts become textures that suggest an alternative examination, reflection and interpretation to dogmatic translations.
Yefman graduated from Bezalel Academy for Art and Design, Jerusalem in 2003, and received a two year fellowship at the Alma program for Jewish culture studies, 2008-2010. He is the Rappaport Prize laureate for young Israeli artist, 2017, and awarded ​"The Young Artist Prize” given by the Israeli Ministry of Culture and Science, 2010. Residencies programs include ​The Aomori Contemporary Art Center, Japan 2015, IDA Schir Residency, Hannover 2014, Fountainhead Residency, Miami 2014, Artist residency, granted by the NRW Kunststiftung and The Bronner Family, Düsseldorf 2011-12. His works are present in several private and public collections, among which: The Jewish Museum, NYC, The Rubell Family Collection, Miami, Tel Aviv Museum of art, Herzliya Museum of art, Shoken Family Collection, Tel Aviv, The Bronner Family Collection, ​Düsseldorf​, and private collections. Selected solo exhibitions include​: “Kibbutz Buchenwald”, Tel Aviv Museum of Art 2018, “Body Of Work”, Haifa museum of art 2017, “The Third Dress”, ​Dana art gallery, Yad Mordechai Kibbutz 2016, ​“To Me You Are Beautiful - Bay Mir Bistu Sheyn”, Ronald Feldman Fine Art, NYC 2014, “H” The Container, Tokyo 2013, "In Return", Dvir Gallery, Tel Aviv 2011. Selected group exhibitions include​: "​ Dread & Delight", Weatherspoon art museum, NC, 2018, “The Queer Biennale - What If Utopia”, L.A. 2018,​ “Violated: Women in Holocaust and Genocide”, Ronald Feldman Gallery, NYC, 2018, ​“Woven and Untangled”, Tel Aviv Museum 2017, "(SIGNAL)", Smack Mellon, Brooklyn, NY 2016, "Kumzitz", KIT museum, Düsseldorf 2016, “​Passage - A Day In Eternity", Aomori Contemporary Art Centre, Aomori, 2015, ​“Otherness - I Is Somebody Else”, Espace Culturel Louis Vuitton, Paris 2013, “About Stupidity” Petach Tikva Museum of Art 2013, “Galicia Mon Amour”, "Body Without Body", Georg Kolbe Museum, Berlin 2011, “Animamix Biennial – Attract and Attack”, MOCA museum, Taipei, 2009.
Gil Yefman is represented by Ronald Feldman Fine Art, NYC.
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Dor Zlekha Levy

Dor Zlekha Levy (born 1990) is a multimedia artist, specialized in creating Audiovisual installations, video art and performnaces. Sound is a core element in Zlekha Levy’s work. Ongoing collaborations with musicians are essential to his working process, from conception to installation. Zlekha Levy’s latest works are inspired by the history and the cultural heritage of Arab Jewry (Jews living in or originating from Arab countries). His works bring to life voices that are excluded from the Israeli cultural discourse in a way that allows them not just to be heard, but be listened to. He has held solo exhibitions at the Tel Aviv Museum of Art, Hamidrasha Gallery and Braverman Gallery, among others, and participated in group shows at The Petach Tikva Museum of Art, The Israel Museum, Kunsthalle Stavanger, The Museum of Islamic Art in Jerusalem and others. His videos have been screened at international festivals as Ars Electronica and institutions as Kadist Foundation and ICA London. Dor had conducted several major events, combining live musical performances and Audiovisual installations under the title “Songs of The Next War” (Helena Rubinstein Pavilion for Contemporary Art, Jerusalem film festival, Soundart Pazaz). His videos have been screened at international festivals as Ars Electronica and institutions as Kadist Foundation and ICA London. In 2017, Dor recieced the Israeli Ministry of Culture prize for young artist. He is the winner of ‘Zoom 2016’ prize for young Israeli artist. His works are held in the collection of The Israel Museum in Jerusalem and in private collections.
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Halil Balabin & Merav Kamel

Merav Kamel (born in 1988, Israel) and Halil Balabin (born in 1987, Israel) are an artist duo based in Tel-Aviv, working together since 2012. Both of them received their BFA from the Bezalel Academy of Art and Design Jerusalem (Kamel in 2012, Balabin on 2014). Their works are divided into two types of practices — the first is sewing of dolls, and the other is site-specific installations. The installations deal with documentary and autobiographical content, through which they examine new possibilities of documentary representation. For example, how can the documentary film genre shed its cinematic identity, and how a human story can be told by using traditional artistic tools, without the use of a video camera. In contrast, their work with dolls brings out an associative way of thought — the attachment of different organs born of amputations, hybridizations and compositions that create a new object. They are mutations of lust and fantasy with a humorous tone, which mix together an array of familiar images: Cartoons, surrealism, poeticism, a mélange of the high and low, art history, and the conflicted and bizarre space of Israel. Their joint work cancels the masculine-feminine dichotomy of their works, and allows a fluid gender identity. An ever-changing, androgynous being is formed, with the ability to play more than one character. Their works has been exhibited in numerous solo and group exhibitions including: Buchum Museum, Germany; Brno house of art, Czech; Pram Gallery, Prague; PM gallery, Dusseldorf; Circle 1 Gallery, Berlin; Untitled art fair, Miami; Israel Museum, Jerusalem; Tel Aviv Museum; Herzliya Museum; Bat Yam Museum; Ha’Kibbutz Gallery, Tel Aviv; Givon Gallery, Tel Aviv; Inga Gallery, Tel aviv; among many other venues. Their works are included in a number of public and private collection such as the Tel Aviv Museum of Art; the Israel Museum, Jerusalem; Philara collection; Carry and Dan Bronner collection; Discount Bank collection; Roni and Allen Baharaff collection; Shoken collection; Ann and Ari Rosenblatt collection; Dubi Shiff collection; Alexander Farenholtz collection and other private ones. Both was awarded from Israel Ministry of Culture, Young Artist Award (Kamel in 2018, Balabin on 2016); Artis Residency grant; "Elhanani" Prize from Bezalel Academy of Art ; America- Israel cultural Foundation award for extra ordinary artistic achievement.
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International Program
Years 2018-2019 close
International Program

Rudolf Samohejl

Rudolf Samohejl (b.1987, České Budějovice, Czechoslovakia) is a visual artist living and working between Prague, the Czech Republic and Brussels, Belgium. He graduated from the Academy of Art Architecture and Design in Prague. Samohejl classifies his works as “sculptural situations.” As opposed to installations, his works are moreso experiences than presentations, drawing their strength from an active audience and oftentimes incorporating audience interaction. Samohejl’s work is not restricted to any one medium or material – instead the medium and material are specific to the concept and space he is working with. In the past, Samohejl has worked with concrete, found materials, and 3D-printed objects, among others. He has worked in a wide variety of disciplines, including video, performance, and drawing. Samohejl frequently draws processes and aesthetics from design and architecture. He is concerned with the present and future, particularly dealing with issues of technology, urbanism, and mass consumption. He is most interested in the physical and mental impact of these systems on the individual. Samohejl’s works reveal to us what goes unseen. They reveal what we take for granted: the systems that shape our lives, and yet are too large and complex to question. His situations disrupt our habits, thus illuminating and creating space to question them. In recent years, Samohejl has created “natural virtual realities,” using low-tech materials to speak about problems in high-tech. He often employs humor as a method of disruption. The unexpected size and construction of his works may undermine the context that a viewer might rely on to understand the work, thus liberating their relationship to it. The core of Samohejl’s current work can be found in the human obsession with an abstract future and the obsessive desire to project itself onto this imagined existence. Samohejl’s work has been exhibited in the Czech Republic and abroad since 2010. He received the Jan Naaijkens Prize 2015 in the Netherlands and was a finalist of ESSL Art Award in 2013. Samohejl has completed residencies at such institutions as AIR Sandnes (Norway), Flow East Art Hub Prague, INI Project Prague, Space Called Place (Krakow, Poland) and Egon Schiele Art Center (Český Krumlov).
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Joanna Piotrowska

Joanna Piotrowska (born Warsaw, Poland 1985), lives and works in London.  Piotrowska’s photographic, filmic and performative practice investigates man-made environments and domestic spaces in relation to self-protection and psycho-physical relationships. Selected current and forthcoming exhibitions include Being: New Photography 2018, MoMA, New York, USA, We don’t need another Hero, 10th Berlin Biennale, Berlin, Germany, SUPERSTITION, Museum Marres, Maastricht, Netherlands, Daegu Photo Biennale, Daegu, Korea, Structures of meaning | Architectures of perception, Gateway, Abu Dhabi, United Arab Emirates. Recent solo and group exhibitions include Material Environments, The Tetley, Leeds South Bank, Leeds, UK, Big Towers , ICA Singapore, GAUDIOPOLIS , Off- Biennale, Budapest, Hungary, Untitled, Southard Reid, London, UK, These Rotten Words , Chapter Gallery, Cardiff, UK, Room, Sadie Coles, London, UK and Mead Gallery, Warwick Arts Centre, Coventry, UK (2017); Give Me Yesterday , Fondazione Prada, Milan, Italy, Frantic , Galeria Madragoa, Lisbon, Portugal (2016); Hester, Southard Reid, London, UK, Jerwood and Photoworks Award Exhibition, Jerwood Space, London, UK (2015); s.w.a.l.k, Project Space, Northern Gallery of Contemporary Art, Sunderland, UK, What love has to do with it, Project Space, Hayward Gallery, London, UK (2014); Bloomberg New Contemporaries , Institute of Contemporary Arts, London, UK and Spike Island, Bristol, UK, Family Politics, Jerwood Space, London, UK (2013). Publications include Frantic by Humboldt Books (2017) and Frowst by Mack (2014).
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Diana Tamane

Born in Riga, Latvia in 1986. Lives and works in Tartu, Estonia. Diana Tamane works mainly with photography and video using autobiographical elements such as memory, everyday routines and personal events. Starting with tiny movements and awkward gestures she is following long roads from the East to the West of Europe. Often her family members are the main characters of her work. Though Tamane’s work might be mistaken as centering purely on the micro-cosmic, ultimately it deploys the personal sphere and family nucleus to reflect on wider, macro-cosmic issues: historical and political transformations, working class life, of changes in global production and consumption circuits and labour conditions, suggesting those momentous shifts that occurred after the so-called ‘end of history’, through a decidedly anthropocentric and highly personal narrative. Tamane has graduated from the Tartu Art College (BA) and Sint-Lukas School of Arts Brussels (MA). In 2015–2016 she attended HISK post-academic program in Ghent, Belgium.  Tamane’s work has been exhibited at Fotomuseum Winterthur (Switzerland), 1st Riga International Biennial of Contemporary Art (Latvia), A Gentil Carioca gallery (Rio de Janeiro, Brasil), CCI Fabrika (Moscow, Russia), Riga Photography Biennial (Latvia),  Triumph Gallery (Moscow, Russia), Kathmandu Triennial (Nepal), Surplus Space (Wuhan, China), Kim? Contemporary Art Centre (Riga, Latvia), S.M.A.K. (Ghent, Belgium), Tartu Art Museum (Estonia) etc. In recent years Tamane has received Kim? Residency Award (2019, Riga, Latvia), the Riga Photography Biennial Award (2018 Latvia), Outset Estonia - Estonian Photographic Art Fair Acquisition Fund (2017 Estonia), Development grant from the Flemish Government, Ministry of Culture (2017 Belgium), ’Friends of the S.M.A.K. Prize’ (2016 Ghent, Belgium) and was selected as Young Belgian Talent by FotoMuseum (FoMu) (2016 Antwerp, Belgium).
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Savannah Gorton

Savannah Gorton (b. 1972, Santa Monica) is an American curator from New York, based in Copenhagen since 2014. Gorton received her MA in Curating Contemporary Art, Royal College of Art, London (2004) in partnership with Tate Modern. For over 25 years, she has curated, commissioned, and/or contributed to a diverse range of exhibitions, performances, public programs, artist books, publications, and limited editions. Gorton trained at art non-profits including SITE Santa Fe Biennial, Whitechapel Gallery, and Creative Time, and has worked at The Kitchen, Printed Matter’s New York Art Book Fair (NYABF), and Lower Manhattan Cultural Council. Gorton currently is Co-Director and Curator at Forever & Today as well as Curator of Friends with Books: Art Book Fair Berlin. In 2008, she co-founded the New York non-profit art commissioning organization Forever & Today with curator Ingrid Chu, featuring exhibitions and public programs at its Chinatown/Lower East Side storefront space. Forever & Today has also collaborated/partnered with Abrons Arts Center; ART2 International Platform on Contemporary Art, Cultural Services of the French Embassy, New York; Art Basel Miami Beach; Goethe-Institut New York; International Studio and Curatorial Program (ISCP); Leslie Lohman Museum of Gay and Lesbian Art; Museum of Chinese in America (MOCA); Performa Biennial; Printed Matter, Inc.; Participant Inc.; Swiss Institute, New York; among others. In 2018, Forever & Today became a nomadic curatorial office based between Copenhagen, Hong Kong, and New York. Additionally, in 2014, Gorton co-founded the non-profit “kunstverein” Friends with Books: Art Book Fair Berlin, with editor and publisher Vanessa Adler. Hosted annually at Hamburger Bahnhof – Museum für Gegenwart – Berlin, the festival features 200+ international artists and art publishers, with public programmes, performances, and art installations related to artists’ books. Gorton’s curatorial endeavors have received critical coverage in Art Asia Pacific; Artforum; ARTINFO; Artnet; CNN; Die Ziet; Flash Art; frieze; Gallerist NY; Hyperallergic; Performa Magazine; The MIT Press; Modern Painters; New York Magazine; The New York Observer; The New York Times; Tagesspiegel; The Paris Review; Vogue; and Whitehot Magazine, among others.
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Years 2017-2018 close
International Program

Derek Fordjour

Derek Fordjour’s images draw upon a variety of sources, including sporting imagery, board and card games, carnival motifs, and the circus to explore ideas of vulnerability. He uses the economic, political and psychosocial implications of games to discuss the power structure that exists around rewards and sanctions, merit and punishment, for both the player within the game and as an allegory for the broader human experience. Team dynamics that evoke the tension of an individual situated within a collective effort, convey the seductive sense of the risks and rewards that are inherent in the drama of both games and life. Derek Fordjour was born in Memphis, Tennessee to parents of Ghanaian heritage. His work has been exhibited in numerous venues including Sotheby's S2 Gallery in New York City, Roberts & Tilton Gallery in Los Angeles, and Galleria Monica DeCardenas in Switzerland. He was awarded 2016 Sugarhill Museum Artist-in-Residence, 2017 C12 Emerging Artist Award and the 2017 Sharpe Walentas Studio Program in New York City. He is a graduate of Morehouse College in Atlanta Georgia, earned a Master’s Degree in Art Education from Harvard University and an MFA in painting at Hunter College.  His work has been reviewed in the New York Times, Los Angeles Times, Hyperallergic and Brooklyn Rail. He has also been featured in several publications such as Forbes Magazine, ESPN’s The Undefeated and VICE Creators. He frequently serves as a Visiting Critic and Lecturer, most recently at Yale University School of Art and The Cooper Union. His work also appears in several collections throughout the US and Europe including JP Morgan Chase collection and Dallas Museum of Art.
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João Laia

João Laia is curator and writer with a background in social sciences, film theory and contemporary art. His projects explore the embedded relations between philosophy, representation, society and technology. Recent theme exhibitions include Transmissions from the Etherspace (2017) at La Casa Encendida, Madrid, H Y P E R C O N N E C T E D (2016) at MMOMA - Moscow Museum of Modern Art, a strategic project of the 5th International Biennial of Young Art and Hybridize or Disappear (2015) at MNAC - National Museum of Contemporary Art in Lisbon. During 2012-13, Laia completed the post-graduate research programme CuratorLab at Konstfack, Stockholm. In 2014 he was in the curatorial residency programme of Fondazione Sandretto Re Rebaudengo, Turin. Other exhibitions, performance programs and screenings were held at Parque Lage (Rio de Janeiro), Kurzfilmtage – International Short Film Festival (Oberhausen), Moderna Museet (Stockholm), Xcèntric / CCCB – The Centre de Cultura Contemporània de Barcelona, Videoex (Zürich), Calouste Gulbenkian Foundation and MAAT (both in Lisbon), Cell Project Space, DRAF – David Roberts Art Foundation, Delfina Foundation, South London Gallery and Whitechapel Gallery (all in London). He is the curator of Opening at ARCO Lisboa (2017–) and member of the curatorial team of Videobrasil, a biannual contemporary art festival dedicated to the Global South based in SESC Pompeia, São Paulo (2014–). Forthcoming projects include exhibitions at Instituto Iberê Camargo in Porto Alegre (Brazil), CAC – Contemporary Art Center (Lithuania) and Antenna Space (Shanghai). Laia is a contributor of Mousse magazine and collaborates with publications such as frieze, Spike Art Quarterly, Flash Art or Terremoto. He is currently editing a monograph of Daniel Steegmann Mangrané and a survey of non-Western cosmologies, both published in 2018. He lectured and was part of conferences and panel discussions at Kyoto Art Center (2018), CAC – Centro de Arte Contemporáneo, Quito (2017), KIASMA Contemporary Art Museum (Helsinki), Salon at Art Basel Hong Kong (both 2016) and JNU - Jawaharlal Nehru University, Delhi (2015).
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Jan Sipocz

Ján Šipöcz works with memory and memories. The source of inspiration is found in his own memories, personal experiences. The outcome, despite this personal approach, plays on collective memory, the memories of entire generations of people, even nations. He often works with metaphors, when pictured objects are meant to be a reference to other objects or the pictured objects are carriers of some memory. For each viewer their own. This play, when personal memories transcend to collective ones, is what Ján Šipöcz finds interesting. He works with classic photography. His composition is strict, the viewfinder searches until it finds a clean composition consisting of only what he aims to show. This can be seen in series like Childhood Traumas, Ways Home, Objects of Interest or Souvenirs. On another level of his work he approaches a photograph as a building material. Pictures already taken are used as the founding stone for his own work. He usually uses old slide films and manipulates them mechanically. He erases the emulsion, blacks out what he doesn’t want to show or on the contrary, sketches things in. He creates new compositions, changes the content. Composes already once composed, adding new layers of meaning, pushes his work to the realm of conceptual art. These conceptual tendencies in the work of Ján Šipöcz are balanced by a strong visual experience. And this fine balance is rather typical of this author – balancing between artistic and conceptual photography.
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Tunca Subasi

TUNCA graduated from Mimar Sinan University’s Faculty of Fine Arts. His multi-faceted practice includes canvas painting, drawing, sculpture, installation works, video and performance. He constructs a world of images departing from historical memory, cultural identity and political facts. Historical sublimation and ideological constructs of social and political events are central issues in his practice. He investigates the monumental layers of memory ranging from official histories to individual stories, and the phenomenon of testimony beyond documentarism. In 2005, parallel to the 9th Istanbul Biennial, as part of the performance titled ‘Floating Slum House’ the artist spends a week, together with Guido Casaretto, in a floating slum house they have built on the Golden Horn and documented the whole process. TUNCA participated in group exhibitions at various museums and art institutions including the 4th International Çanakkale Biennial, CerModern, santralistanbul, Kuad Gallery, Elgiz Museum, Baksı Museum, and Siemens Art Gallery. In 2014, the artist received culinary training for his solo exhibition “Desire” in Istanbul. Since then he realizes a series of performances around gastronomy, history and politics. TUNCA’s works were recently shown at Sabancı University Kasa Gallery, Istanbul, (2016) with Hera Büyüktasçıyan, “All The Light We Cannot See” at Galerist, Istanbul (2017) and at Corridor Project Space, Amsterdam (2017) with Superflex. Most recently in 2017 he was awarded a residency at the Cité des Arts in Paris and held his solo exhibition “Terra Amata” at Galerist. Tunca is currently one of the artist-in-residence at ARTPORT TELAVIV and by March 2018 his Desire project will be displayed at the contemporary art exhibition of the “Table Manners: A Feast of Visual Arts, Theater and Culinary” event. The artist will also perform a site specific meal-cooking experience related to his works.
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Marlene Steyn & Àngels Miralda

Marlene Steyn is known to produce immersive, installation-based experiences, cultivating an expectation for her ever increasingly fantastic, constructed worlds. Her distinctive iconography takes shape through unsettling established ideas surrounding themes of psychoanalytic theory, certain historical narratives of art as well as popular signifiers, borrowed from contemporary culture. Adept at choosing telling details, Steyn reviews familiar objects to create uncanny motifs through repetition and unpredictable combinations. Using anchor points such as the androgynous figure, the fried egg, and braided ropes of hair, Steyn reinforces the symbolic visual language that has become the cornerstone of her practice. Marlene Steyn was born in 1989 in Cape Town, South Africa, where she currently lives and works. She obtained her Master of Fine Art degree in 2014 from the Royal College of Art in London, UK. Steyn has since presented a number of critically acclaimed solo exhibitions, including: How Cannibals Cuddle at Cabin Gallery in London, in 2014; Mad Love at Lychee One in London and The End is Located Underneath Her Third Armpit (if the muscle is flexed) in Cape Town, both in 2015; as well as Your Skin Is Not The Best Hiding Place at SMAC Gallery in Cape Town; and You Can’t Cry When Your Head is Underwater at Lychee One, London, both in 2016; Knot I : I Knotat SMAC Gallery in Johannesburg, South Africa in 2017,  as well as her most recent exhibition Shouty Insides at Galerie DYS in Brussels, Belgium in 2018. Recent group exhibitions include: Faces & Other Scenarios, a two-person show at Galerie d’Ys in Brussels, Belgium; New Monuments at Commune.1, Cape Town, South Africa; Paper, publication, performance at Lychee One, London, UK; Inside Out at Castlefield Gallery in Manchester, UK; and Across the Divide at Rosenfeld Porcini in London, UK, all in 2016; Where They Hum (a three women show with Rose Wylie and Freya Douglas-Morris) at Lychee One, London, UK; Another Antipodes, at Urban Axis – PS Art Space in Fremantle, Australia; the FNB Joburg Art Fair; 1:54 Contemporary African Art Fair both with SMAC Gallery in 2017 and her recent group presentation with SMAC Gallery at the 2018 Investec Cape Town Art Fair at the Cape Town international Convention Centre (CTICC) in Cape town, South Africa. Marlene Steyn’s work features in numerous public and private collections including the Zeitz Museum of Contemporary Art Africa (MOCAA) and featured at the museum’s inaugural exhibition in 2017. Recently Steyn presented her solo presentation at the MiArt Fair in Fiera Milano City, Italy in April 2018. Steyn also participated in a two-month collaborative residency with Kay 16 and Artport Residency in Tel Aviv, Israel. The residency culminated in September, in an exhibition produced with the support of: Kay 16 – Community Gallery for Contemporary Art; Ministry of Culture Israel; Mifal HaPais; Yehoshua Rabinovich Foundation for the Arts; ArtPort; Beit Benyamini Ceramics Centre; and Maccabee Beer.   Àngels Miralda (b. 1990, Princeton, New Jersey) is a writer and curator based in  Barcelona. Her independent work focuses on the materiality of art production as a working metaphor for contemporary industrial scale production, historical folkloric crafts, ecological relations, landscape, and natural mythologies. Upcoming exhibitions are planned at the Latvian Centre for Contemporary Art in Riga where she will co-curate the largest annual visual arts festival in the Baltic region, Survival Kit 10, in September 2018 and May 2019, a curatorial project for the second edition of BIENALSUR in Buenos Aires organised by the Universidad Nacional Tres de Febrero from June to October 2019, as well as group exhibitions at Lítost (Prague) and Gallery Miroslav Kraljevic (Zagreb). Recent curated exhibitions have taken place at the Museum of Contemporary Art (Santiago de Chile); Horse and Pony Fine Arts (Berlin); Bombon Projects (Barcelona); Arebyte Gallery (London); Atelier 35/ODD (Bucharest); and Podium (Oslo). Her art criticism has been published in Sleek Magazine, Blok Magazine, Revista Arta, Rotunda Magazine, Collecteurs, AQNB, We Are Collected, and Contemporary Art Stavanger. Catalogue texts and research-based writings have been produced by Centre Georges Pompidou (Paris), Royal College of Art Humanities Journal (London), Jerwood Space (London), Association of Art Historians (London), Galleria Patricia Ready (Santiago de Chile), House of Egorn (Berlin), and Espai Dos (Terrassa). Curatorial residencies have enabled her to have a wide knowledge of international contemporary art practices thanks to the invitations from Molten Capital (Santiago de Chile), ARC (Bucharest), Servais Family Collection (Brussels), ODD (Bucharest), and ArtPort (Tel Aviv).
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Tereza Jindrova

Tereza Jindrová (born 1988 in Prague, Czech Republic) is an art critic and curator based in Prague. Jindrova is interested in methods of creating curatorial ‘frames’ to layer different interactions between artists, artworks and the public. Recently she is focused on the topic of rational and irrational aspects of healing, irrational beliefs and magic, and gender stereotypes in the context of artistic creativity. Currently, she works as the Curator and Manager of Public Programs for the Jindrich Chalupecky Society. She also cooperates with the Educational Department of the National Gallery in Prague, with online platform Artyčok.TV and with the Czech Radio. Since 2014, she has been the co-curator of the Entrance Gallery in Prague and has been a board member of Skutek, a Czech association connecting artists and other cultural producers with a focus on institutional politics and the conditions of artistic production. Her previous experiences include working as the Fine Arts editor at A2 magazine, working for Flash Art magazine Czech and Slovak Edition, the Prague Biennale and Meetfactory – Centre of Contemporary Art in Prague. She studied History of Art at the Charles University and Theory and History of Design and New Media at the Academy of Arts, Architecture and Design in Prague. She was awarded with Věra Jirousová's Award (2013) for art criticism for young authors. In the past two years, she curated/co-curated Healing at Czech Centre Berlin; performance project of Barbora Kleinhamplová at Art in General, New York; Hanky Panky at Fotopub Festival, Novo Mesto; Apparatus for a Utopian Image at EFA Project Space, New York; Monument – A School of Gestures at CCC Gallery, Beijing; and GIRLFRIEND at National Gallery, Prague.
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Years 2016-2017 close
Israeli Program

Dror Daum

Dror Daum (b. 1970, Jaffa) is a visual artist based in Tel Aviv. He makes photo installations that deal with existential anxiety present in Western culture. His practice can be defined as “photography-informed”; it originates from various photographical aspects such as the format and the print, yet it doesn't approach photography from its traditional role as a hunt for meaningful or inspiring images. He rather creates an object out of it, relying not only on imagery, but on the physical experience of the piece as an object present in space. Daum’s works center on the human drama of modern life. They do not provide concrete information, but exist on the threshold of high anxiety, dealing with aspects of danger and destruction that he sees as common experiences shared by the entire modern population of the Western world. In his series DTSA – Don't Trust Security Arrangement, he smuggled illegal color bombs and spray paints through airport security, and used them, in addition to his own body, to create a photographic scene at his destination. Daum has held solo exhibitions at the Israel Museum, Jerusalem (2012); Noga Gallery of Contemporary Art, Tel Aviv (2007, 2004); Herzliya Museum of Contemporary Art (2003); Alon Segev Gallery, Tel Aviv(2002); Julie M. Gallery, Tel Aviv (2013) and more. Selected group exhibitions include: Art TLV, 2nd Tel Aviv Biennale of Contemporary Art, Tel Aviv (2009); Kuandu Museum of Fine Art, Taipei (2009); the Venice Biennale of Architecture (2004). Daum has received awards from the Israel Ministry of Culture in 2014 and 2005, and from the Bezalel Academy of Arts and Design MFA program in 2008. Daum has held teaching positions since 2001 in leading art academies in Israel, and currently teaches at Hamidrasha College of Art, Beit Berl, and at the photography department of the Bezalel Academy of Arts and Design, Jerusalem.
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Yaara Zach

Yaara Zach (b. 1984) lives and works in Tel Aviv. Zach holds a BFA and an MFA from the Bezalel Academy of Arts and Design, Jerusalem. She is a lecturer at the Shenkar College of Engineering, Design, and Art, Ramat Gan. Zach works with readymade objects and industrial materials, transforming them and imbuing them with a bodily presence. In her works, remnants of the original object and its physical relationship to the human body are still present and recognizable as the object is re-contextualized. Zach is interested in the tension that arises from the combination of the original and transformed identities of these industrial objects. Zach’s process is a crucial aspect of the artwork itself. As she shapes her works, she alternates working with and against the material, both leading and being lead. Zach’s works lie between categories: too three-dimensional to be paintings, and too two-dimensional to be sculptures. They transcend a gender binary by combining visual elements that are traditionally masculine with elements that are traditionally feminine; Zach works in a visual dimension free of the categorical constraints imposed on gender by language Zach’s works have been included in various solo and group exhibitions in Israeli and international exhibition venues including the Israel Museum, Jerusalem; the Tel Aviv Museum of Art; the Moscow International Biennale for Young Art; the Berardo Collection Museum, Lisbon; Givon Art Forum, Tel Aviv; Givon Art Gallery, Tel Aviv; RawArt Gallery, Tel Aviv; Janco Dada Museum, Ein Hod; Ashdod Museum of Art; Haifa Museum of Art; and Petach Tikva Museum of Art. Zach has received awards for her work from various foundations and institutions, both within Israel and abroad, including merit prizes from the Bezalel Academy of Arts and Design (2009, 2010); The Rabinovich Foundation with the Tel Aviv Municipality Special Project Grant (2013, 2015); a grant from the Israel Lottery Council for Culture and Arts (2017); a residency with Outset StudioMakers, Tel Aviv (2018); the Artis Project Grant (2017); and a grant from Asylum Arts (2017). She completed an Artport residency in 2017 and in 2018 received the organization’s alumni support.
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Fatma Shanan

Fatma Shanan, born 1986, is a painter based in Julis, a Druze village in Northern Israel. She graduated from Oranim College, Israel   The carpet is a recurring motif in Shanan’s work. In her paintings it is often placed outside, where it serves as what Foucault calls a “heterotopic zone”: not an object, but a displaced space unto itself. Shanan’s carpets are inspired by the history of carpets in art, dating from the Renaissance onwards, even as her paintings suggest an alternative to the stereotyped notions linking carpets, women and the East that took hold in Western art.   Shanan’s work raises investigates limitations placed on women, that are very much physical and visceral as well as emotional, structural, societal. The painted carpet functions as an affirmation of the female body, and by extension, spirit.   Shanan is most interested in the relationships that structure her works: the carpet and her body, the carpet and the physical space it is situated in, her body and the physical space she is situated in. Her paintings serve as investigations of these relationships, both physical and mental, and imaginings of their various possibilities.   Shanan’s most recent paintings propose “out of place” as the place of the body and art as a place of existence.   Shanan was the winner of the 2016 Haim Shiff Prize for Figurative-Realist Art awarded by the Tel Aviv Museum, where she exhibited solo in the summer of 2017. She has also exhibited solo at DITTRICH & SCHLECHTRIEM Gallery, Berlin (2019), and exhibited at the Armory show in New York City in 2019. Shanan’s work has been included in group shows at such venues as The Israel Museum, Jerusalem  (2019); the Eretz Israel Museum, Tel Aviv (2019); The Museum for Islamic Art, Jerusalem (2018); and the Art Dusseldorf international art fair (2018); among others. Shanan has received several other awards and scholarships for her artistic achievements, from such institutions as Artis (2016); Israel’s Ministry of Culture (2017, 2014), and Israel’s Pais Culture Council (2016, 2014, 2013). Shanan has participated in residency programs at Residency Unlimited, New York (2018); Peleh Fund Residency, California (2017-2018); and Artport Tel Aviv (2016-2017).
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Lihi Turjeman

Lihi Turjeman (b. 1985) is a visual artist based in Tel Aviv. She studied at Bezalel Academy of Art, Jerusalem, completing a B.F.A. in 2010 and an M.F.A. in 2014. She also studied at the École National Supérieure des Beaux-Arts, Paris, France, as a visiting student (2008-2009).   Turjeman creates large scale installations out of tough materials. As in the traditions of action painting, her physical process is present and crucial in a full understanding of her work. Turjeman’s works are simultaneously vast, and incredibly specific – she pays an almost microscopic attention to the surface details of her works, the small variability in their monochromatism, and the variety of texture that may resemble skin, or ground, or something else entirely. This combination of scales is generous, both inviting audience interaction and effecting an intimacy in the relationship between the work and the viewer.   Turjeman’s installations are site specific; she often draws inspiration from the site of the exhibition, and the local history and issues surrounding it. The site and location, along with the materials she works with, oftentimes dictate the content of her works. She raises political issues without being didactic or moralistic, instead prioritizing honesty and immediacy. She explores and questions the concepts of borders; her described borders vary from concrete (i.e. maps) to metaphorical. She is interested in symbols and language, and their ability to both constrain and enable creation.   Turjeman’s current works are characterized by their bird’s eye view perspective – the most recent iteration of her questioning and reimagining of the spatial and conceptual relationship between her work and her audience, or herself.   Turjeman has received numerous grants and residency awards, including International Studio & Curatorial Program (ISCP), NY (2018), NARS Foundation, New York (2018), Fondazione Spinola Banna per l’arte, Italy (2017), Cite International des-art, Paris (2015). She has been awarded the Young Artist Award of the Israeli Ministry of Culture (2015), the M.F.A Program, Bezalel Academy of Arts and Design Prize for Excellence (2013), the Loren and Mitchell Perser Award for Excellence in Painting (2010) and more.Turjeman has exhibited solo shows in several venues in Israel and abroad including EDIT Turin, Italy, Sommer Contemporary Art Gallery, Tel-Aviv, Wilfrid Israel Museum, Kibbutz Hazore’a, Israel, Le Corridor, Cité International des Arts, Site du Marais, Paris, Julie M. Gallery, Tel Aviv. She has shown many group exhibitions in Paris, Berlin, New York, and in many significant museums and institutions in Israel.
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Gabi Kricheli

Gavriel (Gabi) Kricheli (b. 1979), is a multidisciplinary artist based in Tel Aviv, Israel. He graduated with a B.F.A. from the Bezalel Academy for Art and Design, in Jerusalem. Aside from his visual practice, Kricheli is a musician, and a set-designer for Fringe Theater and Dance. He currently teaches at the School of Visual Theatre in Jerusalem, and the Shenkar College of Engineering, Design, and Art.   Kricheli creates sculptures and installations using a variety of materials. They range according to his concept and the space he is working in, from trees and tobacco plants to ceramic and concrete. Kricheli approaches each project as a singular event, but there are consistencies that characterize his works: Kricheli’s processes are often manual, and can be physically strenuous. Their effect on a viewer is immediate and direct. Conceptually, Kricheli’s works are subversive, employing humor and deceit to shed light on social and political issues. In his use of deceit, he aims to expose the gap between assumption and reality, and the limitations of every perspective. Kricheli has shown numerous solo exhibitions in Israel including at Beit Hagefen Museum, Haifa, and Sadnaot Haomanim Gallery, Tel Aviv. His project Promise Trilogy was shown as three solo exhibitions in G39 gallery, Tel Aviv, Yaffo23 ArtSpace, Jerusalem and an outdoor installation in Tel-Aviv. He has exhibited group shows in Berlin and New York, and in many galleries and institution in Israel, including the Haifa Museum of Contemporary Art, the Artists’ House, Jerusalem, the Petach Tikva Museum of Art and many more. Kricheli has won prizes and awards, among which the Yehoshua Rabinowitz Foundation for art & Tel Aviv municipality for special projects (2013, 2010), the Pais Culture-Council grant for a solo show (2011) and the Israel Ministry of Culture Prize for a Young Artist (2010). Kricheli completed an Artport residency in 2017.
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Gili Avissar

Gili Avissar is a multi-disciplinary artist, born in 1980 in Haifa and currently based in Tel Aviv. Avissar received a BFA and MFA from the Bezalel Academy of Art and Design in Jerusalem and since then has been creating large-scale textile installations and videos. Avissar's practice shifts between object-making and performance. Their process includes a deep investigation into materials and movement, as they turn every work inside out, rearranging it in intense and colorful compositions. Sculpture, installation, and video performance are their main tools for uncovering the work's flesh. They use the exhibition space's characteristics as their temporary boundaries, and work in an existential state of nomadism, which is key to their practice of creating unfixed environments that they perceive as places to build, reside in, and finally transform. Their work in the studio resembles that of a one man factory engaged in mass production. They collect remnants of fabric, paper, wood, cardboard, and plastic materials that are available everywhere. These materials are stitched and assembled into shapes that will later become objects. This action is on the verge of compulsion – creation deriving from fear of being emptied out. Their motivation is working, not only as a process, but as subject matter. A selected list of Avissar’s solo exhibitions includes museums and galleries in Israel and abroad: MEWO Kunsthalle, Memmingen, Germany (2018); Kostka Gallery, Prague (2018); Koal Gallery, Berlin (2017); the Nahum Gutman Museum, Tel Aviv (2015). Their works have been featured in many group exhibitions and video screenings, including Artist's Television Access, San Francisco (2018); Mana Contemporary, Chicago (2017); KARST contemporary art venue, Plymouth; Flux Factory, New York (2015); Eretz Israel Museum, Tel Aviv (2014); and Museum of Sculpture Glaskasten Marl, Marl, Germany (2013). Avissar is the recipient of The Israeli Ministry of Culture and Sport Prize for Young Artists (2012); The Rabinovich Art Foundation Award (2012, 2010) and the Isracrard and Tel Aviv Museum Prize for Israeli Artist (2010). Their works are kept in private and institutional collections such as the Tel Aviv Museum of Art, Sammlung PHILARA, Düsseldorf; the Herzliya Museum of Contemporary Art.
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International Program
Years 2015-2016 close
Israeli Program

David Adika

David Adika (b. 1970, Jerusalem) lives and works in Tel Aviv-Yafo. He graduated from the Bezalel Academy of Arts and Design, Jerusalem, where he currently works as the  head of the photography department. For more than two decades, Adika has embraced photography as a powerful tool for storytelling and critical thinking through his teaching and his practice. Adika’s photography broadcasts absolute sensuality, while portraying people and objects through a critical and inquisitive gaze. He photographs artifacts that tie together his personal political and social realities – Israeli ceramics, Middle Eastern copper items, and other craft objects.  They are all decorations, taking part in a celebration of beauty and seduction. Their beauty is not the product of any hierarchical correspondence between the object itself and its idea; instead it becomes realized on the surface – a sort of incidental, quotidian beauty. Through the photographic act, Adika attempts to instill beauty in everything, but leaves the value judgment to the viewer. Adika’s gaze towards his subjects creates a new relationship between object, image, sign and value. The visual rhetoric of his photographs works to confront the various social, cultural, and political connotations of the objects; his gaze creates a new economy, beyond instrumentalization and objectification, and can mark passions that are not only about ownership and possession. In this way he seeks to expose the connection between vision and passion, artifacts and art. In his photographs, this difference is set in motion like an echo that is simultaneously present and absent, real and imagined, hidden and on display for all to see. Adika has exhibited solo at such venues as the Petach Tikva Museum Of Art (scheduled 2020); Dietrich and Schleimer Gallery, Berlin (scheduled 2020); Braverman Gallery, Tel Aviv (scheduled 2019, 2013); Galerie Klubovna, Brno, Czech Republic (2017); MAMbo, Museo Morandi, Bologna, Italy (2016); The Open Museum of Photography, Tel-Hai, Israel (2015); Latvian National Museum Of Art, Riga (2014); and The Open Lens Gallery at The Gershman Y, Philadelphia (2012); among others. Adika is a recipient of awards from the Israel Ministry of Culture, the Jack Nailor Award for Cinematography from the Haifa Film Festival, and more. He has participated in several international residency programs, including: the International Studio and Curatorial Program (ISCP), New York; Cite Internationale Des Arts Residency, Paris; HANGAR Residency, Barcelona; the Ricolette Residency, Paris; and was a resident at Artport Tel Aviv from 2015-2016.
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Naama Arad

A gym mat made of carefully cut and reassembled venetian blinds; a carpet whose pattern is created by a multitude of metal staples individually applied by the artist with a manual stapler; a curtain whose fabric consists of metal clips tight one to the other; these are only some of the conceptually-artisanal and time-consuming tasks Naama Arad gives herself in order to create her unique works of art. The results of these tasks never immediately show the amount of energy that the artist invested in their making -- quite the opposite: they are presented with a degree of nonchalance and carelessness that is deeply organic to Arad’s position as an artist. Arad’s later works embody a desire to ‘humanize’ living and nonliving forms -- they can be defined as “anatomical détournement”; through these actions a metal dustpan is turned into a female foot; a lamp becomes a standing figure, approaching us with its food and brain “on view”; a cactus plant and two Hookah pipes appear to us in their true phallic shapes. Often constructed through a symbiotic relationship—the clay and the metal, the cactus and the pipes—this body of work is driven by a unique position that stands between the psychoanalyst and the bricoleur, the artistic and the childish, the apathetic and the emotional. Arad (b. 1985) is currently based in Tel Aviv. She holds an MFA in sculpture from the School of the Art Institute of Chicago, and a BFA in Fine Art from the Bezalel Academy for Art and Design, Jerusalem. Arad has held solo exhibitions at ACUD Gallery, Berlin (2017); Dortmunder Kunstverein, Dortmund, Germany (2017); the Tel Aviv Museum of Art (2015); Sommer Contemporary Art, Tel Aviv (2018, 2013); and Hamidrasha Gallery in Tel Aviv (2012). Arad’s work has been exhibited in group shows at 49 Nord Est Frac Lorraine, Metz, France (2018); Künstlerhaus Bremen, Germany (2017); nGbk, Berlin (2016); 83 Pitt Street, New York (2015); Sector 2337, Chicago (2016); Petah Tikva Museum of Art (2014); Artist House, Jerusalem (2016, 2013); among others. Arad is the recipient of the 2017 Israeli Culture and Sports Ministry Award for Young Artists and the 2015 Ingborg Bachmann scholarship, established by Ansalem Kiefer. She completed a residency at Artport in 2016.
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Tamir Zadok

Tamir Zadok (b. Holon, 1979) is an Israeli artist who works with video, photography, and installation. He studied the MFA program in cinema at Tel Aviv University and graduated with honors from Hamidrasha School of Fine Art, Beit Berl College in 2007. Zadok often disguises his work within easily recognized forms of popular culture – in doing so he is able to keep it accessible and communicative. He choose genres well known to any Israeli; manipulations to visitors center videos, film-stills, tourist souvenirs, and archeological installations allow him to pose questions about narrative construction and Israeli identity and arrogance without alienating his audiences. Zadok’s well-known video work, “Gaza Canal,” uses the familiar format of a visitors center video and other conventions of documentary film in order to create a mockumentary about the digging of a canal between Israel and the Gaza Strip. The satiric film uses conventional forms to point at the absurdity of our political situation and ridicule the "easy," far-fetched solutions to the conflict by offering an even more fantastical, and unethical, one. Zadok has participated in many exhibitions in Israel and abroad, including MODEM, Hungary (2018), Augusta gallery, Helsinki (2017), Martin Grupious Bau, Berlin (2015), Weserburg Museum, Bremen, Germany (2013), European House of Photography, Paris (2012), Total Museum of Contemporary Art, Seoul, Korea (2012), Haifa Museum of Art (2011), and Artisterium, Tiblisi, Georgia (2010). He exhibited solo at the Tel Aviv Museum of Art in 2017. Zadok has won several awards and grants such as The Israel Museum Gerard Levi Photography Prize (2016), Artis Project Development Grant (2016), Cité Internationale des Art, Paris (2012), Israel Ministry of Culture Prize for Young Artists (2010), and was awarded an Artport residency for 2015-2016.
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Hilla Toony Navok

Hilla Toony Navok (b. 1974, Tel Aviv) lives and works in Tel Aviv. She completed a BA in Design at the Wizo College of Art and Design in Haifa (1995) before graduating from the Bezalel Academy of Art and Design MFA program (2009). She currently teaches at the Bezalel BA program in Jerusalem. Navok tracks degraded forms of high modernism and abstraction in popular consumer products. Known for her playful sculptural use of vernacular materials, Navok interrogates the very notion of display. She pits consumer and industrial products firmly within abstraction, questioning and complicating their given functions. Navok’s approach to her materials is defined by dualities: she is simultaneously critical and empathetic, attracted and repulsed, playful and melancholic, analytical and intuitive. Her works embody these contradictions, among others: they are both monumental and fragile, performance and sculpture, two and three-dimensional. Navok uses the language of design to question our existential state and relation to consumption, to order and to our own bodies. Navok has exhibited solo at such venues as Atelier Shemi, Kibbutz Cabri (2018); KM Gallery, Berlin (2017); Galerie Klubovna, Brno, Czechia (2017); HIT Gallery, Bratislava (2016); Center for Contemporary Art, Tel Aviv (2015); Circle1 Gallery, Berlin (2015); Noga Gallery, Tel Aviv (2013); Art Cologne (2010); Lokal_30, Warsaw (2010); and Haifa Museum of Art (2010). She has also shown in group exhibitions within Israel and abroad, at such venues as Providence College Galleries (scheduled 2019); Gdańsk City Gallery (2018); Hansen House, Jerusalem (2018); Ashdod Museum of Art (2017); Elizabeth Foundation for the Arts, New York (2016); Herzliya Museum of Contemporary Art (2016); Art Basel Miami Beach, Film Sector (2015); Meet Factory, Prague (2015); Petach Tiqva Museum of Contemporary Art (2015). Navok has received The Beatrice Kolliner Prize for a Young Israeli Artist, Israel Museum (2018); Yehosua Rabinowitz Tel Aviv Foundation, book grant (2018); Lottery Council for Culture and Art Award, book grant (2017, 2015); Ostrovsky Family Fund (2015); and Samuel Givon Prize, Tel Aviv Museum of Art (2011). She completed a residency with Artport in 2015.
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Michal BarOr

Michal BarOr (b. 1984) is a visual artist currently based in Tel Aviv. She holds a BFA from the Bezalel Academy of Arts and Design, Jerusalem and an MA from the Royal College of Art, London. BarOr’s works expose and use the power that lies in the transformation of objects into knowledge. Through the exploration of existing knowledge systems, objects, and institutions, she works to expose the building blocks used to construct our histories and identities. She is drawn to systems and institutions and places that are built for the aim of creating order in the chaos of our histories and identities by the acts of cataloging, classification, and organization, and many of her works are institutionally-specific; they challenge the organization and classification of both the place from which they emerged and in which they are shown. In her works, BarOr turns the conventional photographic action on its head: instead of going out to the three-dimensional world and cutting fragments of it into a two-dimensional photographs, she use existing photographs in their fragmented, flat state and manipulates them, pairing them with text and other objects to create photo-archive installations, thus transforming them once again into tangible and tactile parts of the world. The result is an expanded photographic field; a phenomenological viewing experience in which appropriation, documentation, observation, investigation and interpretation are in constant play. BarOr has exhibited solo internationally, at such venues as Tenerife Espacio de las Artes, Spain (2018); the Center for Contemporary Art, Tel Aviv (2017); Yad Mordechai Kibbutz (2016); and the Petach-Tikva Museum of Art (2015). She exhibited Nahar, a dual project in collaboration with Avshalom Suliman in the Jewish Arab Collective Gallery in Kibbutz Cabri (2018), and has participated in group exhibitions at venues including the Tel Aviv Museum of Art (2018); Galeria Labirynt, Lublin, Poland (2018); NURTUREart, New York (2016); and the Jerusalem Artist House (2016). In 2018, BarOr completed a three month residency program at MeetFectory in Prague. She was the recipient of the Young Artist Prize, awarded by the Israeli Ministry of Culture, in 2015 and completed a residency at Artport in 2016.
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International Program

Ella Marder

Ella Marder is a French-American curator and creative strategy consultant. She specializes in the creation and development of cultural partnerships and programming, working closely with diverse organizations and artists in both the U.S. and Europe. Marder holds a double Master’s degree from the Department of Art History and Modern Literature & Film at the Jussieu University of Paris.  Ella Marder served as an Associate Cultural Attaché at the French Embassy’s Visual and Performing Arts department in New York. There, she specialized in fostering and advancing French-American artistic exchange. She then became founding Program & Managing Director for Pioneer Works, Center for Art and Innovation. As the Center’s first Director, she was integral in shaping Pioneer Works’ exhibitions, outreach, education, and residency programs. As a curator and consultant, Marder closely collaborates with organizations and artists spanning all disciplines. Marder is the Director of Cultural Programming of NeueHouse, a private creative collective and workspace of leading entrepreneurs and creative teams. Located in New York, Los Angeles and soon London, NeueHouse is a global home for innovators in film, design, fashion, branding, architecture and the arts. Her collaborators and institutional partners include: NeueHouse (Current Cultural Ambassador/ Cultural Programs), Pioneer Works, Oberon Hospitality, Fort Gansevoort, Performa, Vision Into Art, National Sawdust, The Kitchen, TED, The New York Public Library, The Museum of Jewish Heritage, Clocktower Productions, Issue Project Room, Crossing The Line festival, French Institute Alliance Française, Barbes, The Cultural Services of the French Embassy, Rooftop Films, Residency Unlimited, Recess, The Irish Historical Society, Vice, The Brooklyn Academy of Music (BAM), CUNY, Columbia University, The Brooklyn Museum, National Sawdust, Vision into Arts, Art OMI, Rooftop Films, Centre National d’Art Dramatique d’Orléans, Cultural Services of the French Embassy, Number 29 Communications, Studio 55, The Invisible Dog, 1:54 African Art Fair (London), Foam Photography Museum (Amsterdam), Joyce Yahouda Gallery (Montreal), Palais de Tokyo (Paris), Galerie Anne Barrault, Galerie Anne Vidal (Paris), and more. Among the visual artists with whom she has worked are: Julian Crouch, Bosco Sodi, Daniel Horowitz, Henrique Oliveira, Gerard & Kelly, Chico MacMurtrie, Mickalene Thomas, Michael Joo, Philippe Quesne, Arthur Nauzyciel, Elie Wajeman, Clifford Owens, Louise Despont, Hank Willis Thomas, Nora Chipaumire, Cadu, David Horvitz, Rachel Sussman, Pedro Barbeito, Andres Carranza, Dorit Chrysler, Molly Lowe, Yuri Masnyj, Lauren Bakst, Hyon Gyon, Loris Gréaud, Matthew Leifheit...
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Nathanja van Dijk

Nathanja van Dijk (1984) is co-founder and director of A Tale of a Tub, an exhibition space in Rotterdam (NL). A Tale of a Tub is committed to stimulate and support developments in contemporary art and to explore their meaning within society.  Working from an academic background in art history and philosophy, creating connections between art, philosophy and society is an ambition shared by all Van Dijk’s activities.  Previously Van Dijk was director of Frankendael Foundation, the 18th century manorial estate for contemporary art and ‘curatorial office’ in Amsterdam (2012 – 2015), where she organized all exhibitions and events with o.a. Camille Henrot, Charles Avery, Constant Nieuwenhuys, Fiona Tan, Jennifer Tee, Jonathas de Andrade, Jorge Méndez Blake, Marcius Galan, Shilpa Gupta, Shirin Neshat and Simon Fujiwara as well as upcoming talents such as Nel Aerts and Robin Waart. As artistic director of 21rozendaal, Enschede (2010 – 2012) she developed an artistic program at the interface of visual art, science and philosophy.  Since 2009 Van Dijk has also been working as an independent curator on various projects and exhibitions. Most recent projects include the interdisciplinary research project Acts of Orientation in collaboration the Schering Foundation & Humboldt University (Berlin) and the exhibition Hemelbestormers at Garage Rotterdam with o.a. Marinus Boezem, Alicja Kwade, Julieta Aranda, Laurent Grasso and Thomas Ruff. Van Dijk curated the travelling film program The Migrant (Moving) Image, in response to the largest migration crisis Europe is experiencing since World War II (Rotterdam, Amsterdam, Marrakech, Berlin, Miami, New York). Together with Carolyn H. Drake, Van Dijk works as curator and advisor for the Robeco Art Collection and the NautaDutilh Rotterdam Art Collection.
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Years 2014-2015 close
Israeli Program

Guy Goldstein

Guy Goldstein (b. 1974, Haifa) lives and works in Tel Aviv. He studied Visual Communication at The Wizo Haifa Academy of Design before graduating with an MFA from Bezalel Academy of Art and Design, Jerusalem. He currently directs the Visual Communication department at Musrara, The Naggar Multidisciplinary School of Art and Society, Jerusalem.

Goldstein's work engages with medium transitions between image and text, sound and object; back and forth translations between form, color and time; and the delicate relations between silence and noise. As a visual artist who also writes and composes music, his work draws upon the affinities between the visual and the sonic, employing materials and tools of music and sound. Goldstein’s interest in exploring the meaning of noise for different people led him to examine the disruption of mythical narratives and social, religious and political conflicts, either contemporary or historical ones, and to realize the sonic and musical influences they have over a society. Vocal tension, collisions between mechanical objects and vain attempts to foster cooperation and harmony between objects, sounds, and narratives, characterize his work. The virtual materiality of sound enables Goldstein to mold it into a form that holds a multiplicity of possible positions, an abstract diagram which is capable of materializing in countless manifestations.

Goldstein has exhibited solo at such venues as The Contemporary, Austin, Texas (2020 - scheduled); Jewish Museum, New York (2020 - scheduled); Petah Tikva Museum of Contemporary Art (2018, 2014); Herzliya Museum of Contemporary Art (2017); Školská 28 Gallery, Prague (2015); Katzen Arts Center, American University, Washington DC (2015); Omi International Art Center, Ghent, New York (2014). Selected group exhibitions include: Contemporary Jewish Museum, San Francisco (2016); Ostrale O16, Dresden (2016); 5th Mediations Biennale, Poznań (2016); Israel Museum, Jerusalem (2016); Fondazione Giorgio Cini, Venice (2015); The Artist Festival #3, Zachęta, Warsaw (2015); KW, Berlin (2014); Pavilion 0, Palazzo Dona, Venice Biennale (2013); Les Gens Heureux Gallery, Copenhagen (2013).

Goldstein has received numerous awards and grants for his work, including the Keshet Award for Contemporary Art Founded by the Bar-Gil Avidan Family (2016); Lottery Council for Culture and Art Award (2015); Artis grant (2015); Outset Contemporary Art Fund grant (2014); Israel Ministry of Science and Culture Award (2012); America-Israel Cultural Foundation Award (2008-2009). He completed a residency at Artport in 2015.

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Ron Amir

Ron Amir (b. 1973, Israel) is a photographer currently based in Tel Aviv. He studied photography in Hamidrasha School of Fine Arts, Beit Berl College, and is teaching there today. Artistically speaking, Amir is a long-distance runner. A single project of his may take unconventionally long periods of time – up to several years. His practice reaches a maximal print quality and a rewarding viewing experience by the use of large format, often cumbersome, analog photography, which dictates a slow and complex working process. Such an intricate work process requires constant engagement with the photographed subjects and the establishment of a long-standing relationship that enriches his artwork with an exchange of information and ideas. Amir moves in the margins of Israeli society, working with silenced communities, excluded from the public sphere. By interacting with, and within, these communities, Amir explores individual reactions to the political, social, and economic limitations imposed on these communities by the state, and by society at large. Amir’s recent solo exhibitions include the Museum of Modern Art of the City of Paris (2018); Israel Museum, Jerusalem (2016); Haifa Art Museum (2014); and the Israeli Center for Digital Art, Holon (2014), among others. His work has been presented in group exhibitions in Israel and abroad including the KW Institute for Contemporary Art, Berlin (2015); Ashdod Art Museum (2015); the Second Mediterranean Biennale in Sakhnin (2013); Institute of Contemporary Art, Philadelphia (2011); Herzliya Museum of Contemporary Art (2011). In 2013, Amir was awarded the Landau Fund Prize for Arts. Additional awards include the Creative Encouragement (2013) and Young Artist (2008) awards from the Israeli Ministry of Culture. He completed a residency with Artport in 2015.
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Public Movement

Public Movement is a performative research body which investigates and stages political actions in public spaces. It studies and creates public choreographies, forms of social order, overt and covert rituals. For the last 13 years, Public Movement has explored the regulations, forces, agents, and policies, formations of identity and systems of ritual which govern the dynamics of public life and public space.

In 2018 Public Movement presented its first solo exhibition in Italy, Temporary Orders, in the Vistamarestudio gallery, Milan. In the same year they performed The Interview, which was first presented in Artport, Tel Aviv, in the Beit Uri and Rami Nehostan Museum, Beit Hagefen Gallery, Haifa, and CCA Tel Aviv. In 2017 the group performed Rescue in the European Capital of Culture, Aarhus. In 2016 Public Movement presented Debriefing Session II and Choreographies of Power in the Guggenheim Museum, New York, as part of the exhibition: But a Storm Is Blowing from Paradise: Contemporary Art of the Middle East and North Africa. In 2015 the group’s solo exhibition, National Collection, took place at the Tel Aviv Museum of Art, and in the same year the book Solution 263: Double Agent, written by Alhena Katsof and Dana Yahalomi, was published by Sternberg Press. Public Movement won the Rosenblum Prize for the Performing Arts (2017), and was shortlisted for the Future Generation Art Prize at the Pinchuk Art Center, Kiev, in 2014. The group performed in the Asian Art Biennial, Taipei; Steirischer Herbst Festival, Graz; Berlin Biennial; New Museum Triennial, New York; Performa, New York; Gothenburg Biennial, Van Abbemuseum, Eindhoven; Zacheta National Gallery, Warsaw; the Israeli Center for Digital Art, Holon; and the Theater Hebbel am Ufer, Berlin.

Public Movement was founded in December 2006 by Dana Yahalomi and Omer Krieger. Yahalomi became the sole director of the group in 2011.

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Natalia Zourabova

Natalia Zourabova was born in Moscow, Russia in 1975, and is currently based in Tel Aviv. She studied at the Russian Academy of Theater Art in Moscow and the University of Arts in Berlin.

Zourabova is primarily a figurative painter who paints from observation. She paints scenes that she knows intimately – oftentimes city streets in her Tel Aviv neighborhood, or familiar interiors. Color is central to Zourabova’s work; her palette and the mood of her paintings range from naturalistic to absurd, and her paintings vary along the spectrum of realism to abstraction. Her education at the Russian Academy of Theater Art has a clear influence on Zourabova’s work. The scenes that she paints resemble sets, and the inhabitants, a cast of characters. Furthermore, Zourabova’s works are frequently performative in nature. When she paints from observation she is oftentimes in full view of her subjects, in a public space. Zourabova has also created several artworks to be installed in public spaces. Her public education project, The Shmezalel School of Art, invites the participants to paint from observation and engage with their surroundings – their audience, so to speak – and she is most satisfied when their engagement is reciprocated. In one notable project, playfully named the “Shmezalel Museum,” Zourabova invited models to pose as figures from famous paintings and the class participants painted them against the backdrop of the city. At the end of the project, the results were displayed in outdoor, public areas as well.

In 2011 Zourabova founded the New Barbizon artist collective with four other painters. Together they have exhibited at such venues as the Ein Harod Museum, Israel (2017); the Tel Aviv Museum of Art (2017); and Kunstraum Kreuzberg/Bethanien in Berlin (2017).

Zourabova has exhibited various solo shows in Israel, at the Rosenfeld Gallery, Tel Aviv (2014); Noga Gallery, Tel Aviv (2012); and Janco Dada Museum, Ein-Hod (2005); as well as at the Iragui Gallery in Russia (2008, 2013). She has participated in group shows internationally at such venues as the Mediterranean Biennale (2013); The Israel Museum (2015, 2018); Salaisons in Paris, France (2010); and the Vasternorrland Museum in Sweden (2000). Her work belongs to the permanent collection of the Israel Museum and the Tel Aviv Museum of Art.

Zourabova has received several prizes and grants for her work, including the Prize of the Minister of Immigration (“Alyia and Klita”); Yuri Stern, Israel; Israel Institute, Texas (2017); Mifal HaPais, Israel (2016); Asylum Art, USA (2015-2016); PRO HELVETIA, Switzerland (2000); and Kultur Axe, Austria (1999). She completed her Artport residency in 2015. In November, 2018 she completed a residency with the Zumu Museum in Arad, Israel.

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International Program

Augustina Woodgate

Woodgate’s practice explores temporality, spatial politics, and the radical imagination. She creates sculptural works, public interventions and social interactions that generate and imagine new landscapes. Observing the relations between space and politics in a world of reduced and privatized space, my projects often take place outside exhibitions halls. In projects like Hopscotch and Radioee.net, sidewalks and airwaves are seen as available and underused common spaces. Both the game and the radio find their origins in military functions yet their civic use has served and enhance public imagination globally and across generations. In projects like New Landscapes,  Ballroom and Kulturpark, maps and abandoned sites become representations of an ever changing ecology and cartography that urges for a new assessment in the use of the natural resources. Her works convert surplus material and fantasies of outmoded objects and places into new possibilities of perception and action. Woodgate graduated from Universidad Nacional de Artes, Argentina, in 2004. Since then she has exhibited extensively internationally and has received honors and awards including the Florida Prize, South Florida Cultural Consortium Fellowship, National Association of Latino Arts and Culture (NALAC); Art Matters Grant and the Joan Mitchell Foundation Grant. Her public art projects have been commissioned by the Biennial of the Americas, Denver (Hopscotch, 2015); PlayPublik, Krakow, Poland (Klasy, 2014), the DC Commission on the Arts and Humanities, Washington, DC (Daylight Saving, 2014); Bass Museum, Miami (Hopscotch, 2013) and Locust Projects, Miami (1111 Billboards, 2011). She has initiated and co-produced collaborative projects, amongst them, Kulturpark, an initiative in a Soviet-built, now-defunct amusement park in East Berlin (2012) and funded Radio Espacio Estacion, an ongoing online nomadic bilingual radio station. Woodgate’s work has been features in publications including TIME magazine, The Guardian, The New York Times, The New York Foundation for the Arts, BBC Mundo, Art Papers, Arte al Dia and Artinfo.
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Valerio Rocco Orlando

Valerio Rocco Orlando (Milan, 1978) is an Italian artist and filmmaker. He received a BA in Dramaturgy from Università Cattolica in Milan and an MA in Film Directing from Queen Mary University of London. Crossing the threshold from an intimate portrait to a choral dialogue, through a variety of media, such as film, publications and installation, Valerio Rocco Orlando's face-to-face practice re-thinks and re-enacts the sense of belonging in different communities around the world. By defining art as a process of analysis and mutual knowledge, his research produces an open discourse, collective and personal, both aesthetically and conceptually, that explores the osmosis between institutions, museums, academia and the social sphere. Collaborations include working with French philosopher Jean-Luc Nancy, English composer Michael Nyman, artists Gilbert & George, Ugo Rondinone and Liam Gillick, Italian jazz singer Amalia Grè, supermodel Eva Riccobono, actors Saleh Bakri, Alba Rohrwacher and psychoanalyst Luigi Zoja. Solo shows: Dialogue with the Unseen, MUDEC Museo delle culture, Milan, 2019; Mondi Paralleli, MAGA Museo Arte Gallarate, 2018; Valerio Rocco Orlando, MAC Museo de Arte Contemporáneo, Santiago de Chile, 2017; Portami al Confine, MUSMA Museo della Scultura Contemporanea, Matera, 2016; What Education for Mars?, Museo Marino Marini, Florence, 2015; The Sphere of the Between, Korea Foundation, Seoul, 2015; The Reverse Grand Tour, La Galleria Nazionale, Rome, 2013; ¿Qué Educación para Marte?, Villa e Collezione Panza, Varese, 2013; Quale Educazione per Marte?, Nomas Foundation, Rome, 2011; Lover’s Discourse, Careof DOCVA, Milan, 2011; Lover’s Discourse, Momenta Art, New York, 2010; Niendorf (The Damaged Piano), Galleria Maze, Turin, 2008; The Sentimental Glance, Galleria Maze, Turin, 2007. Among his group shows: Cambio de Lugar, Bienal Internacional de Arte SIART Bolivia, La Paz, 2018; Lesson Zero, MMCA National Museum of Modern and Contemporary Art, Seoul, 2017; Par tibi, Roma, nihil, Palatino, Roma, 2016; Glitch. Interferences between Art and Cinema, Aurora Museum, Shanghai, 2015; We Have Never Been Modern, SongEun ArtSpace, Seoul, 2014; The 338 Hour Cineclub, Fondazione Sandretto Re Rebaudengo, Turin, 2013; XI Bienal de La Habana, Centro de Arte Contemporáneo Wifredo Lam, Havana, 2012; Neon. La materia luminosa dell’arte, MACRO Museo d’Arte Contemporanea di Roma, Rome, 2012; Nurture Art, Chelsea Art Museum, New York, 2011; videoREPORT ITALIA: 08_09, GC. AC, Monfalcone, 2010; Emerging Talents, New Italian Art, CCCS, Palazzo Strozzi, Florence, 2009. In 2009 Valerio Rocco Orlando won the Iscp New York Prize promoted by Parc/Seat/Gai. In 2011 he was awarded a Civitella Ranieri Foundation Visual Arts Fellowship and in 2014 he received an International Artist Fellowship at the MMCA National Museum of Modern and Contemporary Art Korea. In 2016 the artist won the VII VAF Foundation Art Prize and his work was acquired for the permanent collection of the MART Museo d'arte moderna e contemporanea di Trento e Rovereto. Public collections also include Centro de Arte Contemporáneo Wifredo Lam in Havana, Fundação Calouste Gulbenkian in Lisbon, La Galleria Nazionale and MACRO Museo d’Arte Contemporanea in Rome.
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Nora Sternfeld

Nora Sternfeld is an educator and curator. She is professor for curating and mediating art, director of the curatorial program CuMMA at the Aalto University in Helsinki and co-director of — educating/curating/managing — Master Program in exhibition theory and practice at the University of Applied Arts Vienna. She is co-founder and part of trafo. K, Office for Art, Education and Critical Knowledge Production based in Vienna (w/Ines Garnitschnig, Renate Höllwart and Elke Smodics) (www. trafo-k.at). Moreover she is part of Freethought, a platform for research, education, and production based in London (w/Irit Rogoff, Stefano Harney, Adrian Heathfield, Mao Mollona and Louis Moreno). In this context she is one of the curators of the Bergen Assembly 2016. Curatorial projects have been: Facing The Void Casting A Shadow, David Muoz – Nomad Agency/Archive of Emergent Studies, Node Gallery Space, Aalto University Helsinki 2014; Taking Time, Gallery Augusta, Helsinki 2013 (w/Teemu Mäki), Contradictions! Critical Agency and the Difference Within, Open Space Vienna 2011; Plakate und Kommentare, IG Bildende Kunst, Vienna 2009 (w/Toledo i Dertschei); Nothing for us. Everything for everyone. Strategic Universalism and Political Drawing, IG Bildende Kunst, Vienna 2007 (w/Toledo i Dertschei); Let it be known! Counter Histories of the African Diaspora in Austria, Hauptbuecherei am Gürtel, Vienna 2007 (w/Araba Evelyn Johnston-Arthur); Summit Non Aligned Initiatives in Education Culture, Berlin 2007 (w/Kodwo Eshun, Susanne Lang, Nicolas Siepen, Irit Rogoff, Florian Schneider) and Hidden Hi/stories. Remapping Mozart, a project for Wiener Mozartjahr 2006 (w/Ljubomir Bratic, Araba Evelyn Johnston-Arthur, Lisl Ponger, Luisa Ziaja). She was a lecturer at the Humboldt University in Berlin, the Academy of Fine Arts Vienna, the Zurich University of the Arts, the Art Academy Kassel, the Vienna Art School and the University of Education in Vienna. She publishes on contemporary art, exhibition theory, education, politics of history and anti-racism. She is author of "Das pädagogische Unverhältnis", Vienna 2009 and "Kontaktzonen der Geschichtsvermittlung", Wien 2013 and co-edited several books, recently: "It’s all Mediating: Outlining and Incorporating the Roles of Curating and Education in the Exhibition Context", Cambridge Scholar Publishing, Newcastle upon Tyne 2013 (w/ The Finnish Association for Museum Education Pedaali, Kaija Kaitavuori, and Laura Kokkonen) and "educational turn. Handlungsräume der Kunst- und Kulturvermittlung", Series: ausstellungstheorie & praxis, vol. 5, Turia und Kant, Vienna 2012 (w/ schnittpunkt, Beatrice Jaschke).  
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Years 2013-2014 close
Israeli Program

Boris Oicherman

Boris Oicherman was born in 1973 in St. Petersburg (Leningrad at the time), and currently lives in Minneapolis, MN, USA. After defending his doctoral dissertation in Color Science at the University of Leeds, UK, Oicherman worked as a senior research scientist in Hewlett Packard Laboratories in Israel. In 2009, he left the technological research to pursue a career in art. In 2017, Oicherman graduated with an MFA in Art Practice from Stanford University, and since then has worked as the Cindy and Jay Ihlenfeld Curator for Creative Collaboration at the Weisman Art Museum of the University of Minnesota.   Oicherman’s prime interest is in extremely location- and context-specific collaborative art practices where decisions on subject matter, means and media are direct products of the context. His practice embraces the complete freedom of adapting artistic action to the context. It is a practice of resistance to habits, of uncertainty as a state of mind, of inventing one’s art anew in every new project, where craft is in the learning by doing—rather than in the discipline-specific method of treating materials.   Most of Oicherman’s work is in public spaces. His interest in learning and in public art stems from the old question: how does art fit into life? Therefore, he likes working in collaboration, and in locations where people live and work. He believes that finding how art fits into life is only possible when art is considered within the whole context of life.   Oicherman’s ultimate ambition is to establish a process that has existence—and consequences—outside of arts. He likes finding how art can connect fields of knowledge, and how questions flow between disciplines. He would like to find out how art-thinking and art-making can fit into academic research, and imagine how art can become the catalyst of inquiry that is free from disciplinary conventions.   Oicherman participated in projects in Israel, US, Spain, Bulgaria, South Korea, Poland, and Croatia. He is the recipient of the Asia Pacific Fellowship of the National Museum of Contemporary Art in Seoul, South Korea (2012); the Artist in Residence of fellowship at the Faculty of Life Sciences in The Hebrew University in Jerusalem (2013-2014); a number of the Israeli Lottery production and research art grants; and the Curatorial Research Fellowship of the Warhol Foundation for the Visual Arts (2018). Oicherman completed an Artport residency in 2014.
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Nevet Yitzhak

Nevet Yitzhak (b. 1975, Israel) is a video artist, composer, installation artist, and cultural researcher who lives and works in Tel Aviv. Yitzhak holds an MFA from Bezalel Academy of Art and Design, Jerusalem.   In her work, Yitzhak takes a critical approach to contemporary political and cultural issues. She challenges our perception of the past by raising questions about cultural heritage and collective forgetfulness within a complex local identity. She often employs archival materials that deal with historical events, which she then deconstructs and reconstructs using digital tools. The outcome reintroduces the historical moment with a critical approach to past social and cultural structures and traditions. The extraction of found footage from its original context and manipulation of its video and sound is one of the central processes of Yitzhak’s work.   Yitzhak’s work has been shown at the Tel Aviv Museum of Art (2014); Martin Gropius Bau, Berlin (2015); SMBA, Amsterdam (2013); Kuandu Museum, Taipei (2009); The Screening Room Gallery, Miami (2014); The Museum for Islamic Art, Jerusalem (2013); The Herzliya Museum for Contemporary Art (2013, 2009, 2008); The Petach Tikva Museum of Art (2014, 2011, 2009); Koffler Gallery, Toronto (2014); Circle 1, Berlin (2014); 68 Square Meters, Copenhagen (2014); Jeanine Hofland Gallery, Amsterdam (2011); Shpilman Institute for Photography, Tel Aviv (2014); Grid - International Photography Festival, Amsterdam and Huashan Culture Park, Taipei (2012).   She was awarded the Landau Fund Prize for Arts and Sciences in 2014, the Beatrice S. Kolliner Award for a young Israeli artist by the Israel Museum in 2014, the Shmuel Givon Prize by the Tel Aviv Museum of Art in 2012, the Creative Encouragement Award by Israel Ministry of Cultural & Sport in 2012, the Yehoshua Rabinovich Foundation for the Arts grant in 2010 and 2008, the First Prize in experimental Films Competition at the 21st International Film Festival in Jerusalem in 2004 and was selected for an Artport residency for 2013-2014.   Yitzhak’s work is in the collections of the Israel Museum, the Tel Aviv Museum of Art, the Museum for Islamic Art in Jerusalem, the Petach Tikva Museum of Art, the Shpilman Institute for Photography, and several others. She is represented by Yossi Milo Gallery, New York.
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Noa Gur

Noa Gur was born in Holon in 1980 and currently divides her time between Germany and her native Tel Aviv. Gur graduated with a BFA from Bezalel Academy of Art and Design, Jerusalem, and later studied at the Academy for Media Arts, Cologne.   Gur’s work explores the entanglement of bodily presence and gaze. Much of her recent body of work speaks of subverted perceptions, in particular self-perception, as informed by the act of navigating between seeing and being seen. Gur is interested in the correlation between optics, acknowledgement, and legitimacy, which she investigates by reflecting on the conditions of visibility: Why and how do we see what we see? These conditions are questioned or reshaped in her work.   Many of Gur’s pieces engage with the exhibition space as an arena of the visible –  a channel connecting the authority and its subject. She is interested in the bodily experience of the exhibition space in which both objects and visitors are observed.   As a foreigner living in Germany, and an Israeli of Middle Eastern descent, Gur is also concerned with the relationship between representation, presence, and cultural and political alienation.   Gur has exhibited internationally in museums and galleries such as the Tel Aviv Museum of Art (2017); Herzliya Museum of Contemporary Art (2017, 2016, 2011); MAN Museo d'Arte, Nuoro, Italy (2014); Museum Kunst im Tunnel, Düsseldorf (2009); Braverman Gallery, Tel Aviv (2015, 2013, 2010); JosédelaFuente Gallery, Santander, Spain (2017); Gallery Campagne Premiere, Berlin (2014, 2013, 2012, 2011); and Galeria Sabot, Cluj, Romania (2015). In 2013 she won the art grant Kunstfonds Bonn, Germany. She spent the following year as a resident at Artport Tel Aviv, and later participated in residency programs at Atelier Galata, Istanbul; RESÒ a.titolo, Turin, Italy; and La Box ENSA, Bourges, France. She has received support from the Artis Foundation, Ostrovsky Foundation, Israel National Lottery Arts Council and more. Her work was acquired by Sammlung Goetz, Munich, and Maison Européenne de la Photographie, Paris, among others.  
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Guy Pitchon

Guy Pitchon (b. 1980) is a multidisciplinary artist based in Tel Aviv, Israel. He is a graduate of the Minshar School of Art in Tel Aviv. Pitchon’s work ranges in medium from photography and illustration, to wood carving and glass etching, to tattoo and graffiti, but it is defined by continuous conceptual and aesthetic threads. His work is rooted in his time as a member and photographer of the skateboarding community in Tel Aviv. The aesthetic influences of skate magazines and street art are apparent in his work, as is his personal investment in alternative scenes and subcultures. His work often deals with tight-knit, self-identified communities with strict rules and hierarchies. The skate community was the subject of a book of photography and graphic art entitled Love Child, a project that he followed with a study of another community: inmates in Russian prisons. In his project, Non-finito, Pitchon created a series of glass etchings deconstructing and transforming the world of Russian prison tattoos. Pitchon is concerned with making art that is accessible, and he has often worked with recognizable iconography in a pop-art style to tell more obscure stories, such as those of street kids in Tel Aviv. He has created an iconography of what he calls their “soft rebellion,” a phrase which exemplifies the unique definition of his work – it lies at the intersections of seemingly contradictory conditions: harshness and fragility, childhood and adulthood, individual and community, iconography and anonymity. Pitchon's artistic identity is defined by his method of reconciling certain contradictions as well: high culture and low culture, artistic and commercial. Pitchon completed a residency at Artport in 2014. In 2016, he participated in the Asylum arts alumni retreat in New York. He has shown work internationally at such locations as Doomed Gallery, Brighton Beach, London (2013); 7 Ply Project, Athens (2017); Minshar Gallery, Israel (2010); and various other locations and has led workshops and lectures at various locations in Israel and abroad. In his commercial career, Pitchon has worked as a content creator, event producer, and influencer for Vans. He has collaborated with companies such as Google and Redbull, and non-profit organizations such as Mesila.
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Leor Grady

Leor Grady is an Israeli born artist. He studied at SUNY Empire State College, New York, and the School of Visual Theater, Jerusalem. Grady works in a wide variety of media – from sculpture, video, and drawing, to traditional materials and techniques, such as olive oil, gold, and embroidery.   Grady’s artistic voice is inscribed with traces of a battle left behind by an invisible body that demands severance. This body is both literal – queer, Mizrahi, Yemenite, traditional – and symbolic – national, modern, western, and “artistic.” Grady’s figurative images are of this body; the body Israeli culture in general, and Israeli art in particular, represses, displaces, excludes, overlooks, unable to recognize or come to terms with the consequences of its appearance in the symbolic artistic realm or in local visual culture.  Grady’s cultural objects invite the missing body to recall its historical violence, erased histories, and also future histories – those that can still be created. In Grady’s images, Zionist hegemonic history is released from its traditional boundaries and binary categorizations: modernism vs. tradition, nationalism vs. religion, heterosexuality vs. homosexuality, Hebraism vs. Arabism. Not only do these images present a new 'pre' or 'post' national symbolic relationship, they also neutralize the hegemonic monopoly on the excluding, classifying, act itself.   The interdisciplinary aspect of Grady’s conceptual works forms a visual language both fully committed to and independent from the history of art. It enables a powerful viewing experience combining scent, texture and materiality, and connects tradition to intimacy, the white cube to the home, politics to poetics, and grandeur to the body.   Grady’s work has been shown in the US and abroad, at such venues as the Smithsonian National Portrait Gallery in Washington DC, Haifa Museum of Arts, Ashdod Museum of Art, Rush Arts, Exit Art, Y Gallery and The Center for Book Arts in New York City. Grady has won awards including the Ministry of Culture and Sports Prize for the Encouragement of Creativity (2017), and grants such as The Ostrovsky Family Fund and the Israel Lottery Council for Art and Culture (2015). He has participated in the Art Production Fund residency program at P3 Studio Cosmopolitan of Las vegas, NV and at Makor Artist-in-Residence, New York, NY. Grady completed a residency with Artport in 2014.
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International Program

Angel Borrego Cubero

Angel Borrego Cubero holds a PhD in Architecture from the School of Architecture (ETSAM) of the Universidad Politecnica de Madrid (UPM), MArch from Princeton University (USA) where he was a Fulbright scholar. He has taught at Princeton University, Pratt Institute in New York, the University of Alicante, Salamanca University, Keio University, Tokyo, and at the School of Architecture of Madrid. In 1999, he founded Office for Strategic Spaces – Open Source Space (OSS). Angel Borrego Cubero won among others, the international ideas competition for the design of the Civil Registry on Campus of Justice in Madrid (2007), and was awarded 2nd prize at  the national competition of ideas for social housing in the Block 5 Zaragoza (2007), the national competition for Public Art Projects Lakua Vitoria-2 (1999) and the contest of ideas for reforming the roof of the Museum El Prado (1995). He has been a finalist twice at the Europan (2003, 2005) and has been invited to participate at restringed tenders for social housing.  He designed exhibition spaces such as FeedForward at LABoral Gijón, the exhibition Filipiniana at the Centro Cultural Conde Duque and the exhibition Arte e Imagen en Movimiento at the National Museum Reina Sofia. He is the author of site specific installations that work also as resting spaces for the Art Fair ARCO 03 and ARCO 04 and constructed houses such as the House Space Invader or House Murakami. While trained as an architect, Angel Borrego Cubero has been building a career focused on interdisciplinary topics such as contemporary urban condition, the relationship between private and public space, violence, surveillance, architectural fictions etc. Mainly making use of site specific, new media and video installations, his works have been exhibited in internationally acclaimed venues such as the ARCO Madrid Art Fair, the Museum of Modern Art Reina Sofia, El Matadero de Madrid, the LABoral in Gijon, the Artium in Vitoria, at galleries and events in Spain, Germany, Belgium, UK, USA, Argentina etc. Borrego Cubero is also the director and producer of the documentary film `The Competition´ ended in 2013, selected to open the 2013 Architecture Film Festival Rotterdam (AFFR). His art works are represented by the gallery Heinrich Ehrhardt.
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Elle Flanders & Tamira Sawatzky

Public Studio is the collective art practice of filmmaker Elle Flanders and architect Tamira Sawatzky. Public Studio creates large-scale public art works, lens-based works, films, and immersive installations. Grounded in the personal, social, and political implications of landscape, Public Studio’s multidisciplinary practice engages themes of political dissent, war and militarization, and ecology and urbanization, through the activation of site. Public Studio often works in collaboration with other artists. Elle Flanders completed her PhD at York University’s newly created practice-based research visual arts program in 2014 and has mentored with some of the art world’s most notable artists, including Mary Kelly and Martha Rosler, at the Whitney ISP and Rutgers University, respectively. Flanders has a strong history of community engagement and has created award-winning films and installations. Her longstanding interest in the socio-political realm and how it relates to landscape have led her, in collaboration with Sawatzky, to produce site-specific public art installations that are immersive and re-examine the role of audience as participant/witness. Tamira Sawatzky is an architect by training, having worked for the firm MJMA in Toronto from 1999–2010, designing large-scale, award-winning, community-based projects. Sawatzky began a collaborative art practice with Elle Flanders in 2009, bringing a spatial focus that contributes to the development of immersive installations and multifaceted exhibitions. Sawatzky’s architectural background lends itself to an emphasis on the structural, provoking a conversation between art and architecture and the politics of landscape and place. Since forming Public Studio, Sawatzky and Flanders have garnered critical attention, winning several public art commissions and awards, including the 2013 Toronto Friends of the Visual Arts Award. A publication about their work is slated to be published by Black Dog Press in 2018. Public Studio is based in Toronto, Canada.
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Years 2012-2013 close
Israeli Program

Ronit Porat

Ronit Porat was born in Kibbutz Kfar Giladi in Northern Israel, in 1975. She holds an MFA from the Chelsea School of Art and Design in London, and a BA in Photography and Digital Media from Hadassah College in Jerusalem, which she completed with distinction. In her work, Porat creates archives. She tells historical stories with collage, altering and re-contextualizing historical images. She is most interested in the Weimar time period in Berlin, Germany, a time period in which gender roles became more fluid, and a period that we currently view with the shadow of its future cast over it. In a sense, Porat is not a traditional photographer – she relies on archival images rather than her own camera. But the identity of her work is rooted in photography, and her manual processes engage with its history. In her 2017 exhibition, Mr. Ulbrich and Miss Neumann, Porat built and displayed images through a stereoscope of a world panorama. Porat’s stories do not have an obvious progression in plot – instead they create an atmosphere. She employs optical illusions, such as the double imaging of a stereoscope, to conjure up hazy characters, never allowing for any one of them to be easily labeled as a hero, a villain, or a victim. Animals, particularly birds, are a recurring motif in her work, echoing the shapes of the human body and adding a layer of mystery. In creating distance between the viewer and the characters, Porat respects the multiple viewpoints within each story, and the layers of a story that is told several times over. Porat’s works can most accurately be described as stories about photography. She explores threads that run through its history: voyeurism, documentation, patriarchy, sexuality. She is mindful of the power of the medium, and her work raises a question at its core: who owns a photograph – the photographer, the subject, the archivist, or the viewer? Porat was the recipient of The Lauren and Mitchell Presser Photography Award for a Young Israeli Artist in 2017. She has received grants from Amsterdam Fonds voor de Kunst (AFK) (2017); Artis (2016); the American-Israel Cultural Foundation (2002, 2004); and was awarded Israel’s Ministry of Culture’s Creativity Encouragement Prize (2013). Porat has participated in several artist residency programs, including the School of Visual Arts Summer Residency, New York (2008); Keret House Residency, Warsaw (2013); and Castrum Pergrini, Amsterdam (2014). She completed a residency with Artport Tel Aviv in 2013. Porat is a founding member of the collective Indie Photography Gallery.
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Rafram Chaddad

Rafram Chaddad was born in 1976 in Tunisia. He was raised in Jerusalem, and graduated from the Musrara school of photography and new media. In 2010, while working on a photography project in Libya, Rafram was kidnapped by the secret police and spent six months in prison. His book about this affair was published in 2013. Chaddad is currently based in Tunisia.

Chaddad is a multidisciplinary artist, often working with sculpture, installation, and video. He is a storyteller, and draws from stories that are biographical in nature, oftentimes from his own family history. Chaddad approaches these stories from a manual and tactile angle. Food and traditional craftsmanship are tools at his disposal to tell a tangible truth that can never be too far removed from the viewer. With his works, Chaddad aims to to stop life and show it – to revel in the day-to-day sensory experiences of eating, creating, living in a certain location and culture. Chaddad works in the mode of relational aesthetics; he seeks audience interaction, and in his work hopes to spark conversation around questions of belonging and identity

Chaddad’s work has been exhibited internationally, at venues such as Mekudeshet Festival, Jerusalem; Jaou Festival, Kram; Kunst im Tunnel, Dusseldorf; Herzliya Museum, Herzliya; Kayu Lucie Fontaine Gallery, Bali and Lucie Fontaine Milan; Helena Rubinstein Pavilion, Tel Aviv; Halle 14, Leipzig; and Zalatimo, Jerusalem. Chaddad has exhibited solo at the Muceum Museum in Marseilles and Maximilian Forum / Platform Munich. He has received grants from the Kamal Lazaar Foundation, Halle 14, Cittadellarte – Pistoletto Foundation, and received the Bronner stipend from the Goethe Institute. Chaddad completed a residency with Artport in 2012.

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Ido Michaeli

Ido Michaeli (b. 1980, Petah Tikva) multidisciplinary artist based in Brooklyn, New York. He holds an MFA (2010) and a BFA (2005) from Bezalel Academy of Art and Design in Jerusalem. Michaeli’s works blur the boundary between craftsmanship and art: he collaborates on long-term projects with traditional crafters such as Afghan carpet-makers, Chinese needle-workers, Palestinian tailors and Ethiopian embroiderers. He creates mesmerizing, highly detailed images and sends them oversees to be hand-woven on luxurious fabrics. His finished products are accompanied by a video that documents the laborious process. Michaeli’s works are encyclopedic, rich with symbols appropriated from ancient and modern history, religion, art, contemporary Israeli culture, and some born of his own imagination. By juxtaposing and recontextualizing these diverse symbols, he creates composites with multilayered, tension-fraught identities. In weaving different heritages and histories together, both in process and product, Michaeli raises questions of orientalism, identity politics and global economy. Michaeli has exhibited internationally, including solo shows at the Center for Jewish History, New York, NY; Meislin projects, New York, NY; Israel Museum, Jerusalem; Herzliya Museum of Contemporary Art, Herzliya; Rosenfeld Gallery, Tel Aviv; and HaKibbutz Gallery, Tel Aviv.  He has also participated in numerous group exhibitions at galleries and museums, among them: Andrea Meislin Gallery, New York, NY; NURTUREart, Brooklyn, NY; Shulamit Nazarian Gallery, Los Angeles, CA; Russian Museum of Ethnography, Saint Petersburg, Russia; Lorimoto Gallery, Queens, NY; Ashdod Museum, Ashdod; Neues Museum, Weimar, Germany; Eretz Israel Museum, Tel Aviv; and The Israeli Center for Digital Art, Holon. Michaeli is the recipient of several awards and grants, such as the Biatris S. Koliner Award for Young Artists (2017), the Israel Ministry of Finance Wake Up Art Grant (2017), Pioneer Works studio grant (2015), Israel Ministry of Culture and Sports Young Artist Award (2015), New York Foundation for the Arts (NYFA) IAP (2014). Michaeli was awarded an Artport Tel Aviv residency for 2013-2014. Michaeli’s work belongs in several private and public collections including the Israel Museum collection, Herzliya Museum of Contemporary Art collection, Haaretz Art Collection, Igal Ahouvi Art Collection, and START collection.
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Maayan Sheleff

Maayan Sheleff is an independent curator based in Tel Aviv and Jerusalem. During the last decade she has been dealing with social and political issues through her curatorial practice, often working in the public domain or involving local communities. Her projects explore the mediums of photography, the moving image, new media and performance, and take a reflexive approach towards participation and activism. She is currently studying for a Practice-Based PHD at the Research Platform for Curatorial and Cross-disciplinary Cultural Studies, a co-operation of the University of Reading (UK) with Zurich University of the Arts (CH). Since 2014 Sheleff is the artistic advisor of The Art Cube Artists’ Studios in Jerusalem, and the founder and curator of its international residency program “LowRes Jerusalem”. She was the Curator at Line 16 Gallery (2006-2009) and at the CCA, Tel Aviv, as well as assistant Director at its international Curatorial Studies Program (2009-2012). She curated projects at the Metropolitan Museum of Photography, Tokyo, Madre museum in Naples, Herzlyia Museum in Israel, Shift festival in Basel, and the Bloomfield Science Museum in Jerusalem, among other venues, and was co-curator of the first Tel Aviv- Yaffo Biennial (ARTLV 2009). Sheleff was a curatorial resident at Artport, Tel- Aviv (2013) where together with Eran Hadas and Gal Eshel she created the experimental research project “Frankie- the Documentarian Robot”, that later participated in various exhibitions and festival such as Ars Electronica, Powerflows in Vienna, Art in Odd Places in NY, State festival in Berlin and the Science Gallery in Dublin. She won ISCP’s (International Studio& curatorial program, NY) Curator Award (2012), and participated in ICI’s (Independent curators international, NY) curatorial intensive (2010), among other residencies. She teaches in Bezalel Academy of Art and Design, Jerusalem, the Sam Spiegel Film and Television school, Jerusalem, and at Sapir College in Sderot. Her latest publication was Fear and Love in Graz, (in:) Empty Stages, Crowded Flats. Performativity as Curatorial Strategy, performing urgency #4, Editors Florian Malzacher and Janna Warsza.
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Yair Perez

Yair Perez (b. 1978) is a painter based in Tel Aviv. He studied at Hamidrasha art school, Beit Berl.

Perez’s paintings are characterized by their large scale and percussive, chaotic mixtures of abstract and figurative elements. Their effect is immediate and atmospheric. They look unfinished, imperfect, torn, and long to be fulfilled, inviting the reader to step inside and continue the thread of thought that Perez has begun.

Perez often returns to old works and paints over them, or adds elements of collage. His paintings are multilayered, without an anchor point – instead they embody a continual search that is at once visceral, visual, mental, and emotional. Perez is inspired by cubism, wherein a subject is visualized from multiple angles, creating layers of time in which it exists.

Perez dismantles, shuffles, and rebuilds figurative elements to create wildly distorted characters. He opens up the body, seeing it at its most grotesque and vulnerable. His paintings contain a mixture of abstract and figurative elements, but rather than see these two components as two separate modes of thought, the human figure is a frame of reference with which he approaches the entirety of the painting.

Perez received the Young Artist Award Israeli Ministry of Culture in 2014. He has presented several solo exhibitions at such institutions as Sadnaot HaOmanim (Tel Aviv; 2018), Hezi Cohen Gallery (Tel Aviv; 2016), and the Haifa Museum (2012). and his work has been included in group exhibitions at the Tel Aviv Museum (2014), and Festival de la Arte (Mallorca, Spain; 2017). Perez completed an Artport residency in 2013.

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International Program

Lucie Fontaine

Lucie Fontaine is an art employer who lives and works in Colmar, France.  Describing herself as an “art employer,” Lucie Fontaine avoids harnessing her practice to a specific figure of the art field, preferring to cultivate a modus operandi driven solely by her relationship with two* employees, a concept of self-generated labor similar to Hegel’s Herrschaft und Knechtschaft [Lordship and Bondage] dialectic. Her two* art employees like to define her as the Jamie Lynn Spears of contemporary art: “pregnant and in search of easy success.”  Thus, Lucie Fontaine incarnates the following three assumptions: 1) The anti-hierarchical perception of the art field, where artists, curators, gallerists, collectors, editors and critics are all considered “players” in the same game. 2) The theory of expanded practice, in which the artist is not only considered the “creator” of an artwork, but also a cultural operator able to write, manage galleries, curate, collect, and so on. 3) The consideration of the entire discourse around the artwork: conception / creation / production / presentation / distribution / communication / promotion.  In 2007, Lucie Fontaine opened a space in Milan, which was intended as a meeting place for the artistic community. Deliberately collaborating only with Italian artists, Lucie Fontaine and her employees organized unconventional projects with mid career artists, as well as first time solo shows by emerging artists and presentations of senior artists.   * “the two of us wrote Anti-Oedipus together. Since each of us was several, there was already quite a crowd” Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, 1. Introduction: Rhizome.
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Vlad Nancă

Lives and works in Bucharest, Romania. Vlad studied at the Art University of Bucharest, Photography and Video Department. Since 2001 he has exhibited across Europe, and participated in various art projects using photography to document urbanity. I studied photography and video at the University of Arts in Bucharest. Drawing on the environment and influence of Bucharest life, I document urbanity through photography. Since the beginning of my practice I have been actively involved in the progression of the Romanian young artists’ scene by hosting “home galleries”, running the Incepem emailing list and its subsequent Incepem fanzine, by curating exhibitions and more recently co-founding Scoala Generala free school in Bucharest. Throughout the years I have made a great use of DIY methods, both for running the home gallery and other group projects as well as for personal work. Utilizing different mediums my varying personal projects employ political and cultural symbols, often using word-play to evoke nostalgia and referencing Romania’s recent history and challenging the current social and political status quo. Besides that group projects which I have coordinated I very much enjoy collaborating with other artists on a more direct, personal level as it happened with Janek Simon in Remix (Raster Gallery, Warsaw, Poland) and with Mircea Nicolae and playwright Nicoleta Esinencu for two site specific installations in Chisinau, Moldova (part of Inteventii 3 festival). Recently my work has been greatly influenced by the urbanity and street environment. Photographical documentation of street objects and situations have been the base of a series of new sculptures and installations.
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Helene Lundbye Petersen

Helene Lundbye Petersen is a Danish curator and writer based in New York City. She holds an MA in Art History (University of Copenhagen) and Communication Studies (Roskilde University). Between 2008 – 2011 Helene Lundbye Petersen was project manager for Olafur Eliasson and full-time director of his studio in Denmark. As an independent curator, she curated D a n c i n g – a documentary on invented space: So Young Yang at White Box, NYC (2012) and Realism Reversed – a dialogue with Berlin at Christian Dam Galleries, Copenhagen and Oslo (2005). She co-curated Approaching Journey for the City States Liverpool Biennial, Liverpool (2012).  As a writer she has written books such as the exhibition-catalogue Realism Reversed – a dialogue with Berlin(2005); Yvette Brackman: Systems & Scenarios published by JRP|Ringier Kunstverlag AG (2012); and The White Book, published by White Page Project (2012). She has co-edited books such as Olafur Eliasson: Din blinde passager.  Her curatorial project is working for finding, creating and uttering the optimal conditions for art. If the world could be divided into the comprehensible, what we seem to understand, and incomprehensible, what we will never understand, art would be floating in the membrane between the two, never to settle but constantly being open to our interpretations. Therein art holds a great potential in offering us to become aware of how we create meaning and negotiate our way to our individual realities. It is such dialogues and  encounters that are needed for the realization of hopes for change in society at large in a time where globalization and technologies seek to generalize our means of communication. Her work is based on the philosophy that language is space and space is language. Both will speak unfolded aspects of art, which will never be able to conclude what art is about but only communicate our interpretations of it.
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Tamara Moyzes

Born in 1975, Bratislava, Slovak Republic. Lives and works in Prague, Czech Republic. Tamara holds an MA from the Academy of Fine Arts, Department of New Media, Prague. She also attended The Bezazel Academy of Fine Art and Design, Jerusalem, as part of an exchange program, the Academy of Fine Arts and Design, Department of Painting, Bratislava, and Avni Institute of Fine Arts, Tel Aviv. Tamara Moyzes is a video artist. Her work is characterized by the orientation on political issues. In her work she does not choose an academic approach but prefers a direct intervention – she does not comment on reality from a distance but she is a part of the story. People depicted in her fictional documentaries are not real actors and their artistic “role” only emphasizes and completes their real status. To reflect current social contestations she uses a blend of documentary, pathetic and humorous scenes. Parody-like handling of topics is a strategy that does not relieve the situation, on the contrary it presents its fiery nature and content in a form that is not very digestible for us.  For Tamara Moyzes video is a tactical and political tool. Selected exhibitions: 2012 Middle east Europe, DOX Centre for Contemporary Art, Prague (group), Stimmen der ROMA, Munich, Gasteig (group),  Reclaiming Identity, Steirischer Herbst, Graz (group), 2011 Mediations Bienale, Poznan (group), Czech Center in Stockholm, Welcome to Prague, Sweden (solo), Mamuta at the Daniela Passal Art & media center, Protocol, Jerusalem (solo), INTEGRA(C)E, Karlin Studios, Prague (solo)  / 2010 Transgression, gallery Videotage, Hong Kong, CN (group), Mute Signs, Barcsay Hall, Budapest, HU (group), SHE DEVILE 4, Studio Stefania Miscetti, Roma, IT (solo), Kick the Habit, Festival SOHO in Ottakring, Vienna, AT (group) / 2009 Formáty transformace 89-09, The Brno House of Arts, Brno, CZ (group), The other kind of blue, Czech selection, Gallery VÁCLAVA ŠPÁLY, Prague, CZ (group), Family happiness, Czech Ministry of Culture, Prague, CZ (group), Welcome to Prague, Output gallery, Prague, CZ (solo), Family Happiness, Czech Parlament, Prague, CZ (solo) / 2007 TV t_error, Entrance gallery, Prague, CZ (solo)
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Ulrich Vogl

Born  in Kaufbeuren (Germany) 1973. Lives and works in Berlin. Ulrich Vogl studied at the Akademie der Bildenden Künste in Munich (1996-1999)  and at the Universität der Künste in Berlin (MA) (1999-2002). In 2004 Vogl completed his Master of Fine Arts at the School of Visual Arts in New York. Since his first solo exhibition in 2006 at Kevin Kavanagh Gallery in Dublin, Ulrich Vogl has presented his work around Europe with recent solo shows at Deutsches Historisches Museum, Berlin, Kevin Kavanagh, Dublin,  Villa Köppe, Berlin, Galerie Opdahl, Berlin, ADN Gallery, Barcelona, Gallery Opdahl, Stavanger and more “Whereby the term “extension of drawing”, already both the title of a catalog as well as a solo exhibition of Ulrich Vogl‘s, can be viewed as the leitmotif of the artist’s work, in recent years the artist’s focus has nevertheless actually been on “drawing and light”, on working with projections, shadows, movement, and drawing. Many of his precisely thought-out conceptual and experimental works are in constant motion despite exuding an almost contemplative tranquility. The individual works create a space all of their own, with a likewise individual temporality, which “creates room” for the personal experience of the given viewer. The works cast an enchantment, all the while never concealing the simplicity of their genesis. A good example of this is the piece entitled Film, in which light falls through a spinning hamster wheel and thereby casts varying shadowy forms onto the wall. The projections are reminiscent of early movies, despite being void of concrete imagery. Although the creation of the simulacrums is played out before the eyes of the viewing public, one is nevertheless drawn into an imaginary film. The result is the creation of invigorating latitudes, free spaces, within one’s mind for a film of one’s own.” -extracted from Berlin Artists’ Statements, ed. Christoph Tannert, 2014
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