Barbur Gallery

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The Barbur Gallery is located in the Nachlaot Neighborhood of Jerusalem, in Israel. It’s name Barbur (ברבור) is the Hebrew word for “swan”.

The gallery consists of one (6 X 10 meter) exhibition hall, a small kitchen, a glass-enclosed balcony, and an outdoor patio and garden. The location serves as a meeting place for artists and the local community. The core activity of the gallery is the organization of monthly exhibitions, featuring works by new, up-and-coming, and established artists. The gallery also serves as a hub for cultural activities -- such as movie screenings, experimental music performances, and literary readings -- often collaborating with other organizations, artists, and various individuals.

History

The Barbur gallery was opened in July of 2005 by a group of then recent graduates from the art department of Bezalel Academy for Art and Design, which is located in Jerusalem. The founders were interested in opening up a gallery to showcase the work of various artists. The artists exhibited in the Barbur range from well-established Israeli artists, many artists’ first solo-exhibitions, occasional international artists and groups shows of current students, and more. The founders felt that the Barbur could address the need to garner a greater incentive for the many students of the numerous art programs in Jerusalem to remain in the city after graduating. The gallery offers an exhibition space for artworks as well as a number of community cultural activities including, but not limited to, the following: art classes for both youths and the elderly, lectures across various subjects such as philosophy and art history, movie screenings of local artists’ works and established films, concerts with local and visiting musicians, and the development of a community garden. Over the years new members have joined the gallery team, ensuring the continuity of activities at the Barbur. Gallery visitors and participants span across diverse backgrounds, including locals and tourists, Jews and Arabs, religious and secular, Ashkenazi and Mizrahi, Olim (New Immigrants) and Veteran Israelis. According to the Jerusalem Foundation, which supports the gallery, the Barbur hosted 5000 visitors in 2015.

In 2015, in response to managerial changes and new team members, the Barbur joined the Bar-Kayam group. This non-profit organization, which helps manage and develop a group of other non-profit organizations, describes itself as follows: “Bar-Kayma (‘Sustainable’ in Hebrew and Aramaic) for Culture, Art, Music and Peace in Jerusalem fosters a creative community and encourages utilization of technology, humor and crowdsourcing to form independent and innovative artistic and cultural enterprises. By connecting artists, cultural institutions and the public, we work to create a diverse, accessible cultural playground open to all residents and visitors of Jerusalem.”

The galleries ongoing activities have also sparked a number of controversies, which have led to numerous attempts by Jerusalem Municipality to close the gallery. Ongoing engagement with pro-Palestinian initiatives -- such hosting events by the organization Breaking the Silence and hosting a Memorial Day event that included representatives of bereaved Palestinian families -- has caught the continual attention of the Israel Minister of Culture and Sport, Miri Regev. Regev, who is known for her intense attempts to meddle in cultural affairs as well as a desire to censor individuals and organizations that differ with her politically, has written a number of letters to the Jerusalem Municipality demanding that funds to the Barbur be cut. Even in the face of these continuing controversial situations, the Barbur Gallery continues to operate till today.

Notable Activities

Gideon Ofrat Lectures and Discussion

In 2009, the prolific writer of art history and criticism, Gideon Ofrat, offered a seven part lecture series on the history of Israeli art. The lectures began with “Palestinian art”, dating back to 1850, and ended with the creation of the State of Israel in 1948. In 2015, Ofrat also participated in a conversation with artist Hadas Ophrat on the topic of “art as a medium for social change”. This conversation was a part of Hadas’ exhibition “Alliance”, which marked the end of six month hiatus wherein the Barbur could not operate because of a controversy related to the Jerusalem Municipality attempt to expand a neighboring kindergarten.

B&B Residency

During the month of July, the Barbur Gallery organizes it’s annual B&B (Bed and Breakfast) residency program. For the residency, the gallery invites 30 artists to participate; each day throughout July, one of the artists spends an entire day in the main exhibition space of the Barbur. Besides inviting visitors to come and interact with the artists, the Barbur requests that the artists work on a creative project during their sojourn in the gallery. Over the month of July, the various artists’ works accumulate, which lends to a gallery full of newly made pieces by the end of the month. A full schedule for the 2018 B&B residency, which includes all of the participating artists, is available on the Barbur website.

Wire-Tappings

Beginning in 2010, the Barbur has hosted the Wire Tappings music series. Israeli musician Ayelet Lerman, initiated the ongoing music series. This series has included performance of local and international musicians, focusing on experimental and improvisational music. Related to the Wire Tappings series was the exhibition “Tomb Womb”, a musical installation organized by Lerman at the Barbur in March of 2014. Recordings from the installation are available online. (Soundcloud)

Publications

Over the years, the Barbur Gallery has also published materials related to the exhibitions. These materials have ranges between artist books related to exhibitions and bound books. Two notable books published by Barbur were “Volleyball” and “Correspondences”.

“Volleyball” was released by Barbur in 2011 in honor of the occasion of the exhibition “Team Play”, which featured works by Drora Dominey. The book contains an essay about Drora, written by Vered Zaran Gani; a creative text co-written by Drora and Eitan Buganim; and assorted prints of the artist’s work. In her essay, Gani notes that the title, “Volleyball”, was first inspired by the fact that Drora had played volleyball with the Israel national team, and that the game serves as an appropriate metaphor with which the seemingly disparate works by Drora can be related. Following the introduction, the co-written text consists of short segments inspired by Kierkegaardian Existential Dialectics and Socratic Dialogue, which include meditation on the activity of drawing and making art. “Volleyball” received support from the Israel Lottery and the Israel Council for the Arts.

“Correspondence” the book was released by Barbur in 2010 in honor of the occasion of the exhibition by the same name. The exhibition featured works by Adab Berg and was curated by David Stromberg. The book contains an introduction by Stromberg, followed by six short essays by Berg which, all together, relate to the materials that were presented in Correspondence (the exhibition). In the introduction, Stromberg stresses the political nature of Berg’s work, especially how he shows that focusing on facts alone can be misleading. Stromberg argues that focusing on facts can lead people to mistake the forest for the trees and veil the overarching perspective of political actors in a given situation. Berg’s essays meditate on a number of philosophical subjects, including thoughts about the name of both the book and exhibition: “correspondence”. The essays also describe some of the material presented in the exhibition, such as video footage from the Palestinian village of Bil’in juxtaposed with footage of an ancient Roman burial tomb.

Participation in he Biennale for Drawing in Israel

Throughout the years, the Barbur has participated in numerous editions of “Traces” which is the Israeli drawing biennale. Traces features drawings by Israeli artists, coordinating a number of exhibitions in various galleries across Jerusalem. Dalia Manor, the curator of Traces III, noted the importance of continuing to engage with drawing in the digital age, emphasizing the continued engagement of drawing with other artistic mediums -- especially with photography.

The Barbur participated in the following biennales for drawing in Israel:

Traces III - In coordination with this biennale, which took place in 2007, the Barbur organized the exhibition “Polygraph”, which featured works by Amnon Ben-Ami, Eitan Buganim, Daniel Yahel, Gilit Fisher, Hadas Hassid, Talia Keinan, Yaakov Mishori, Uri Radovan, Avi Sabah, Yanai Segal, Danny Zak and Masha Zusman. The curator of the entire biennale was Israeli art historian and critic Dalia Manor.

Traces IV - In coordination with this biennale, which spanned from December of 2010 till January of 2011, the Barbur Gallery organized an exhibition titled “Lost”. This exhibition featured the works of Lezli Rubin-Kunda, Tsibi Geva, Jossef Krispel, Gabriella Klein, Dalia Bachar, and Ram Samocha. Tamar Manor-Friedman was the overarching curator for all of Traces IV, while the exhibition in the Barbur Gallery was curated by Avi Sabbah and Yanai Segal.

Traces V - In coordination with this biennale, which took place in 2013, the Barbur Gallery organized an exhibition titled “Hamarmoret”. This exhibition featured works by Abraham Afik, Ayelet Ben Dor, Alon Andorn, Ester Schneider, Hilla Toony Navok, Lena Gomon, Noam Dror, Revital Lessick, Rachel Kainy, Ra’anan Harlap, Zvi Tolkovsky. The curators for the Barbur Gallery exhibition were Avi Sabah and Masha Zusman.

Trace VI - In coordination with this biennale, which took place in 2016, the Barbur Gallery organized an exhibition titled “Playful Grounds”. This exhibition featured works by Maya Aruch, Roy Efrat and Michal Bachi, Sharon Fadida, Yasmin Hassidim, Gabriella Klein, Lihi Nidiz, Malki Tesler, Carien Yatsiv, Shai Yehezkelli, and Reuven Zahavi. The Barbur exhibition was curated by Sally Haftel Naveh and Masha Zusman.

Controversies

Kindergarten Expansion (2015)

In 2015, the Barbur Gallery was temporarily closed for 4 months. During this break the next-door kindergarten operated in the Barbur space while its own building was undergoing construction. Shortly after the reopening of the gallery, the Jerusalem Municipality gave notice to that the Barbur that the gallery would be closed permanently. The reason for closing the gallery was to expand the kindergarten; the municipality noted that the building housing the Barbur Gallery was originally erected with funds from the Israeli Ministry of Education for the purpose of running the kindergarten, and that the local neighborhood of Nachlaot is so densely developed that there are no other spaces to allow for the kindergarten operations. In response to the situation, the Barbur released a public statement describing the situation and requesting help to maintain as much of its regular activities as possible. Finally, the Barbur announced that it had settled the issue, and that the gallery would continue to operate in the same location. In a public statement, the Barbur Gallery noted that expressed interest and support of the general public was a major factor in enabling the gallery to continue operating in the same location.

Breaking the Silence Event (February 2018)

In February of 2018, controversy erupted around the Barbur hosting of an event organized by the organization Breaking the Silence in the gallery.

Breaking the Silence is an Israeli non-governmental organization whose main activities are the recording, collecting, and distributing of Israel Defence Forces (IDF) soldiers’ and reservists’ testimonies for the stated mission of ‘breaking the silence’ about the IDF’s activities. The materials released by the organization have given rise to criticism, and have caused much controversy. Many claim that behind a rhetorical facade of honest reporting, the organization is involved in propaganda that represents the interests of its donors, who are mostly European institutions. In a meeting with UK Prime Minister, Theresa May, the Israeli Prime Minister, Benjamin Netanyahu named Breaking the Silence as an organization who is hostile to Israel, and whose funding from the UK should be cut; when the German Foreign Minister, Sigmar Gabriel, traveled to Jerusalem, Benjamin Netanyahu canceled their meeting because Gabriel had met with Breaking the Silence members first.

Breaking the Silence has used the Barbur Gallery a number of times to host events around the materials presented in its publications. The event in February of 2017 consisted of Breaking the Silence’s educational director, Nadav Weiman, speaking about one of the organization’s then newly published reports about Israeli settler influence on IDF activities in the West Bank, followed by an open conversation with Yuli Novak, the director of Breaking the Silence. The Breaking the Silence report central to this event is titled “the High Command”, and is available online through the organization’s website.

The intensification of the controversy around this particular event seems to have been sparked by the Israel Minister of Culture and Sport, Miri Regev. Upon learning about this event, Regev wrote a letter to Jerusalem Mayor, Nir Barkat, urging him to cancel the event, stressing the need to limit political activities in a municipality-funded venue. Regev also released the letter and video expressing her views via her facebook page. [1] Regev is known for trying to censor artists who criticize Israeli policies, or represent perspectives that counter her nationalistic views.

One of the Barbur founding members, Israeli artist Masha Zusman, claims to have been surprised to learn about the unfolding incidents indirectly through journalists. By the time Zusman learned about the eviction notice, a court hearing without any representation from the Barbur Gallery had already taken place. In response to the threats to evict the gallery, Zusman expressed her commitment to host the event, and her disappointment with the political gambits developing in response to what she considered a simple matter of freedom of expression. Zusman stressed her willingness to engage with opposing perspectives, noting her acceptance of protests and complaints around the event, as long as political games were not be played.

Eventually, Barakat summoned representatives of the Barbur Gallery for questioning about the event. Breaking the Silence representatives responded to the incident by tweeting a message the claimed that the organization would save a front row seat for Miri Regev, so that should could participate in the event.

On the day of the event, the Jerusalem Municipality gave notice to the Barbur Gallery that it would be evicted for reasons unrelated to the hosting of the Breaking the Silence event. Commenting on the eviction notice, Nir Barkat stated: “This has nothing to do with free speech. The municipality needs the building for other municipal purposes and will consult, among others, with neighborhood representatives about its future use.” A former legal adviser to the Jerusalem Municipality, Yossi Havilio, represents the Barbur Gallery. He claimed that there are rulings from the Israeli Supreme Court and Attorney General that drew a line between “party” and “non-party” political activities in municipal buildings, suggesting that the Breaking the Silence event was legally allowed as a non-party activity. Havilio stated that “The decision is an insult to one’s intelligence […] They held a hearing a year and three months ago, yesterday Miri Regev writes a letter and suddenly there’s a decision to evict the gallery for other reasons. Can any reasonable person buy this? It’s clear to any sensible person that this decision is political. They don’t want these opinions heard because Nir Barkat wants to curry favor with Likud voters."

During the event, the Barbur Gallery was packed to full capacity, while both left- and right-wing protesters gathered outside the gallery. The right-wing activists were lead by Bentzi Gopstein, the head of Lehava organization, who works to prevent both intermarriage and coexistence between Arabs and Jews, and follows in the footsteps of Meir Kahane. Interviewed about the event by the Times of Israel, Gopstein said: “We didn’t plan a big demonstration. We just came to say that there’s no room for Breaking the Silence in Jerusalem. The municipality told them that and with God’s help we’ll shut this gallery down.”

While inside the gallery, Yuli Novak responded to the right-wing protesters by stating: “It’s a victory that so many of you came. The battle for Jerusalem — for our home, for how this city will look — is only just beginning, and this is the way to go — without folding, without blinking, without being afraid of this nonsense.”

The legal repercussions stemming from this event continue till today. In April of 2018, the Barbur released a statement describing it’s ongoing legal battle. The gallery claims to be operating completely within the law, and the whole situation is a cover for Miri Regev and Nir Barkat to persist in their political struggles.

Within this politically charged milieu, the Barbur continues to operate, but as these complicated situations continue to unfold it becomes more difficult to gauge the effect of these political struggles on the reception of the gallery’s exhibitions and cultural events. For instance, when reviewing the exhibition “Slowland” (featuring the works of Bianca Eshel Gershuni and Oree Holban) writer Hagai Ulrich stresses the political context of the gallery even though its direct relation to the exhibited works is questionable. He writes, “Recognizing the exhibition as a place of slowness, of moments that linger on the possibility of process and transformation, is, to a large extent, resistance to the political reality outside the gallery - a reality that is quick to make demands, to judge, to force answers. It sets conditions that leave no room for confusion, inquiry, contradiction, or reflection. In the current political reality of Israel, this exhibition lets us regard resistance as the creation of a place for dialogue.”

Israeli-Palestinian Memorial Event (April 2018)

In April of 2018, the Israeli-Palestinian Bereaved Families Forum and the Combatants for Peace movement planned a joint Israeli-Palestinian Memorial Ceremony to be hosted at the Barbur Gallery. The event consisted of representatives from bereaved families of both Israelis and Palestinians coming together to speak in the same forum. The Jerusalem Municipality attempted to prevent the event from occurring. The municipality objected on the grounds that such an event suggests an equivocation between IDF soldiers who have died in midst of military service and the deaths of Palestinian terrorists. In the end, the Jerusalem Magistrate’s Court ruled in favor of the Barbur Gallery, which included forcing the municipality to pay for the gallery’s legal fees.

(Selected) Exhibitions

1.9.2005 - Violent But Good At Heart - works by Amnon Ben-Ami

24.7.2005 - “Release Order from Memory Troops” - worky by Nekoda Singer

11.01.2006 - “Soak” - works by Ronen Rashti

20.4.2006 - “Frozen” - Robin Press

13.6.2006 - “Shamelessly Painting in 2006” - works by Meir Appelfeld, Amnon Ben Ami, Nomi Bruckmann, and Pesach Slabosky - curated by Pesach Slabosky

17.11.2006 - “Love Minus Zero” - paintings by Yanai Segal

9.12.2006 - “A High Wind in Jamaica” - works by Avi Stern

6.1.2007 - “Unrecognized” - curated by Tal Adler

23.3.2007 - “The Street of Two Birds” - works by Sudsiri Pui Ock - curated by Nirith Nelson

27.4.2007 - “Inspiration Art Exhibition” - organized by Inspire Collective [the Exhibition was the result of an open call posted on the internet, calling for street artists and street art fans to take part in the show in Jerusalem in response to the question: What inspires you?)

13.6.2007 - “Shirizli” (an exhibition about Shlomo Israel Shirizli, the person who inspired the name of the street on which the Barbur gallery is located)

17.8.2007 - “Coerced Choice” - participants in the show: Ariella Azoulay, Eitan Bouganim, Hanna Ben Haim, Noa Ben Shalom, Lilah Bar Ami, Vered Dror, Yossi Davara, Lea Golda Holterman, Nitsan Hammerman, Yoav Weiss, Masha Zusman, Nili Tal, Galia Yahav, Arie Kan, Nomi Levenkron, Linda S., Lauren Milek, Avi Sabah, Yanai Segal, Noam Fridman, Eilat Zin, Hagit Keysar, Annette Kleinfeld Lissauer, Shula Keshet, Uri Radovan, Atalia Shachar, Roee Rosen, Ayelet Shimoni, Hotline for Migrant Workers, “We are worthy”, Awareness Center (Machon Toda`a)

7.9.2007 - “Two Sisters” - works by Ruth Schreiber

19.10.2007 - (paintings by) Shai Yehezkelli, and Ran Keydar

1.12.2007 - “Polygraph” - with works by Amnon Ben-Ami; Eitan Buganim; Daniel Yahel; Gilit Fisher; Hadas Hassid; Talia Keinan; Yaakov Mishori; Uri Radovan; Avi Sabah; Yanai Segal; Danny Zak; Masha Zusman - part of “Traces III” the Third Biennale for Drawing in Israel

2.2.2008 - “Regba” - works by Atar Geva, Avital Canani, and Ephrat Kedem - curated by Barak Rabitz

7.2.2008 - “Keep Silence” - works by Motti Yifrach

18.4.2008 - “Attitude” - works by Gili Avisar, Eyal Debico, Nir Harel, Gil Lavi, Peter Maltz, Yanais Segal, Galia Pasternak, Itamar Shomshoni, and Boaz Kadman -- curated by Boaz Kadman

30.5.2008 - “Another Sunset” - works by Avi Sabah and Masha Zusman - curated by Yanai Segal

11.10.2008 - “The Ladder” - a collaborative exhibition with the T.W.S. Gallery in Shibuya, Tokyo, with installations in both galleries linked by a live video feed broadcast - organized by Guy Briller

21.11.2008 - “Artist Women” - works by Devorah Agranov, Jennifer Barlev, Liora Laor, Smadar Levy, Rena Azroni, Maya Mochvoski Parnas, Hadas Keder -- curated by Pesach Slabosky

2.1.2009 - “Silence Over the Abyss” - participants Activestills, Lahav Halevy, Sharif Waked, Gunilla Skold Feiler, David Tartakover, Alex Levac, Sigalit Landau, Avi Mograbi, Dror Feiler, Project “Act of State”, Project “Gaza-Sderot”, Miki Kretsman, David Reeb - curated by David Reeb, Miki Kretsman, Ishai Menuchin

20.3.2009 - “Beneath the Giant Ficus Tree” - works by Bracha Serri

2.6.2009 - “Hafatzim (Objects)” - works by Pesach Slabosky, Amnon Ben-Ami, Gabi Kricheli, and Yuval Sharon

30.6.2009 - “Mono” - works by Roy Arad, Efrat Mishori, Jacob Mishori, and Roni Someck

24.9.2009 - “Nothing for No One” - works by Yoram Kuppermintz - curated by Yonatan Amir

13.11.2009 - “Line that starts with: ‘one, two, three, and…’” - works by Sela Koren

18.12.2009 - “The Quest for the Man on the White Donkey” - works by Yaakov Yisrael

29.1.2010 - “Come to Rest” - works by Jumana Manna

19.3.2010 - “Elements, Black Mass” - works by Noam Dror

2.7.2010 - “Correspondence” - works by Adam Berg - curated by David Stromberg - included the publication of a book of essays by Adam Berg

2.9.2010 - “Haze” - works by Hanna Ben-Haim Yulzari - curated by Yannai Segal

4.12.2010 - “Lost” - works by Lezli Rubin-Kunda, Tsibi Geva, Jossef Krispel, Gabriella Klein, Dalia Bachar, and Ram Samocha - curated by Avi Sabbah and Yanai Segal - part of “Traces”, the fourth biennale for drawing in Jerusalem

29.4.2011 - “The One with the Ponytail and the one with the Beard” - works by Eyal Adler - curated by Eyal Sason

11.6.2011 - “Team Play” - works by Drora Dominey - included book launch of Volleyball

27.10.2011 - “Tight” - works by Abraham Kritzman, Orr Herz, Naomi Lev, Elad Rosen, Masha Zusman, and Gabi Krichli

20.1.2012 - “Muhammad Julani’s Pigeons - works by Matan Israeli

23.2.2012 - “Everything Forbidden” - works by Zvi Tolkovski - curated by Elad Rosen

10.5.2012 - “Foreign Bodies” - works by Alina and Jeff Bliumis, Irina Danilova, Yevgeniya Baras, and Vydavy Sindikat - curated by Yevgeniya Baras

7.6.2012 - “Town and Country” - works by Boaz Kadman - curated by David Stromberg

25.10.2012 - “Hotheads” - works by Dvora Agranov, Albert Swissa, Joel Kantor, and Reut Shahar - curated by Pesach Slabosky

13.12.2012 - “Shadowless” - works by Edna Ohana - curated by Osnat Shapira

31.1.2013 - “Ruach Ruach” - works by Orr Herz and Tal Yerushalmi

14.3.2013 - “To Live Inside a Drop of Water” - works by Felix Kris - curated by Ronit Eden

25.4.2013 - “Chambers” - works by Mati Harel - curated by Avi Sabah

17.10.2013 - “Telekinesis” - works by Raz Gomeh - curated by David Stromberg

19.11.2013 - “Ashmoret” - works by Nomi Bruckman - curated by Masha Zusman and Yanai Segal

18.12.2013 - “Hamarmoret” - works by Abraham Afik, Ayelet Ben Dor, Alon Andorn, Ester Schneider, Hilla Toony Navok, Lena Gomon, Noam Dror, Revital Lessick, Rachel Kainy, Ra’anan Harlap, Zvi Tolkovsky - curated by Avi Sabah and Masha Zusman - part of “Traces 5” the Fifth Biennale for Drawing in Israel

14.3.2014 - “Tomb Tomb” - musical installation by Ayelet Lerman

30.1.2015 - “Alliance” - works by Hadas Ophrat

10.8.2015 - “37% - East Jerusalem Stories” - works by Tomer Apelbaum - curated by Tammy Riklis

15.10.2015 - “Momentary Freedom” - works by Hannan Abu Husein

17.12.2015 - “Cindyrella” - works by Nomi Tannhauser and Adva Drori - curated by Pesach Slabosky

29.1.2016 - “Watershed” - works by Roy Fabian

4.3.2016 - “Medusa” - works by Yonatan Ron

8.4.2016 - “Variables & Invariables” - works by Orit Siman-Tov and Galia Gur Zeev

24.11.2016 - “Playful Grounds” - works by Maya Aruch, Roy Efrat and Michal Bachi, Sharon Fadida, Yasmin Hassidim, Gabriella Klein, Lihi Nidiz, Malki Tesler, Carien Yatsiv, Shai Yehezkelli, Reuven Zahavi - curated by Sally Haftel Naveh, Masha Zusman - part of “Traces 6” the Sixth Biennale for Drawing in Israel

24.2.2017 - “Slowland” - works by Bianca Eshel Gershuni and Oree Holban - curated by Merav Kamel and Mika Bar-Or Nesher

30.3.2017 - “Looking at Shapes Looking at Me” - works by Raya Manobla

18.5.2017 - “Shared Taxi” - works by Malki Tesler - curated by Hadas Amster and Merav Kamel

31.8.2017 - “Sun’s Pirouette” - works by Hadas Duchan

25.9.2017 - “Mars Blue” - works by Regev Amrani

26.10.2017 - “Dead, Asleep” - works by Chaya Rukin and Eran Nave - curated by Hadas Amster and Merav Kamel

30.11.2017 - “Black Jars” - works by Irit Abba - (simultaneously with) “Scarce” - works by Asaf Ben Tzvi

26.1.2018 - “Courtyard” - works by Boaz Levental and Yana Ar - curated by Meydad Eliyahu

8.2.2018 - “Handstand” - works by Matan Oren and Yair Barak - curated by Hadas Amster

27.3.2018 - “My Heart Isn’t Synchronized With Technology” - works by Tamar Lewinsohn - curated by Abraham Kritzman

17.5.2018 - “Broken White” - works by Shay-Lee Uziel - curated by Pesach Slabosky

References

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