Shahar Tuchner
| Shahar Tuchner | |
|---|---|
 Shahar_Tuchner.jpg | |
| Born | 1987 (age 38–39) Herzliya, Israel |
| 🏫 Education | HaMidrasha – Faculty of the Arts, Beit Berl College; The Open University of Israel |
| 💼 Occupation | |
| Known for | Video art, sculpture, painting, installations |
| Notable work | Folk Dance, Kiss Me Popcorn!, Seeded Floor |
| Movement | Contemporary art |
| 🏅 Awards | Winner (Juror’s Choice Award), The Biennial Project – Venice Biennale (2017)
Winner, Green Fest – International Environmental Film Festival (2014) Audience Choice Award, 2-Minute Film Festival, Carnegie Museum of Art (2014) |
| 🌐 Website | shahartuchner |
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Shahar Tuchner (Hebrew: שחר טוכנר; born 27 January 1987) is a multidisciplinary artist and video art filmmaker whose work moves between emotion, structure, humor, introspection, and philosophical reflection.[1]
His practice spans painting, video art, sculpture, and installation - creating immersive experiences that engage intersections of consumerism, identity, and personal memory, often blending humor and critique within a visual language that is bold, precise, and attentive.[2][3][4]
Tuchner’s works explore the emotional tension between order and chaos, blending vulnerability and thought. He resists rigid definitions and merges personal memory with cultural critique through a carefully developed visual language.[3]
Though born in Israel, he does not define his art through national identity, but rather creates from a poetic and Mediterranean emotional landscape.
His work navigates historical, social, and aesthetic intersections, confronting the saturated experience of modern life. He studied at "HaMidrasha" – Faculty of the Arts, Beit Berl College, where he developed an expressive and personal visual language shaped by an early resistance to rigid definitions and conventional labels.[5]
An atheist with a critical view of contemporary culture, he has developed a body of work that investigates the collisions between media, culture, and inner truth.[6]
Early life and personal foundations
Shahar Tuchner was born in Herzliya in 1987 and grew up in a quiet environment where imagination was a natural part of daily life. As a child, he would sit at a small table and draw - not out of artistic ambition, but from an intuitive, internal urge. Even before developing verbal language, the language of drawing had already begun to grow within him. It felt natural.
His mother, gifted with an unusual sensitivity to beauty in the mundane, would often stop in the street to admire a plant growing from a crack or a light reflection on a puddle - not with big words, but with quiet attention. These moments became visual building blocks in Tuchner’s inner world.[6]
His grandmother also played a deep-rooted role in his inner life. She often said little and remained silent - yet there were moments when her silences gave way to shards of memory, carrying warmth as well as wounds. These were not fairy tales, but life stories, fragments of history, and movement between worlds. Her silences were etched in him like another language - made of words unspoken but deeply felt.[6]
This early exposure to multilayered, unspoken emotion helped shape his artistic language, fostering an understanding of art not as a matter of surface beauty, but as an experience rooted in emotional resonance and lasting presence.[6]
Visits to a contemporary art museum with his grandmother Miriam left a lasting impression, especially the physical interaction with outdoor sculptures. Art, for him, became not only something to see - but something to feel.
The household itself became fertile ground for his artistic DNA. His parents ran a colorful and lively toy and gift shop, its shelves overflowing with patterns, objects, and untold stories. The shop was more than a commercial space - it was a dynamic arena of rhythm, color, human interaction, and visual abundance.
Through it, Tuchner absorbed not only visual materials for experimentation, but also an early sense of narrative, cultural diversity, and human behavior.
The interplay between customer stories, packaging chaos, and product flow became fertile ground for the visual and emotional languages that would shape his work.[7]
Conceptual foundations and early work
Before experiencing the personal crisis that redefined his artistic language, Shahar Tuchner created conceptual art rooted in social inquiry, cultural analysis, and critiques of media representation.[7]
His early works explored themes such as consumerism, multiculturalism, and the constructed nature of reality as mediated through mass culture.
Video art, installations, sculptures, and photography served as arenas of inquiry where he conducted multilayered visual experimentation. His process often relied on readymade materials collected from the digital sphere - video fragments, audio snippets, advertisements, and documentary clips - which he wove into a postmodern tapestry of East and West, high and low, sound and image.
His video works examined the dynamic between image, movement, and music, and the cultural weight each element carries.[3]
In his sculptural and installation works, Tuchner frequently used everyday objects to explore the tension between their ordinary nature and their transformation into part of a new artistic vocabulary.
Many of his works dealt with the symbolic meaning of food and its cultural contexts. In the video installation Kiss Me Popcorn!, popcorn served as a stand-in for American cultural values, while Popcorn Making Instructions unpacked the dissonance between consumption, instruction, and experience.[8]
In Seeded Floor, seeds were used for their visual and cultural texture.[9]
And in the photo series Hot Cream, the pairing of Western ice cream and a Middle Eastern tabun oven offered a visual metaphor for cultural juxtaposition.
Humor played a central role during this phase, operating as a tool for dismantling fixed ideas and opening space for symbolic and expressive layers. His working method was intuitive, open, and grounded in creative freedom. As he described:
"I work in a freestyle manner and the technique I use for each work is determined in the process of creation, often altered and adapted to best suit the idea behind the piece. My work process is born from a concept that becomes matter or from matter that becomes a concept, but both of these aspects always retain an unexpected relationship and attempt to remain fresh and expand the boundaries of the artistic object's role."[2]
Transformative moments
There are moments in an artist's life that not only redirect one’s gaze - but mark an entirely new state of consciousness. For Shahar Tuchner, these transformative moments did not emerge from routine or predictability, but from rupture, revelation, or a visual friction that unsettled something deep within. They didn’t merely sharpen his aesthetic - they shaped his very sense of artistic existence.
One of the first such moments occurred during his studies, and it arose precisely from resistance. Initially, Tuchner dismissed video art and didn’t consider the medium an integral part of his artistic language. But in response to an academic assignment, he created a turning point. Rather than imitate the prevailing vocabulary, he chose to reinvent it - turning away in protest, yet simultaneously leaning into the possibility of an alternative. The result was the video work Folk Dance - a piece in which a group of traditional dancers performs in perfect sync to the upbeat Western anthem I Will Survive. The clash and fusion between folkloric Eastern dance and Western disco-pop music generated a multi-layered tension: between roots and trends, tradition and globalization, irony and resilience. The contrast between folklore and pop became a symbolic charge: East and West, tradition and modernity, irony and endurance - all converged into one visual-audio loop.[10]
It was both a declaration and a moment of deep observation. The work stirred strong emotional reactions from viewers and marked for Tuchner himself a moment of internal reversal. It revealed the powerful potential in blending visual structure with the politics of identity and emotion. It didn’t just affect the audience - it affected him. The resonance, the reactions, and the tension between image and sound transformed video from a structured creative field into a universal tool - one that listens, vibrates, and awakens awareness. A new path was born, and from that point forward, video became one of the foundational pillars of his artistic practice.[11]
Another turning point occurred in Paris - a meeting that transformed from a milestone into a compass. On that same day, Tuchner met with a curator from the Jeu de Paume - a leading institution in the field of contemporary art, located just opposite the Tuileries Garden, steps away from the Musée de l’Orangerie. The meeting was quiet and natural, but it was what followed that opened a new space of experience, initiating a deeper internal shift.
Only thirty minutes remained until closing. Tuchner moved quickly between the galleries, trying to absorb as much as he could. But the moment he stepped into the rotunda of Claude Monet's iconic Water Lilies, time stopped - as if frozen. He later described the experience as mesmerizing - one that drew him in with such force that he struggled to move on, sensing a quiet intensity that required no explanation.[6]
As he tried to continue and catch a few more works, museum staff began closing off the galleries, stopping him from going further. Just as he was about to exit, a last glance - up a side staircase - brought his gaze to an unexpected and jarring painting. It was The Goodbye Door by Joan Mitchell. At the time, he didn’t know the name of the piece - only that it struck him. “I didn’t just see a painting. I felt it land inside me - like a punch I didn’t expect. That’s when I knew: this is what art must do.”[6]
These encounters - with his own work, with his audience, with Monet and with Mitchell - changed Tuchner’s artistic existence. They marked a sharp transition from a circular search to a defined structure: a star. A form in which every point of light - every moment of transformation - radiates from a single, clear center of identity. And while the emotional crisis he later experienced gave this star its final seal, the light points had already appeared beforehand. From Folk Dance to The Goodbye Door - these were the moments in which Tuchner’s visual language didn’t merely form; it crystallized as a vital necessity: not to explain, but to feel. Not to represent, but to touch.
Artistic influences and roots
Shahar Tuchner’s visual world is constructed from layers of memory, material, culture, and a multifaceted sense of belonging. His artistic language does not emerge from a single source, but rather from a continuous encounter between cultures, lived experiences, and an inner echo of stimuli - from the street and from nature, from family and television, from pop culture and from silence.[6]
As a child of the Mediterranean - though not as a collection of geopolitical borders - Tuchner develops a visual identity that embraces both history and the here and now. Juxtapositions between East and West, between high aesthetics and everyday culture, between family mythologies and internet imagery, are woven into the fabric of his visual language. His interest lies not only in how cultures represent themselves, but in how they blend, contradict, absorb, and touch one another.
Over the years, he has absorbed inspiration from a wide range of sources - visual, cinematic, musical, and material - but more than anything, from encounters with people: small human gestures, loaded silences, childhood memories, or simple objects left behind on a table. The images he creates do not arise solely from ideas, but from the textures of life itself: his parents’ colorful gift shop, his mother’s attentive gaze to beauty at the edges of the road, and his grandmother’s symbolic silences.[12]
Even the personal moments of rupture he experienced along the way are not excluded from the realm of influence - rather, they are absorbed into his artistic language as testimony to a living emotion seeking form. Pain and inner unraveling become a material texture as well - not for biographical exposure, but as fertile ground for the growth of honest imagery.[12]
Eastern art, food culture, visual and physical theatre, animation, and advertising - all of these are absorbed not as sources for quotation, but as emotional raw materials. Tuchner does not cling to classical art references, but acts in attunement to what simmers beneath the surface: the private, the public, the personal, and the collective.[3]
More than being influenced, Tuchner translates sensations into visual ideas. In each of his works, one can sense the environment in which he grew, the tensions and reconciliations, the quiet humor and the precise use of color. These are his roots - yet they keep moving, shifting, blending - and transforming once again into feeling, into form, into motion.[8][5]
Emotional formations and crisis
In his early thirties, Shahar Tuchner experienced a series of profound personal upheavals. The dissolution of his family, accompanied by legal battles, financial hardship, and experiences he described as “psychologically violent,” destabilized his sense of home, security, and identity.
“There were days we lived off oats and apples,” he recalls. “At times, it felt like our souls had been violated. It wasn’t just a legal battle - it was a spiritual invasion of our home, our breath, our being.”[6]
During this difficult period, Tuchner stood by his mother not only as a son, but as a caregiver and emotional protector. Their bond deepened, and he considered adopting her surname, Leslau, as an act of loyalty and symbolic rebirth. These intimate upheavals marked a turning point in his artistic path - from outward-facing conceptual critique to an emotionally charged, intuitive, and abstract mode of creation.[12]
He describes this shift through two guiding forces: the "spiral", representing outward expansion, multiculturalism, consumerism, and social commentary; and the "star", symbolizing distilled emotional focus and intuitive depth. His later works reflect the "star" phase: expressive brushwork, abstract sculptures, and emotional intensity that forgo narrative clarity in favor of resonance.[6]
Even at his most vulnerable, Tuchner did not abandon conceptual rigor. Instead, he integrated it into a new language - one that transforms color, material, and texture into vessels of feeling. A brushstroke becomes a sentence. A sculpture’s curve becomes a memory. Layers of paint mirror grief, strength, and rebirth. His art no longer seeks to resolve contradictions - it lives within them.[3]
Philosophy and artistic language
Shahar Tuchner’s artistic philosophy blends emotional resonance with conceptual daring. His works are not merely artifacts - they are meditations on perception, identity, and the limits of language.
“An artist is not just someone who creates, but someone who dares to break conventions and paint the world in new colors.”[6]
For Tuchner, creation is a form of rebellion - not violent, but deeply tender, intuitive, and existential.
Early in his career, Tuchner explored questions of cultural consumption, capitalism, and popular iconography through playful, ironic works.[7]
However, beneath the humor lay sharp inquiries into the human condition. As his practice matured, so did the philosophical infrastructure beneath it. What began as critique evolved into compassion; what started with provocation deepened into reflection.
He believes that artistic clarity is not about precision, but about connection.
“Precise art can be impressive, but only the heart makes it come alive.”[6]
His artistic language - whether in painting, sculpture, or video - emphasizes layers, textures, and pauses. Silence is never empty in his work; it is charged with presence. It must hide its logic but expose its pulse. His use of mixed media reflects this duality - combining smooth surfaces with tactile ones, bright palettes with muted tones, control with spontaneity.
He often returns to a fundamental belief:
“I didn’t choose art - art chose me.”[6]
This is not a romantic gesture, but a personal truth.
For him, art is a calling - a language of existence that precedes speech. His commitment to art is not just professional, but existential. He sees the artist’s task as one of bridging the visible and the invisible, the real and the felt. In his words:
“Knowledge is limited, but it is the infinite imagination that creates the limits of the impossible.”[6]
For Tuchner, art is first encountered as an inward, resonant experience - one that, in addition to being intellectual and aesthetic, leaves a lasting imprint and ignites something within - while remaining open to reflection, interpretation, and thought.[6]
At the center of his philosophy lies a paradox: art must both conceal and reveal.
This inner ignition - sudden, intimate, and wordless - is, for him, the highest purpose of artistic creation.
When art transcends form, it is no longer merely a language of symbols - it becomes an act of boldness, vulnerability, and inner courage. To create is to risk, to question, to be vulnerable.
“He who is afraid, dies twice,” he says. “Once - you die of fear, and a second time - because everyone dies in the end.”[6]
Within this philosophy, artistic practice becomes a defiance against inner silence - a call to live fully, bravely, and imaginatively, even in the face of uncertainty. In his view, it is in these acts of creation that symbolism finds its deepest resonance - not as metaphor, but as emotion made visible.
Selected solo exhibitions and projects
Solo exhibitions and projects spanning galleries, museums, and research-based practices. His practice includes gallery- and museum-based presentations alongside context-responsive and research-based projects, with works developed through site-related processes and interdisciplinary inquiry.[13][5]
A selection of solo exhibitions and projects appears below.
- Floating Worms, Plymouth Arts Cinema, Devon, United Kingdom (2021)[14]
- The Invisible Enemy, CSPS Legion Arts, Cedar Rapids, Iowa, United States (2020)
- The Invisible Enemy, Videokanava Workgroup, Tampere, Finland (2020)
- The Invisible Enemy, Cooltsalon, Sofia, Bulgaria (2020)[13]
- Chorona Days, Janco Dada Museum, Ein Hod, Israel (2020)[15]
- YUMMY, Pineapple Black Contemporary Art Space, Middlesbrough, United Kingdom (2019)
- Ish Tabach Shmo, Koresh 14 Gallery, Jerusalem, Israel (2017)[4]
- Seeded Floor (installation), presented as part of the group exhibition Roots, On the Ground Floor Gallery, Los Angeles, California, United States (2015)[16]
Selected Group Exhibitions
Shahar Tuchner’s work has been presented in more than 100 group exhibitions and curated presentations across over 20 countries in Europe, North America, South America, Asia, Oceania, and the Middle East, including the United States, the United Kingdom, Finland, Austria, France, Spain, Israel, Japan, and beyond. These presentations have taken place in internationally recognized museums, academic initiatives, and contemporary art fairs, with works featured in biennials and international festivals worldwide.[5]
Notable presentations include:
- 57th Venice Biennale (The Biennial Project), Venice, Italy (2017)[10]
- Carnegie Museum of Art, Pittsburgh, the United States (2011, 2014)[17]
- Yad Vashem Museum, Jerusalem, Israel (2025)[18]
- Aesthetica Art Prize Exhibition, York Art Gallery, York, the United Kingdom (2018)[19]
- Zhou B Art Center, Chicago, Illinois, the United States (2021)
- The Wilson Art Gallery and Museum, Cheltenham, the United Kingdom (2015)
- Proyector 2015, international multi-venue video art festival, Madrid, Spain (2015)[20]
- Sole Luna Documentary Film Festival, Palermo–Milan–Treviso, Italy (2016)
- The 6th Arts Festival, Association Stéla, Saint-Étienne, France (2016)
- The International Video Dance Festival of Burgundy, Le Creusot, France (2016)[21]
- Fresh Paint Art Fair, Tel Aviv, Israel (2016)
- Musrara Mix Festival, Jerusalem, Israel (2018)
His works have also been presented internationally through curated platforms and institutional programs, including Proyector (Madrid, Spain), the Two Minute Film Festival (Carnegie Museum of Art, the United States), Videonomad (Tokyo, Japan), NN Contemporary Art (Northampton, the United Kingdom), CICA Museum (Gimpo, South Korea), CeC - Carnival of e-Creativity (Shillong, India), and Videokanava (Finland), among others.[5]
Additional group exhibitions (partial list)
- Living Memory, Yad Vashem Collections - Between Past and Future, Yad Vashem - The World Holocaust Remembrance Center, Jerusalem, Israel (2025)[18]
- Into the Spirit, Redcar Palace, Tees Valley Arts, Redcar, North Yorkshire, the United Kingdom (2025)
- Overlap, London, St Ethelburga's Centre for Reconciliation and Peace Venue, the United Kingdom (2025)
- Bread and Roses 19, Bread and Roses Gallery and Nulobaz Gallery, Tel Aviv, Israel (2025)
- Plates with Purpose - Make for Peace, Messums West, Wiltshire, the United Kingdom (2024)
- CUVO International Videoart Festival, Madrid, Spain (2024)
- Postcards For Peace, Newcastle and Whitley Bay, the United Kingdom (2023)
- Food for All Exhibition, Kingshill House Art Centre, Gloucestershire, Dursley, the United Kingdom (2023)
- This IS a Laughing Matter, The Old Red Bus Station, Leeds, the United Kingdom (2022)[22]
- Our Street Gallery: Summer Show, Bradford, the United Kingdom (2022)
- The World of Light, Auckland University of Technology (AUT), Auckland, New Zealand (2021)[23]
- The Ostranenie Theatre Moving Image, The Plough, Farnham, the United Kingdom (2021)
- Performative Acts of the Everyday, Defibrillator Gallery - Dfbrl8r Gallery, Zhou B Art Center, Bridgeport, Chicago, the United States (2021)
- Bread and Roses 15, Artists’ Studios Gallery, Tel Aviv, Israel (2021)
- Time and Body, part of the “The Agency of Failure” screening series, Videokanava program, VBKÖ Gallery, Vienna, Austria (2020)[24]
- Being Human - Stories of COVID-19, Queen Mary University of London, the United Kingdom (2020)
- Apocqueerlypse, SXRVXVE, JaguarShoes Collective, London, the United Kingdom (2019)
- This Is a Love Song, University of Haifa Arts Center, Israel (2019)
- Videokanava’s FEM4 Exhibition, Tampere, Finland (2019)[25]
- Body, Thought Foundation, Gateshead, the United Kingdom (2019)
- Cooltzine #2 Shared Space, Stour Space, London; MOVE.BG, Sofia; Papergirl Galerija Hub, Belgrade (2019)[26]
- Vision and Failure, Alfred Gallery, Hanina Gallery, Tel Aviv, Israel (2018)
- Soup, Caraboo Projects, Bristol, the United Kingdom (2018)
- Video Art Film Club, Leyden Gallery, London, the United Kingdom (2018)
- Middle Class, Oranim Academic College Art Gallery, Israel (2018)[27]
- Migrations, The Front, New Orleans, the United States (2017)[28]
- The New York Art Week Show, Caelum Gallery, New York, the United States (2017)[29]
- This is Dance Festival, University of Roehampton, London, the United Kingdom (2017)
- Fresh Paint 8, Tel Aviv, Israel (2016)
- DADA 100, Janco-Dada Museum, Israel (2016)[30]
- Secret Art 8, Mani House, Tel Aviv, Israel (2016)
- CeC - Carnival of e‑Creativity, Shillong, India (2016)
- Art Yellow Book Exhibition Winter 2015, CICA Museum, Gimpo, South Korea (2015)[31]
- Videonomad, Koganei Art Spot Chateau, Tokyo, Japan (2015)
- Fall•Out, Whitdel Arts Gallery, Detroit, the United States (2015)
- Call for Bushwick, Brooklyn, New York, the United States (2015)[32]
- Art Video Israel, Netanya, Israel (2015)
- The Open West, The Wilson, Cheltenham, the United Kingdom (2015)
- Boom Bang II, NN Contemporary Art, Northampton, the United Kingdom; Zagare Capital of Culture Festival, Zagare, Lithuania (2015)[33]
- Wish You Were Here 14, A.I.R. Gallery, Brooklyn, New York, the United States (2015)
- Two Minute Film Festival, Carnegie Museum of Art, Pittsburgh, the United States (2014)[17]
- Green Fest, Belgrade, Serbia (2014)[34]
- The Feast, Benyamini Center, Tel Aviv, Israel (2014)[35]
- Artists for the Library at Lewinsky Park, P8 Gallery, Tel Aviv, Israel (2014)
- Film Nights, 5th Base Gallery, London, the United Kingdom (2014)
- Slideluck Tel Aviv III, Alfred Gallery, Tel Aviv, Israel (2014)
- Art on a Plate, Umm el‑Fahem Art Gallery, Israel (2014)
- Paper Whispers, Muza Plus Gallery, Tel Aviv, Israel (2014)
- Object Abuse, The Spinach Agency’s Space, London, the United Kingdom (2013)
- Film Nights, 5th Base Gallery, London, the United Kingdom (2013)[36]
- Videocracy, CCA Center for Contemporary Art, Tel Aviv, Israel (2013)
- The Happiness Corner, Outdoor Exhibition, Tel Aviv, Israel (2013)
- BYOB, Contemporary by Golconda Gallery, Tel Aviv, Israel (2013)
- Everybody, Mazeh 9 Center, Tel Aviv, Israel (2013)
- The Emerging Art Fair, Preview Berlin (Tavi Gallery), Berlin, Germany (2011)
- Two Minute Film Festival, Carnegie Museum of Art, Pittsburgh, the United States (2011)
- Videocracy, CCA Center for Contemporary Art, Tel Aviv, Israel (2011)
- Bridges, Tavi Gallery & Inbal Ethnic Center, Tel Aviv, Israel (2011)
- Factory, group exhibition at 1024 Gallery, Israel (2011)[37]
- Heroes 2, Hanina Gallery, Tel Aviv, Israel (2011)
Selected collections
Works by Shahar Tuchner are held in a range of public and institutional collections, including museum collections and centers for contemporary art. These holdings encompass works from his multidisciplinary practice, including video works, paintings, sculptures, photographic prints, mixed-media pieces, installations. Selected collections include:[11][5]
- Yad Vashem Museum, Jerusalem, Israel[18]
- Queen Mary University of London, the United Kingdom
- Zhou B Art Center, Bridgeport, Chicago, the United States
- Janco Dada Museum, Ein Hod, Israel[11]
- Royal College of Art, London, the United Kingdom
- CSPS Legion Arts, Iowa, the United States
- CICA Museum, Gimpo, South Korea
- The MASS Collection, the United Kingdom
- The Center of Contemporary Art Tel Aviv-Yafo; CCA, Israel
- Danses Macabres Collection, Lyon, France[38]
- And private collections worldwide
Selected awards and recognition
Shahar Tuchner has received awards, grants, and recognition for his work in media art, contemporary exhibitions, and interdisciplinary practice. Selected honors include:[11][5]
- 2019 - Official Selection and Recognition, Videokanava’s FEM4 Videoart Festival (13th Edition) & World of Tango Festival, Tampere, Finland
- 2018 - The Aesthetica Art Prize 2018 - longlist, York Art Gallery, York, the United Kingdom
- 2017 - Winner (Juror’s Choice Award), The Biennial Project, presented in the 57th Venice Biennale press preview week, Venice, Italy[10]
- 2017 - Finalist, The Biennial Project, presented in the 57th Venice Biennale press preview week, Venice, Italy[10]
- 2015 - Solo Exhibition Grant, Koresh 14 Gallery, Jerusalem, Israel
- 2015 - Artist Studio Grant, Municipality of Herzliya, Israel
- 2014 - 1st Place in the Age 18-27 Category, International Green Culture Festival "Green Fest", Belgrade, Serbia[39]
- 2014 - 3rd Place Audience Choice Award, 2-Minute Film Festival, Carnegie Museum of Art, Pittsburgh, the United States[11]
Selected press and publications
Shahar Tuchner’s work and artistic reflections have been featured in over 40 international publications, including contemporary art magazines, art journals, and exhibition catalogues. These appearances include critical essays, artist profiles, and in-depth conversations addressing contemporary art, visual culture, and social commentary. His work has been discussed across curated editorial platforms and critical art publications, contributing to broader discourse on cross-disciplinary artistic practices and reflecting on identity and the role of visual language in contemporary society.[40][5]
A selected list of publications appears below.
- Shahar Tuchner: Dancing With Doubt, Sculpting With Spirit, AATONAU, article by Hajra Salinas, Japan (2025)[6]
- BLOOM, Issue #5, Forget-Me-Not Press, Canada (2023)
- Photosynthesis Magazine, Issues 2-3, San Francisco, the United States (2023)
- HOPE Catalogue, Mood Muse Collective, London, the United Kingdom (2023)
- STA Website, Artist Spotlight, the United Kingdom (2023)
- Sea in Me, Special Edition, Collect Art, Georgia (2022)
- Going Incognito, audio broadcast, Rounded Radio, the United Kingdom (2022)
- Anonymous, Sumy Nona, the Netherlands (2022)
- Come To The Table, Birmingham, the United Kingdom (2021)
- Art Reveal Magazine, Germany, personal interview by Anne Grahm – ARM Team (2021)[12]
- As Yet Untitled, Issue 1, Interim Arts, London, the United Kingdom (2021)
- Past Lives, Reincarnation, London, the United Kingdom (2021)
- Becoming Biomorphic, Issue 1, Scream, the United Kingdom (2021)
- The Agency of Failure: Time and Body, exhibition catalogue published by Videokanava in collaboration with VBKÖ Gallery, Vienna, Austria (2020)[41]
- WHY?, Organ Magazine, Cultivate, London, the United Kingdom (2020)
- Art or literature in response to Black History Month, Issue 3, Artists Responding to… , London, the United Kingdom (2020)
- Enzymes, Sona, Ireland (2020)
- The Body, GATHERING, Royal College of Art (RCA) – MRes programme, in collaboration with the Design Museum, London, the United Kingdom (2020)
- Food & Love, Issue 4, FILLER, Greater Manchester, the United Kingdom (2020)
- BODIES, Issue 11, Itchy Spaghetti, Sheffield, the United Kingdom (2020)
- Cooltzine #2 Shared Space, published by Cooltsalon, Stour Space, London, the United Kingdom (2019)
- The Fake News Oracle, exhibition publication, the United Kingdom (2019)
- Aesthetica Art Prize Anthology, York Art Gallery, the United Kingdom (2018)[9]
- The Aesthetics of Masking Tape, Issue 11, The Bush Collective, Tel Aviv, Israel (2018)
- Healthy Appetite, Interview by Jenny Elazari, Yedioth Ahronoth, Israel (2018)
- Peripheral ARTeries Art Review - Special Edition, Autumn 2017, personal interview by Josh Ryder, Melissa C. Hilborn and Barbara Scott (2017)[3]
- An Artist Cookbook, Glasgow, Scotland, edited by Rudy Kanhye (2017)
- The Artist Cooks by Itself, by Eitan Buganim, Haaretz, Israel (2017)[4]
- What Do You Say About The Egg Roll?, interview by Yonatan H. Mishal, Erev Rav, Israel (2017)[8]
- Say, Is This Art? - DADA 100, exhibition catalogue, Janco-Dada Museum, Ein Hod Artists’ Village, Israel (2016)
- Zombies, Issue 49, AF Magazine, Israel (2016)
- 365 Artists 365 Days, Frank Juarez & Greymatter Gallery (2015)[7]
- Universe, Issue 10, HARAMA Magazine, Manofim Contemporary Art Festival, Jerusalem, Israel (2015)[42]
- Art Yellow Book #1, CICA Museum, Gimpo, South Korea (2015)[43]
- Game(ing), Issue 2, "&" Magazine, 09 Gallery on the Cliff, Netanya, Israel - Edited by Maya Kashevitz (2014)
Education
Tuchner’s artistic background combines formal studies in visual arts and visual communication with independent, multidisciplinary exploration. This educational foundation informed the development of a distinct personal language that integrates material-based practice, conceptual inquiry, and emotional resonance.[5]
- 2008–2010 • HaMidrasha – Faculty of the Arts, Beit Berl College, Israel
- 2010–2011 • Open University of Israel
Residencies
Shahar Tuchner participated in residencies and creative and research programs in the United Kingdom and Israel. His work within these frameworks included engagement with art–technology relations, community contexts, and site-responsive approaches, contributing to the development of new works and practice-based research processes.[5]
- Far Away, TRANSIENT: residencies for creatives exploring art and technology, London, the United Kingdom (2022)
- The Fish Factory Art Space, Penryn, Cornwall and the Isles of Scilly, the United Kingdom (2020)
- Sea Breeze Artist Colony, Bat Yam, Israel (2011)
References
- ↑ "About". Shahar Tuchner (official website). Archived from the original on 11 August 2025. Retrieved 24 September 2025. Unknown parameter
|url-status=ignored (help) - ↑ 2.0 2.1 "Artist Statement". Shahar Tuchner (official website). Archived from the original on 11 August 2025. Retrieved 7 December 2025. Unknown parameter
|url-status=ignored (help) - ↑ 3.0 3.1 3.2 3.3 3.4 3.5
"Peripheral ARTeries Art Review – Special Edition, Autumn 2017". AnyFlip. Peripheral ARTeries Magazine. Archived from the original on 23 January 2025. Retrieved 7 December 2025. Unknown parameter
|url-status=ignored (help) - ↑ 4.0 4.1 4.2 Buganim, Eitan (10 August 2017). "האמן מתבשל בעצמו" [The Artist Cooks by Itself]. Haaretz (in עברית). Archived from the original on 24 January 2025. Retrieved 16 May 2022. Unknown parameter
|url-status=ignored (help) - ↑ 5.00 5.01 5.02 5.03 5.04 5.05 5.06 5.07 5.08 5.09 "CV". Shahar Tuchner (official website). Archived from the original on 23 February 2026. Retrieved 23 February 2026. Unknown parameter
|url-status=ignored (help) - ↑ 6.00 6.01 6.02 6.03 6.04 6.05 6.06 6.07 6.08 6.09 6.10 6.11 6.12 6.13 6.14 6.15 Salinas, Hajra (23 June 2025). "Shahar Tuchner: Dancing With Doubt, Sculpting With Spirit". AATONAU. Japan. Archived from the original on 12 July 2025. Retrieved 10 July 2025. Unknown parameter
|url-status=ignored (help) - ↑ 7.0 7.1 7.2 7.3 365Artists/365Days (7 June 2015). "Shahar Tuchner – Hertzliya, Israel". 365 Artists | 365 Days. Archived from the original on 15 December 2024. Retrieved 16 May 2022. Unknown parameter
|url-status=ignored (help) - ↑ 8.0 8.1 8.2
Mishal, Yonatan H. (1 September 2017). "מה אתה אומר על האגרול?" [What Do You Say About The Egg Roll?]. Erev Rav (in עברית). Archived from the original on 19 May 2025. Retrieved 12 October 2022. Unknown parameter
|url-status=ignored (help) - ↑ 9.0 9.1 "Aesthetica Magazine – Artist Profile: Shahar Tuchner". aestheticamagazine.com. United Kingdom: Aesthetica Magazine. Archived from the original on 3 October 2025. Retrieved 25 June 2025. Unknown parameter
|url-status=ignored (help) - ↑ 10.0 10.1 10.2 10.3 "VB4 Finalist Video Gallery". The Biennial Project. Archived from the original on 21 May 2025. Retrieved 25 July 2025. Unknown parameter
|url-status=ignored (help) - ↑ 11.0 11.1 11.2 11.3 11.4 "Shahar Tuchner – Artist Profile". Information Center for Israeli Art. The Israel Museum, Jerusalem. Archived from the original on 8 December 2025. Retrieved 10 July 2025. Unknown parameter
|url-status=ignored (help) - ↑ 12.0 12.1 12.2 12.3 Grahn, Anne (2021). "Art Reveal Magazine – Interview". shahartuchner.com. Shahar Tuchner. Archived from the original on 11 August 2025. Retrieved 25 June 2025. Unknown parameter
|url-status=ignored (help) - ↑ 13.0 13.1 "Shahar Tuchner – Exhibitions". Information Center for Israeli Art. Jerusalem, Israel: The Israel Museum, Jerusalem. Archived from the original on 16 December 2025. Retrieved 16 December 2025. Unknown parameter
|url-status=ignored (help) - ↑ "Floating Worms by Shahar Tuchner". Plymouth Arts Cinema. Devon, United Kingdom. 7 May 2021. Archived from the original on 12 August 2025. Retrieved 25 June 2025. Unknown parameter
|url-status=ignored (help) - ↑ "Archive Exhibitions". Janco-Dada Museum. Archived from the original on 25 April 2025. Retrieved 12 October 2022. Unknown parameter
|url-status=ignored (help) - ↑ "Roots – Installation View". On the Ground Floor Gallery. Los Angeles, California. Archived from the original on 16 December 2025. Retrieved 16 December 2025. Unknown parameter
|url-status=ignored (help) - ↑ 17.0 17.1 "2-Minute Film Festival goes to the moon". Pittsburgh Post-Gazette. Block Communications. 9 July 2014. Archived from the original on 29 July 2021. Retrieved 10 July 2025. Unknown parameter
|url-status=ignored (help) - ↑ 18.0 18.1 18.2 "Living Memory: Between Past and Future". Yad Vashem – The World Holocaust Remembrance Center (in עברית). Archived from the original on 14 December 2025. Retrieved 14 December 2025. Unknown parameter
|url-status=ignored (help) - ↑ "Aesthetica Art Prize 2018 – Artist Profiles". aestheticamagazine.com. United Kingdom: Aesthetica Magazine. 2018. Archived from the original on 3 October 2025. Retrieved 25 June 2025.
- ↑ ""PROYECTOR – Festival for Video Art"". Art Madrid. 11 September 2015. Archived from the original on 11 November 2024. Retrieved 10 July 2025. Unknown parameter
|url-status=ignored (help) - ↑ "Festival 2016 – Centre de vidéo-danse de Bourgogne". Centre de vidéo-danse de Bourgogne (in français). 24 April 2016. Archived from the original on 28 May 2023. Retrieved 10 July 2025. Unknown parameter
|url-status=ignored (help) - ↑ "TIALM Exhibition". Behance. Archived from the original on 9 December 2025. Retrieved 10 July 2025. Unknown parameter
|url-status=ignored (help) - ↑ "The World of Light – Exhibition at Auckland University of Technology". Pale Blue Dot Collective. New Zealand. 19 November 2021. Archived from the original on 9 December 2025. Retrieved 11 July 2025. Unknown parameter
|url-status=ignored (help) - ↑ Stermitz, Evelin, ed. (18 September 2020). "The Agency of Failure – Videokanava Screening: Time and Body" (PDF). evelinstermitz.net. Vienna, Austria: VBKÖ Gallery. Archived from the original (PDF) on 26 October 2021. Retrieved 29 July 2025.
- ↑ "Videokanava – Online Video Art Gallery". Videokanava. Archived from the original on 5 March 2022. Retrieved 8 December 2025. Unknown parameter
|url-status=ignored (help) - ↑ "Cooltzine #2 – Shared Space". Cooltsalon. 18 May 2019. Archived from the original on 7 June 2023. Retrieved 25 June 2025. Unknown parameter
|url-status=ignored (help) - ↑ "Middle Class – Group Exhibition". Oranim Academic College Art Gallery (in עברית). Israel: Oranim Academic College. Archived from the original on 10 July 2025. Retrieved 11 July 2025. Unknown parameter
|url-status=ignored (help) - ↑ "MIGRATIONS". The Front. New Orleans, Louisiana, the United States. 10 June 2017. Archived from the original on 6 July 2017. Retrieved 25 June 2025. Unknown parameter
|url-status=ignored (help) - ↑ "The New York Art Week Show". ArteFuse. Archived from the original on 8 September 2025. Retrieved 15 August 2025. Unknown parameter
|url-status=ignored (help) - ↑ "Is This Art? – 100 Years of Dada in Contemporary Israeli Art". ICOM Israel – Museum Association (in עברית). Israel. Archived from the original on 9 December 2025. Retrieved 12 July 2025. Unknown parameter
|url-status=ignored (help) - ↑ "Art Yellow Book Exhibition – Winter 2015". CICA Museum. South Korea. 18 December 2015. Archived from the original on 23 June 2016. Retrieved 12 July 2025. Unknown parameter
|url-status=ignored (help) - ↑ "Our selected destination show amongst Bushwick Open Studios mayhem". Artslife. 11 June 2015. Archived from the original on 28 December 2024. Retrieved 10 July 2025. Unknown parameter
|url-status=ignored (help) - ↑ "Boom Bang II – NN's Alternative Eurovision". Pressat. 13 May 2015. Archived from the original on 4 August 2021. Retrieved 10 July 2025. Unknown parameter
|url-status=ignored (help) - ↑ "Green Fest – International Environmental Film Festival Catalog" (PDF). Green Fest (in српски / srpski). Belgrade: Centar za unapređenje životne sredine. 2014. p. 29. Archived from the original (PDF) on 13 November 2024. Retrieved 12 July 2025. Unknown parameter
|url-status=ignored (help) - ↑ "The Feast". Benyamini Contemporary Ceramics Center. 2014. Archived from the original on 9 January 2019. Retrieved 16 July 2025. Unknown parameter
|url-status=ignored (help) - ↑ "5th Base Film Night". ArtWeek. Archived from the original on 7 December 2025. Retrieved 7 December 2025. Unknown parameter
|url-status=ignored (help) - ↑ "מפעל" [Factory]. Walla! Culture (in עברית). 3 June 2011. Archived from the original on 22 March 2025. Retrieved 12 July 2025. Unknown parameter
|url-status=ignored (help) - ↑ "The Bridge Waltz". Numeridanse. Lyon, France: Danses Macabres Collection. Archived from the original on 9 December 2025. Retrieved 10 July 2025. Unknown parameter
|url-status=ignored (help) - ↑ "Green Fest 2014". International Green Culture Festival (in српски / srpski). Archived from the original on 24 June 2025. Retrieved 15 April 2021. Unknown parameter
|url-status=ignored (help) - ↑ "Publications – Shahar Tuchner". Shahar Tuchner (official website). Archived from the original on 7 September 2025. Retrieved 19 July 2025. Unknown parameter
|url-status=ignored (help) - ↑ Stermitz, Evelin, ed. (18 September 2020). "The Agency of Failure – Videokanava Screening: Time and Body" (PDF). evelinstermitz.net. Vienna, Austria: VBKÖ Gallery. Archived from the original (PDF) on 26 October 2021. Retrieved 29 July 2025.
- ↑ "Shahar Tuchner – HARAMA Magazine, Issue #10: Universe". Manofim Contemporary Art Festival (in עברית). May 2015. Archived from the original on 12 July 2025. Retrieved 25 June 2025. Unknown parameter
|url-status=ignored (help) - ↑ "Art Yellow Book #1". CICA Museum. CICA Museum. Archived from the original on 3 June 2020. Retrieved 25 June 2025. Unknown parameter
|url-status=ignored (help)
External links
- Official website
- Shahar Tuchner - Israel Museum Art Center Profile
- Publications - Shahar Tuchner
- Selected Works - Shahar Tuchner
- ArtFacts - Shahar Tuchner
- MutualArt - Artist Profile
- VB4 Finalist Video Gallery - The Biennial Project
- AATONAU - Japanese edition article
This article "Shahar Tuchner" is from Wikipedia. The list of its authors can be seen in its historical and/or the page Edithistory:Shahar Tuchner. Articles copied from Draft Namespace on Wikipedia could be seen on the Draft Namespace of Wikipedia and not main one.
