Non private collection

Text
  • Non Private collectionInstallation view
  • Non Private collection Installation view
  • Non Private collectionInstallation view
  • Non Private collection selection of photograph from the collection
  • Non Private collection selection of photograph from the collection
  • Non Private collection selection of photograph from the collection
  • Non Private collection selection of photograph from the collection
  • Non Private collection selection of photograph from the collection
  • Non Private collection selection of photograph from the collection
  • Non Private collection selection of photograph from the collection
  • Non Private collection selection of photograph from the collection
  • Non Private collection selection of photograph from the collection
  • Non Private collection selection of photograph from the collection
  • Non Private collection selection of photograph from the collection

Spoils of War

Text
  • From the Booklets “Spoils of War”
  • From the Booklets “Spoils of War” corespondence
  • From the Booklets “Spoils of War”, Davar, 1957
  • From the Booklets “Spoils of War”, Davar, 1959
  • From the Booklets “Spoils of War”
  • Spoils of War installation view
  • Installation View Mirror and wallpaper
  • Installation View Holes in the wall and wall paper
  • Installation ViewHoles in the wall and wall paper
  • Installation ViewTable, shell, museum ,label, booklet and reading lamp
  • Spoils of War installation view

The Hawks and the Sparrows

Text
  • Photo Credit Elad Sarig
  • Photo Credit Elad Sarig
  • Photo Credit Elad Sarig
  • Photo Credit Elad Sarig
  • Photograph of the sculpture "Daphne the Palmach Fighter", Moshe Zipper, 1960 Two pigment inkjet prints, 150X250 cm each Photographer: Yoel Nattes, circa 1972 Accession Number 2413, album 13/ photo 105 Before the renovation, the floor was light and the windows were covered by a geometric design made of concrete. In the corner there was a statue of a woman raising her illuminated weapon. This is Daphne, or rather "Daphne the Palmach Fighter". Between Daphna and the window, like a backdrop of sorts, stands a wall from "Noah's Ark in Flowers", the handiwork of the children of the Petach Tikva Teaching Farm in 1971. The photograph that documents this arrangement blocks the entrance to the show. If you would only turn your head back, the sculpture will reappear, this time in the real version, as part of the permanent display in the Yad Lebanim House memorial room. The sculpture stood at the center of Kibbutz Gan Daphne, an imaginary kibbutz in the film Exodus. In the memorial room, Daphne is fixed to her place – made of plaster and over 50 years old, any movement might shatter her body, which is soft, despite the powerful triumphant pose in which it was cast. Today, there is no longer anyone who knows how the Hollywood Daphne from the Palmach made her way into the permanent display in the local memorial room.
  • Naftali Bezem, 1965 65X87 cm Ink drawing on paper, Passepartout, contemporary frame, Item number 237 (before restoration)
  • Taxidermy lion Unregistered and uncatalogued In the 1960s the Petach Tikva Municipality printed a series of postcards, among them one with a photo of a roaring lion. The back of the postcard says nothing but "lion". Looking at the postcard it is unclear whether this is a photo of a taxidermy lion or a photo of a breathing animal. Rumor has it that the lion before us is the one photographed roaring with sad bravado in the postcard, but there is no one who can corroborate this rumor. The taxidermy lion was hiding in the zoo's store rooms for over 25 years. During that period, or possible already while it was on display, the pelt of the lion peeled off and its tail broke.
  • The Transparent Woman Print on 5 mm PVC (curved), 200X90 cm Photographer: Photo Farag, 1969 Accession Number 6744, box 38/ photo 33 Torso Jacob Louchansky, circa 1969 Plaster sculpture, 30X50X123 cm Item number 478 (before restoration) In the Man and the Environment Museum a large woman is placed in front of a mirror. Although the mirror is there so I could see the woman's back, I use it for my own needs, and absentmindedly glance at it to sleek back an errant strand of hair, before I look back at the woman. While my eyes rest on her, I think of the great similarity between us. At least that is what they say – after all, I cannot really know. No glance at the mirror will ever reveal to me my internal organs like hers are revealed by her double nakedness. I will never observe in the same way my own brain, neck, or breasts, I could never know myself in like I know her. And still, the similarity between us seems definite, an indisputable fact. I look at her as though she was my x-ray. Like a palm reader or a diviner. I look at her and immediately fall into categories – race: human, sex: female. There are many such glass women, who carry the same words, yet in different tongues. Originally they were created with their hands raised up high, however the model of this woman – standing upright with her hands hanging beside her – is the most common. In the photograph, the woman becomes two-dimensional, just a façade, perhaps only skin. She shrinks into nothing but an external layer of transparent plastic.
  • A photograph of the mosaic "Gur Aryeh Yehuda", Jacob Wexler, 1963 Pigment inkjet print, 100X200 cm Photographer: Y. Zafrir, undated Accession Number 6744, album 46/ photo 37 The mosaic embedded in the black tiles of the memorial room cannot be viewed in its entirety from above. As a result, visitors to the room are forced to walk on it and see it only in sections and from a distorted shortened perspective. The old photograph documents the finished mosaic planned by Jacob Wexler and executed by the children of Kibbutz Givat HaShlosha. It was taken before the memorial room was renovated and before the mosaic was inlaid in its floor. It is laid on the sesame floor, before it changed its spots and became black marble.
  • Pigment inkjet print, 90X250 cm Photographer:  Zvi Schweitz, 1973 Accession Number 2366, album 13/ photo 63 A pile of M16 rifles in the exhibition space. The archive cannot tell us what exhibition is documented here and who the owner of the weapons is.
  • 17 horns of ibex, spotted deer, and fallow deer Unregistered and uncatalogued The horns were found in a locked room above the offices of the zoo, in a cardboard box labeled "Osemim Gift Baskets LTD". The box also contained a broken skull of a small (unidentified) animal, receipts for zoo tickets, and several bottles of the toilet cleaning and disinfecting detergent W.C.
  • Two pigment inkjet prints, two sided framing, 39X39 cm
  • Inkjet pigment print, 10X15 cm taxidermy flamingo
  • Archival Item No. 18620
  • From Artist Book
  • Archival Item No. 18620
  • Operation Jurnale
  • Operation Jurnale
  • Operation Jurnale
  • Operation Jurnale

Long Neck (WIP)

Text
  • 2013 12 archival inkjet prints mounted on MDF board 19*19 cm (Each)

  • Archival inkjet print 30* 40 cm
  • 2013 Lightjet C Type Print 70*63 cm
  • 2013 Lightjet C Type Print 70*63 cm
  • 2013 Lightjet C Type Print 70*63 cm

Works from the PEF archive

Text
  • Types of Women in Palestine
  • The Cave - Looking from Inside Out
  • Collection of rulers
  • Lightweights histories (Diptych)
  • The Map
  • They never found the body
  • 30x30 cm Archival Ink Jet print 2011
  • The Ruler
  • The Bird - Open Call
  • In Site
  • Two Oil Lamps
  • Common Birds (Bulbuls)
  • Installation View
  • Installation View
  • Installation View

Cast Courts

Text
  • The Slaves (Victoria and Albert Museum)
  • David (Victoria and Albert Museum)
  • Jesus (Victoria and Albert Museum)
  • Moses (Victoria and Albert Museum)
  • Sitting figure (Academy of fine art Vienna)
  • Saint Sebastian (Victoria and Albert Museum)

Shmuel Biklis Project

Text
  • Ein Harod - B
  • Ein Harod - A
  • Trumpeldor
  • Ghetto Fighters' Kibutz
  • Installation View