The work of Yair Perez fuses avant-garde style with elements of the so-called ‘outsiders’ art’, creating an intriguing dichotomy between the grasping of traditional artistic conceptions, on the one hand, and complete lack of rules coupled with total artistic freedom, on the other. These two poles, often conflictive, are placed together and blended-in so perfectly by Perez, making it difficult to be judged or analyzed separately. Continuing this playful swing between inside and outside, in “Non Finito” he takes his mounds operation a step further. Following the tradition of the tableau vivant [living picture], the artist invites viewers to not only look at his work but also enter into it. In the Composition of a Therapy Room he lends his sculptures, paintings, and sketches a status of independence as if his pictorial space is transformed into a three-dimensional space.

frankie is a documentary robot that interviews people, in an attempt to “learn” from them what it means to be human. It responds to certain emotions both with language and “eye/camera” movements, creating computer generated, emotion inspired videos. The video documentation will be available online, forming an archive of its research. Frankie is a form of “automatic” documentation that allegedly excludes the artist or the curator as an author, questioning notions of representation and participation. A well exposed surveillance camera, it deliberately brings to the surface issues of agency, control and privacy questioning how they affect us in a world in which every second is documented and mediated. It reflects upon our relationships with the machines that dominate our lives, and the manner in which we choose to perform and present ourselves in the digital age.

The Sharon Garden (also known as the Electricity Garden) is located between three streets in Tel Aviv, called Levontin, Barzilai, and Ha’chashmal [Electricity]. Inside this small garden there are many facilities: an underground parking lot, public bomb shelter, multi-levelled spaces, intertwined paths, and more. This garden marks the border between the Newe Shaanan neighborhood typically considered an area of low socio-economic level, and the satiated neighborhoods skirting bourgeois Rothschild Boulevard. Residents of the area and those who work there often pass through the garden, but rarely spend time there.
A large scale map will be posted on one of the garden’s walls. Detailed and inviting, the map encourages viewers to wander and go astray in the garden, and rediscover it. Providing an aerial view of the garden, it resembles orientation maps found in amusement parks, zoos, and historical sites. It will attract the attention of the visitors, raising awareness to some
of its hidden corners that have been long forgotten.

Einat Amir’s work is rooted in contemporary socio-political issues. She fuses together reality and fiction, confronting her viewers with the need to make a choice between a set
of options, and allowing them to take responsibility for setting their own boundaries. Her current work in progress, Our Best Intentions, is a performance and video installation utilizing the viewers and their experiences as the main material base from which it is made. Each performance is unique, deriving from the stories that are provided by the viewers, who are transformed into active participants.
The project will be premiered at the Petach Tikva Museum
of Art in October 2013.

Ronit Porat explores the physicality of a place and
its history through what is left behind, considering
the ways in which images are connected to memory.
Much like a crime detective, Porat looks for evidence
of cracks, through which yesterday’s light infiltrates into the present. She rummages the past in the insistent act of collecting images that lend meaning to the present. She transforms photographs, documents, archival pictures, maps, and texts into a new story, without stripping away their original meaning. For “Non Finito,” Ronit Porat will translate the introspective and self-analysis characteristics of her work, into an act of clearing the studio, only to then reinstall within the gallery space. The intimate space of the deconstructed studio will serve as an examining room for her current work in progress.

Every person has his or her own pace. Their own time. It constitutes their personal memory. The music,
the fears. Everything. Every place has a different time. Not as we think it to be, not plus two hours or minus two hours. Completely different. Different to the veins. Everyone, everywhere has their own time.
A place where they can be in silence or in noise. This happens only when the clock is not ticking away and the memory begins to click. That’s when he or she begins to hum that ol’ song and she or I can fall asleep without being woken up.
Time can be good. It could even describe that moment when we sit by the sea and listen to it and to ourselves. Just recently I realized that I waited for my father, a watchmaker his entire life, to stop fixing them. For the repair itself to be the time where they halt. So that he could have time too.