The exhibition seeks to present a new artistic trend, of works that mark the value of the sacred text precisely through its materiality.

Bingyi's diverse artistic practice encompasses environmental land art, musical and literary composition, ink painting, and performance. Drawing inspiration from landscape paintings and ancient Daoist philosophy, she adopts a non-anthropocentric perspective to connect with nature's creative forces.

A series of engravings captures the stories of formidable women in the Bible and external texts, which serve as the antithesis to the expected roles of 'nice,' good, and obedient women prescribed by the male order. Their subversive confrontations with powerful and influential men have inspired numerous interpretations across generations.

As a continuation and development of the anti-purist artistic practices and beliefs that Meshullam formulated in his canonical works, the exhibition offers a heterogeneous space of observation and thought – "heterosophical" in the artist's language – based on contradiction, investigation, and doubt.

Tamir Zadok’s film depicts the fictional story of digging a canal separating the Gaza Strip from Israel, and presents us with a utopian dream and vision on the one hand, but also a story of denial and disregard for a dystopian reality on the other hand.

Torsten and Katya, a middle-aged couple, go to a train station and pick up Daniel, a young soldier who has just returned from Afghanistan. The next day, they get back into their car and drive to the station. Another young soldier is waiting in the same place.

The exhibition presents acts of protest, resistance, and civil disobedience in Israel since the 1970s, connecting and contextualizing them to offer new perspectives on their social and political significance.

At the "Terra Sancta" Franciscan school, which abuts the wall of the Old City, a football pitch is placed in an asymmetric space which makes it impossible for the goals to face each other, thus giving an advantage to one of the teams. This requires pupils to reach a new geometric compromise in order to play fairly.

The exhibition brings together a rich archive of interviews conducted by the artist Katarzyna Kozyra during her visits to Jerusalem, with extraordinary individuals who believe themselves to be Messiahs.

The exhibition offers us a space that contains the wild and raw alongside aesthetic restraint and order while hinting at, or explicitly referencing, the female body.

A social ritual heavy with the symbols and myths of power that propel Israeli society.

The exhibition presents a wide range of views on Israeli masculinity, which express the changing discourse on the subject, in order to reexamine and challenge the conventions of our lives, and generate an open and free discussion about gender equality.

The exhibition seeks to tell the wide and varied local LGBTQ story, through the historical timeline on the one hand, and through the space axis on the other hand.

The exhibition captures the artistic frame of mind in times of plague and crisis, and describes how the world is shaped by the new reality. The role of art in periods of this kind is to give hope while providing social critique, to evoke imagination, to raise pointed questions about moral issues and to suggest creative ways of dealing with them.

The exhibition deals with different layers of climate change, encourages a vision of a sustainable lifestyle and emphasizes the idea that every person can be a part of the green evolution.

A tension-saturated snapshot of the powerful and divided Israeli society, which more than once slips into violent confrontations, which is reflected in the exhibition.

We are immersed in the reality where the brand, the price tag or the trademark dictates our relationship to the environment and opposes its relationship to us and we ask ourselves, does the person make the garment or does the garment make the person? If so, what makes the garment so important in our lives since we first covered ourselves with the fig leaf that fell on our way in the Garden of Eden?

Plastic waste is one of the most harmful phenomena for the planet today. A phenomenon that is at the center of the international discussion regarding the treatment of solid waste, mainly because it is a toxic substance that does not decompose but breaks down into small particles, "microplastics", which are dispersed in the bodies of fish, birds and other animals that feed on what nature offers them.

Do we have good reasons to fear the ultimate machine in our image that we are working on developing, and is the day approaching when the machine will make us realize our bitter mistake? Or in other words, is humanity on the way to a struggle for control in the face of coercive machines that are starting to think for themselves?

The exhibition shows man's race to reach further and higher. This is a race in which big cities compete that are developing at a dizzying pace and not always in correlation to the real needs of all their residents.

A personal confession from the place of the individual who expresses his protest as a prophet at the gate and conveys to us experiences of existential significance, of a society struggling with cultural and value difficulties.

Rani Sasson and Dror Ben Ami embark on a journey of observing the stalwarts of nature and the intricacies of their personalities and give us a renewed experience of the creation process. They manage to share with us a feeling of transcendence in which we touch the spirit for a moment and are reborn.

Neta Lieber Shafer corresponds with Sigmund Freud's seminal article "The Mayhem", and presents a series of oil paintings and large-scale charcoal drawings. The paintings of the death masks capture the moment of turning life into art, the threshold moment when the temporary wild flesh is cast in stone.

The exhibition reveals the human culture that allows people to live their lives while ignoring the horrors happening on their doorstep. Through thirty engravings by the artist Marcel Henslar we get a glimpse into the world of women and girls as victims of war.
A work of art can commemorate a moment in time that we might prefer to forget, and inspire the viewer to choose - whether to look away or continue watching.

Drawings, photographs and installations that challenge the visitor to examine what is left of democracy, and what is the new way that promised the world equal rights and opportunities.
Have we lost hope in democracy? Has democracy become synonymous with corruption? Will we forget the purpose of democracy and who it is meant to serve?

The exhibition "Jerusalem - Self-Portrait" brings together such different people who disagree with each other and disagree about each other. The exhibition is a snapshot of an impossible experience that was documented by photographers living in Jerusalem, Arabs as well as Jews, fashion photographers and news photographers, who work there and come from all over it.

The exhibition will focus on the aesthetic, cultural, national and political meanings between trees and people as independent beings that reveal their weaknesses, desires and mutual dependence on each other, as well as between them and the natural environment that surrounds them.

The exhibition will deal with the consequences of the complete annihilation of humanity itself using the technology it develops, and will raise for discussion questions of identity, sovereignty, and the use of military force in the final war that will bring humanity to an end.

The exhibition calls for increasing awareness of the equal rights of women in society. Through the sequence of images, the exhibition dismantles gender power relations, looking at the social and cultural layers that make them up, and with their help points to universal phenomena of exploitation, abuse and exclusion.

The faith that seeks to strictly preserve the framework and the commandments of the Halacha and tradition has always had difficulty coping with the changes that are occurring around it at a dizzying pace, while contemporary art, which serves as a mirror for the time and the changes taking place in it, constantly seeks freedom of creation and freedom of expression. It seems that recently there is a process of mutual relations between these two worlds that are groping their way towards each other, and yet faith and art will continue to search for the path between confrontation and reconciliation.

The last photographs of Pulitzer Prize winner Anya Niedringhaus, before her murder in Afghanistan, which present rare documentation of women's lives during and after the Taliban rule.

The exhibition tries to examine the conduct of the individual in the personal and public space according to his conscience and against considerations arising from his collective identity and his belonging to social, religious or national groups which may reduce the sense of personal responsibility of the person for his actions.

The exhibition critically examines the complex relationship between the leaders and the governed. The name of the exhibition is taken from the opening verse of "The Parable of Yotam" (Judges Chapter 9), the first anarchist manifesto in the Bible, and one of the ancient texts describing the inherent need of man to find a leader for himself.

Loneliness is a phenomenon that affects people more and more in the contemporary era. The demanding urban environment, against the background of the social and technological changes taking place in our generation, does not rest on the person sitting in it - it pushes him, increases his nerve stimulation and attacks his senses with an endless sequence of fleeting distinctions and random impressions.

The exhibition seeks to closely examine the difficult relationship that exists between humans and other animals, and to challenge its visitors to show sensitivity and face a reality that the great majority of us are not adequately aware of. This exhibition calls us to look at flesh and blood as a tissue that connects the entire animal family and we are within it and inspire us to behave towards it with respect and compassion.

The exhibition embarks on a journey into the future through memory, to meet with works that reveal to us images from the archive of repression and denial of the fears and anxieties we experienced, in an attempt to use them to test future scenarios expected for us and our world and use them to prevent the repetition of past mistakes.

The exhibition invites viewers to take part in the experience that takes place in real time and to examine the different approaches of the artists who created their works in the space of conflicts described. To walk between the struggles of honor, prestige and faith loaded with charges of suspicion, and observe the labyrinths of hostility leading two civilizations to an existential struggle for power and control over the world of tomorrow.

The exhibition the right to protest is not only about the right, no less than that it concerns the obligation given with the right. She urges us to check if our mission is justified, if the loudness and force are indeed required or if they are degenerating the individual and the many towards a more difficult, more traumatic reality.

The exhibition will seek to examine the relationship between the private home and the state. To insist on the formal and functional similarity that allows these two spaces to be defined as "home" (the national home) and on the difference that traditionally places one in the private (or natural) sphere and the other in the political sphere.

The exhibition is a discussion based on diverse aspects of distinctions and positions, of beliefs, ideologies and social, political and economic starting points, examining the complex encounter between man and the environment and between man and nature. The exhibition is not based on a romantic reading, which interprets space and nature as prior to man's formative intervention, but instead offers a critical reading, which assumes that the meeting between them is a mirror of wider phenomena. This mirror reflects the crisis of the relationship between man and the environment, which is manifested in neglect, occupation and weakening.

The exhibition seeks to debate the tension between these two perceptions through a range of works that examine national, ethnic and global anxieties, and from a dialogue with the anxiety of the "threatened" as defined by Freud (the Uncanny; Das Unheimliche). These anxieties undermine the private and collective contexts in which man operates, and challenge them.

"Naked Life" is the third exhibition we present at the museum in a series of exhibitions dealing with human rights. This exhibition aims to touch the ever-dissolving seam between exceptional situations and normative situations, and to resolutely point out the place where the temporary state of emergency becomes an ongoing legitimate situation, which ultimately leads to the paranoia of suspicion and the use of violence for the purpose of establishing public order

The exhibition "Equal and Less Equal" seeks to awaken the awareness and social sensitivity that sometimes darkens among us and to clarify questions concerning the system of labor relations that exist in our world.
The exhibition presents relations of discrimination, exploitation and humiliation to which so many human beings are entitled and calls us to increase the aspiration to work for greater equality between human beings.

"DeadEnd" is an exhibition that presents a harsh reality in which violence has become the everyday language, a language that threatens the existence of human society.