מוזיאון על התפר - מוזיאון חברתי לאמנות עכשווית
MUSEUM ON THE SEAM Socio-Political Contemporary Art Museum
Current Exhibitions
Erez Nevi Pana
EVERY THING
19/07/2024 – 13/12/2024
Curator: Maria Cristina Didero
Artist: Erez Nevi Pana
In an era defined by the relentless pursuit of progress and consumption, Erez Nevi Pana chose to pause. EVERY THING, his first comprehensive solo show, unveils a decade of projects. A speculative journey and mental exploration that delves deep into the realms of materiality and identity. The exhibition unfolds as an autobiographical search as Nevi Pana explores personal values and establishes moral principles that have become an integral part of his creative work. The exhibition embodies a holistic unity, embracing humans, animals, and materials alike, and offers an alternative stance that spans the interconnectedness of design, mankind, and the full array of living forms.
Nevi Pana showcases his dedication to veganism, self-sustainability, waste reduction, recycling, and global warming, illuminating creative avenues for experimentation with a peculiar focus on humanity and what it truly means to feel human. As a vegan designer, one encounters constraints stemming from the exclusion of a wide range of materials in order to use only the purest ones. It is within these limitations that lies the opportunity for imagination, resourcefulness and a creative search for ethical design solutions.
To comprehensively grasp the environmental impact of materials, the designer has embarked on a unique endeavor: cultivating materials himself on the rooftop of his studio, constituting a pioneering approach in the design world. For Erez Nevi Pana, design serves as a platform to denounce the attitudes that have led to profound disruptions in our climate and cruelty towards not only the flora and fauna, but also human beings.
Through a decade of innovative professional endeavors, Erez Nevi Pana envisions a profound alignment with his work and being, offering inspiring glimpses into new ways of living and designing in unison with our environment and other living forms. As visitors delve into the realm of EVERY THING they are encouraged to ponder the delicate connection between everyday and creativity. Nevi Pana's creations stand as poignant reminders of our shared duty to tread gently upon the Earth, embracing compassion and sustainability in equal measure. The visitors are participants in a transformative journey towards a more conscious existence. As they depart, they carry with them not just an experience, but a renewed sense of purpose and a deeper connection to the world around them, infused with conscious optimism for a brighter future. For everyone.
I, Two.
20/08/2024 - 13/12/2024
Curator: Shahar Shalev
Artist: Doaa Bsis
In the video art 21 kg (2023, 12:52 minutes), Doaa Bsis rolls a large, heavy stone up and down her body in a long and arduous journey. As viewers, we try to decipher the task she faces, listening intently to her heavy breaths, and waiting expectantly for her success, for a catharsis that refuses to arrive. Like a modern Sisyphus, her hard work is doomed to a futile, repetitive, and endless effort. Her twin creation, Line Move (2023, 3:19 minutes), is a natural continuation, development, and expansion of the former. From lifting a heavy stone, the artist moves to carrying the body weight of a female doppelgänger – similar to her yet alien – who is either resting or being carried on her back, helpless or injured, curled up in a fetal position.
The pair of works maintains two parallel, similar yet different courses of purposeless movement. Unlike traditional narratives, both acts in the play refuse to progress from complication to resolution. They are circular, repeating themselves with slight variations, without any significant change. The artist’s minimalist and quiet actions omit the end of the story, inviting us to complete it ourselves, in accordance with the course of our own lives. The archetypal-mythical, but also the biographical-personal layers accompanying the works guide each of us into private realms that simultaneously draw on our collective historical, cultural, and social memory. Although her works seem devoid of time and place, the hard earth and the large stones anchor them to the here and now, reflecting the heavy burdens we carry as a society, which are becoming even heavier today.
Doaa Bsis (Daliyat al-Karmel, 1997) is a multidisciplinary artist and art educator. Her works range from drawing and painting to performance and video, exploring the intersections where movement and drawing meet and coexist. Through body art, she examines the range of movement, freedom of creation, and the boundaries of the self within both artistic and socio-political spaces.
Welcome Home / Come Home
14/3/2024 - until all hostages return
Artists: Nelly Agassi, Emmanuel Evron-Agassi
Curator: Dr. Shir Aloni Yaari
Nelly Agassi created this neon installation with her son, Emmanuel, in a large-scale version that is on permanent display at O’Hare International Airport in Chicago, where Agassi and her family immigrated from Israel thirteen years ago. In its original location, in a long passageway leading to the passport checkpoints and reception hall, the minimalist sign, written in a hesitant childlike handwriting, illuminates personal and collective experiences of distance, longing, and the ambivalence of being neither here nor there, while succinctly expressing the expectation and relief of coming home.
Commissioned by Museum on the Seam following the events of October 7 and the ensuing war, Agassi created a smaller version of the work. Its present location and the timing of its exhibition lend the ghostly inscription flickering on the wall different meanings and contexts. Displayed in an uncanny space inside the museum – a former Palestinian home turned military post – the work is now seen from a perspective overwhelmed by sights of abandoned, burnt, and bombarded houses. Like a broken road sign, the work blinks alternately, with the letters ‘Wel’ appearing and vanishing and the words “come home” remaining like a wish or hope suspended in empty space. Echoing the ongoing traumatic present of refugees, displaced persons, and evacuees for whom home has become a site of loss and catastrophe, above all the work seems to capture the twilight zone of the hostages. Suggesting a desperate, hopeful-demanding call for their release, it contains the consolation of those already home, while expressing their absent presence, from which there is no relief.
