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Petach Tikva Museum of Art is pleased to present 4 new exhibitions:


Benni Efrat, Doom's Path, Winter 2065

Curators: Drorit Gur Arie, Avshalom Suliman

A new exhibition at Petach Tikva Museum of Art

Opening: Thursday, 11 January 2018

Closing: 12 May 2018

Benni Efrat's works wage a harsh offensive against the viewer's senses, consciousness, and beliefs. They engage with current issues pertaining to life in this planet, rather than with intra-artistic concerns. "Art deals with life, but my art deals with the very possibility to survive, to stay alive," says Efrat, who since 1982 has been dating all of his works using a timeline beginning with his estimated year of death, 2030. The video installation Doom's Path, Winter 2065, created especially for the current show, offers an all-embracing experience, engulfing the viewers with blown-up images of environmental destruction and ecological disasters.

The exhibition sheds light on the consistent, continuous progression of Efrat's work over more than five decades. It indicates how Efrat's engagement with the relativity of human perception evolved in the early 1980s into a pioneering engagement with moral issues regarding ecological destruction and exploitation of weaker species. The show also features two of Efrat's video sculptures, which illustrate his work as a sculptor who uses light as a raw material, addressing the failures and illusions of the viewer's visual perception. Requiem for the Last Leopard in the World is a new installation-performance created in collaboration with poet Ronny Someck, celebrating twenty years since the two first collaborated in the exhibition "Nature's Factory, Winter 2046." The new piece presents a collaboration between a visual artist and a poet which goes beyond the conventional text/illustration relationship, blending with the apocalyptic air inspiring the exhibition as a whole.

The exhibition also presents an anthology spanning six of 140 experimental films created by Efrat in 1968–1975 (curator: Adi Englman), which represent his thinking and work modes in that period. Efrat began making his films without prior experience or professional knowledge in the field, to illustrate a concept, an idea, or an action, and introduce them as preceding form and medium. The films, which underwent restoration as part of a comprehensive project of cataloging Efrat's entire video oeuvre, are presented without any post-production editing or manipulation, in a desire to represent truth rather than illusion in art.

A conceptual artist who belongs to the second generation of post-minimalist artists who began working in the 1960s, Efrat earned international acclaim for his painting performances on film projections, which were groundbreaking at the time and addressed the gap between representation and action. Following an encounter with renowned scientists, among them Carl Sagan, and trips to Ruanda and Cambodia, Efrat turned to explore social and environmental issues, a rare stance among artists at the time, which proves itself to be more relevant than ever these days.

Guy Goldstein:

Once, a Beat, Second Hit

Curator: Drorit Gur Arie


A new exhibition at Petach Tikva Museum of Art

Opening: Thursday, 11 January 2018

Closing: 12 May 2018


Guy Goldstein's work engages with transitions in medium between sound, form, color, and time, and the by-products of this translation. As a visual artist who also writes and composes music, and a former member of the Israeli rock band Reines Girls, his work draws on the affinities between the visual and the sonic, employing materials and tools of music and sound.

Music is a major player in the exhibition, as background, subject, and character. The show originated in a record (Memorable Equinox) created by Goldstein during his residency in a Curfew Tower in Northern Ireland in the autumn of 2015. His research on the "colors of noise" was expanded to the violence- and strife-ridden environment and the local color of life in it. In the three-channel video installation Silence Isn't Very Much, created especially for the current exhibition, the album's songs are played alongside texts, actions, characters, and landscapes associated with questions of "noise" and "interruption"; the noise, however, does not emerge as a strident disruption, but rather as an atmosphere imbued with pain, hardship, and trauma. The music is also present in Theme Tonight …—an independent production by Goldstein for Samuel Beckett's radio play Words and Music, in which he played the two characters entitled "Words" and "Music", in addition to composting and performing the music (in collaboration with producer Avichai Tuchman). The play addresses the tools of the radiophonic medium, the tension between words and music evolving into a song. Another musical means in the exhibition is the pianola—a music-playing device which preceded the gramophone, whereby piano keys are moved using a mechanism operated according to musical data on a perforated paper roll (piano roll).

Goldstein's variegated body of work scrutinizes narrative configurations which stretch over different, distorted temporal axes. Music joins text and image in such media as drawing, video, and animation. Layers of data are superimposed, eliciting questions about sequence and order, truth and fiction. Goldstein patches and crosses data and tenses while oscillating between sounds and silences on his way to a solution or a resolution. The viewer's senses wriggle between listening and viewing, "Once, a Beat, Second Hit."

An Archive of the Moment:

Tali Navon Following Drawings by Ze'ev Tishbi

Curator: Irena Gordon


A new exhibition at Petach Tikva Museum of Art

Opening: Thursday, 11 January 2018

Closing: 17 March 2018

Tali Navon's exhibition was inspired by Ze'ev Tishbi's (1915–1953) sketchbooks, held in the Petach Tikva Museum of Art collection. It focuses on drawing as a medium and as an act which signifies existence, linking past and present. Navon uncovers Tishbi's drawings, most of which depict intimate portraits and the daily life of the soldiers with whom he served during World War II. Her own drawings, on the other hand, explore the intimacy resulting from the encounter between the attempt to capture a segment of reality and the search for the pure essence of the line, the rhythm of the drawing hand, and the interaction with the drawing surface.

Ze'ev Tishbi passed away prematurely, when he was only 37, the day before the opening of his exhibition at the Yad Labanim Museum, Petach Tikva, in 1953. Navon focused mainly on drawings he created during his service in the Jewish Brigade in the British Army. She conducted thorough research about him, using archival materials she found at the National Library of Israel and elsewhere.


Curator: Or Tshuva


A new exhibition at Petach Tikva Museum of Art

Opening: Thursday, 11 January 2018

Closing: 3 March 2018

The exhibition continues the Museum's scrutiny of its corpus and spaces. It relies on the duality typical of the work of active contemporary artists, who simultaneously work as instructors in the Museum's Education Department. Although museum visitor's and workers tend to disregard this prevalent phenomenon, it is, in fact, an intricate position which may impose a multiplicity of stances regarding the institution and the works of art displayed in it.

While the distinction between their role as mediators of art on behalf of the museum and their inner world as independent artists remains clear for the most part, in the current project the Museum's art instructors were asked to wear both hats at once. The works they were commissioned to create and exhibit allude to their pedagogical role in the museum, and are inspired by it.

The familiar art-making cycle, beginning in the artist's studio and ending in the encounter with the art work in the museum, is reversed in the exhibition: the encounter with the work, through the instructors' mediation, is the point of departure and the driving force. The show thus turns the spotlight on the occurrences and dynamics created in the museum, which usually remain out of sight as far as the audience is concerned, introducing the triangular relationship between instructors, audience, and art as a moment of contemplation worthy of observation and critical attention. This project is also a reminder that the interrelations between institution, audience, and artwork may and should be multidirectional. The audience observes, criticizes, and learns from our practice—but, in fact, we also observe, criticize, and learn from the encounter with it.

Participants (in alphabetical order): Netaly Aylon, Reut Ferster, Yifat Giladi, Tseela Greenberg, Dani Rosenberg, Gili Roman, Avshalom Suliman, Shira Tabachnik

Photo P.R.