Fear is behind the street.

A man, a researcher I’ve never met, curious and thirsty for knowledge, went out to find an ancient heritage. He went out but never came back, started but never finished. He just disappeared with no one the wiser. What remains are his words, texts printed in books, lots of paper.
Lately, he has been in my thoughts – alone in his improvised camp bending over a book, writing hastily by the fire, recapping and drawing the demonic Romanesque sculptures that were the keystones to his journey, dedicated to his mission not knowing that it will soon be over.
I think about this man when I make my own short journeys on the street. It’s better to be on the street when most of the people are gone, when you’re not sweating. Perhaps the thought about the worst of all interferes with the enthusiastic search.


Contrary to what might seem, there is no mystery in the creation of the works – there is a trick that is promptly revealed, exposing the “tools”. A suitable descriptive for them would be ‘Metafear’, as opposed to ‘Metaphor’, they do not stand for other concepts, but rather are archaic, mythological images of fear. Logically it follows that the works are equal to fear. They are connected through a material (paper) and an action that started on the street: a black photo screen purchased in a photo shop, books exchanged in a secondhand bookshop, an air ventilation opening on a sidewalk.


Arthur Kingsley Porter, an art historian, went on a journey in the 1930s from the Notre Dame de Paris towards Santiago de Compostela following Romanesque sculptures, till the day he disappeared.

Dror Daum

Project Room:
Gabi Ben Moshe, Alma Itzhaki, Barak Ravitz

Dead Horse

We present three examples of beautiful painting. We chose them the way one chooses what to wear in the morning: by color and by mood. Purple is the color of the typical mood; the official color of impressionism.

Alma Itzhaki paints a dead horse in oil on canvas. It is a degraded image, originating in an anonymous website. It is still, faded and pixelated. A tired horse.

Barak Ravitz has laid the image on its side. These are portraits of a nominee in the municipal elections, washed out with paint-thinner; election posters blurred to the degree of abstract or still life paintings; a printed brush-stroke.

Gabi Ben-Moshe paints a low-spirited punk, peeling potatoes on his day-job. These are computer paintings crossing between stylish comics, hyper-realism and fashionable indi-footage. A sub-culture refined to mannerism.

You wouldn't put your money on a dead horse, but you can rely on it to stand still.

Gabi Ben Moshe, Alma Itzhaki, Barak Ravitz