Keren Cytter / Leftovers

Opening: 27/01/2023   Closing: 24/02/2023

keren cytter, leftovers, installation view, photo by lena gomon
keren cytter, leftovers, installation view, photo by lena gomon
keren cytter, leftovers, installation view, photo by lena gomon
keren cytter, leftovers, installation view, photo by lena gomon
keren cytter, leftovers, installation view, photo by lena gomon
Outlet, Colorpencil on paper 43 x 35.50 cm, 2021
Untitled 1, Colorpencil on paper, 21x29.7 cm, 2021
Keren Cytter, Diagonal Table, Blue pen on paper, 84x89.1 cm, 2022
Keren Cytter, Monkey 2, Blue pen on paper, 84x89.1 cm, 2021
Keren Cytter, Kenneth Anger, Blue pen on paper, 84x89.1 cm, 2021

Keren Cytters’s extensive body of work includes video, performances, books and drawing. Many of Cytter’s works deal with everyday life and her personal environment, or in places that are staged as such. It focuses on the issues of social alienation, language representation and the functioning of individuals in predetermined cultural systems.

In her works, Cytter conducts deconstruction; she disassembles, separates, splits, cuts and connects. Adjacent papers are connected into single unit and create an array of images (objects, portraits, nature and landscape) embedded in an enigmatic and compressed space, echoing layers of observation, memories and associations. Realism meets the poetic, and the imaginary meets the everyday, accompanied by textual allusions.

The sense of the fragmented narrative intensifies when the gaze moves through the space between the single drawings on the walls and the drawings spread out on the tables, consisting pieces that does not connect completely. What emerges is a mindset, an associative mental process that rejects any attempt at a cohesive connection.

Cytter’s films consist of multiple layers of images – conversation, monologue and narration that are systematically assembled, aim to undermine linguistic conventions and schemes of traditional interpretation. The film shown at the exhibition, “Bad Words or When you wake up and realize that you are late to your job interview with your best friend‘s ex and you are not a lesbian but the product of a patriarchal society that‘s conditioned you to see women as sex objects” (2021), deals with the new ‘normal’, dominated by social media and the Internet. The present situation is characterized by a constant presence on the networks which leads to the collapse of boundaries between the private and the public.


Mosh Kashi / Corpus

Opening: 02/03/2023   Closing: 29/04/2023   Gallery Talk: 10/03/2023

PURPLE STORM D-120cm 2023
BLUE SPECTRUM 300cmx120 cm 2023
ROUND LANDSCAPE D-120 cm 2023 Not Framed
CRIMSON CORE 50cmx35cm 2023
CRIMSON CORE D-49 cm 2023
CRIMSON ICON D-60 cm 2023 C
OVAL PANORAMA 112cm x69cm 2023
VANISHING POINT D-95 cm 2023 Not Framed
CRIMSON CORE D-60cm 2023

Mosh Kashi’s solo exhibition includes an impressive body of work created from Kashi’s consistent pictorial research in recent years. For the first time, we witness a sharp color turn that goes beyond the color scale that characterized Kashi’s previous works, along with a shift to panoramic and round formats – moves that lead the show to new realms.

The exhibition includes meticulous oil painting and subjects that have become identified with Kashi’s themes, the nature and the universe in all its cosmic elements: the cycles and the one-off events captured in the painting, like a photographic snap-shot.

The constant tension between the trivial and the sublime in Kashi’s paintings receives additional expressions in these works, in which a large-scale universe converges into circular formats with refined color palette where only a tiny glimmer of light from the darkness indicates the possibility of an infinite space around. In the large-scale works, a reversal – a tiny horizon point becomes a monumental panorama.

The large and small formats complement each other and merge into a harmonious show in the exhibition space, creating the possibility of capturing the random and the ephemeral into a pictorial reality. Kashi’s perception of painting is an open invitation to an imagined encounter between the viewer’s consciousness and the painting mystery.