Gallery Collection Sale

Spacial Sale from the Gallery Collection

Opening: 17/07/2020  Closing: 31/07/2020

Opening Days:

Wed-Thu 12:00-18:00

Fri-Sat 11:00-13:00

*Other days by appointment only

Mosh Kashi, 2003, Svach, oil on canvas, 19x19cm
Gilad Efrat, Hatzor, 1998, oil on canvas, 163x110cm
Miriam Cabessa, Untitled, oil on wood, 145x190cm
Elinor Carucci
Elinor Carucci
Mosh Kashi, Crimson fields, 2011, oil on canvas. 80x80cm
Mosh Kashi, Silver Leaves, oil on canvas, 21x19cm, 2005-2010
Mosh Kashi, Icon yellow fields, 2009, oil on canvas, 24x19cm
Mosh Kashi, Crimson fields, oil on canvas. 20x20cm, 2011
Eti Jacobi, Landscape with a Girl and Boats, 2007 80x120cm Acrylic on Plywood
Eti Jacobi, Landscape with a Girl (Andromeda), 2007, Acrylic on Plywood, 80x120cm
Talia Keinan, 3 Angels, mixed media on paper, 52x40, 2007
Talia Keinan, Untited,pencil on paper,40x30cm,2006
Talia Keinan, Falling leaf, ink on paper, 30x20cm, 2011
Michael Halak, Greenolive, Oil on Canvas, 120x80cm,2014
Michael Halak, Untitled, pencil on paper, 60x45cm,2015
Shahar Yahalom, pencil on paper, 16.5x23cm, 2012
Shahar Yahalom, The Swimmers, 30x20cm, Ink on paper, 2012

Alexandra Zuckerman Flower Fields

Alexandra Zuckerman / Flower Fields

On View


Flower Field Ⅰ, 2019, Penclis on paper, 102x72cm
Flower Field Ⅲ, 2019, Penclis on paper, 102x72cm
Flower Field Ⅲ, 2019, Penclis on paper, 102x72cm
Flower Field Ⅹ, 2019, Penclis on paper, 102x72cm
Flower Field Ⅶ, 2019, Pencils on paper, 102x72cm
Flower Field Ⅸ, 2019, Pencils on paper, 102x72cm
Flower Field XIII, 2019, Pencils on paper, 102x72cm
Flower Field XVI,, 2019, Pencils on paper, 102x72cm
Flower Field XVIII, 2019, Pencils on paper, 102x72cm

Noga Gallery of Contemporary Art is pleased to announce the opening of “Flower Fields” a solo exhibition by Alexandra Zuckerman. This is Zuckerman’s second solo exhibition at the gallery.

Rooted in the language of drawing, and yet informed by its numerous declinations – from painting to tapestry, from animation to textile –, the work of Alexandra Zuckerman sheds light on the thin line separating the field of Fine Art from that of applied arts; furthermore her appropriative use of techniques that belong to folklore, tradition and even amateurism, aims at contextualizing the histories of female artistic practices against a backdrop of unilaterality, which dominates the History of Art (with capital H and A).

Her latest body of work, which gives the title to this exhibition, is inspired by technical illustrations included in manuals and magazines for embroidery, cross – stitch and knitting. These images are specific and universal at the same time, they trigger the memory of places like Russia – where the artist was born and grew up before immigrating to Israel with her family – or Jaffa – where she currently lives.

Each drawing starts with a grid, which is drawn by hand, and consequently enriched by different fields of color, which are obtained by filling, again by hand, each square with crayons. Due to this technique, this series of drawings behaves differently according to their position in front of the viewer. Similarly to mosaics, they allow a double encounter –“bird’s–eye view” versus closeup.

In addition to that, the artist is interested here in the notion of repetition and how such repetition both entails pleasure and echoes the original craft – embroidery, cross–stitch and knitting –connected to the source of these images. Following such premises, some drawings are based on textile patterns and ornaments; there is always a tension between the motifs that appear in each drawing and its palette, which is based on tonal variations.

Continuing Zuckerman’s aforementioned interest in gently dismantling the notion of unilateral perception, this new series is emphasizing the possibility of working through abstraction and figuration simultaneously; while this tension can be encapsulated by the coexistence between an abstract layer – the pencil grid – and a figurative layer – the crayons blocks , between black and white – the pencil and the paper – and color – the crayons –, one cannot help but think how such tension can symbolize, once again, the artist’s desire to create a space that incorporates categories in order to erase them. Last but not least, the strict technical procedure behind these works could be seen, paradoxically, as a meditative act, confirming once again Zuckerman’s drawings as visual oxymorons.

—Nicola Trezzi

Talia Keinan | SHAAR

Talia Keinan / S H A A R

Opening: 17/01/2020   Closing: 06/03/2020

SHAAR | Installation View | Noga Gallery | 2020
SHAAR | Installation View | Noga Gallery | 2020
SHAAR | Installation View | Noga Gallery | 2020
SHAAR | Installation View | Noga Gallery | 2020
SHAAR | Installation View | Noga Gallery | 2020
Untitled 20, 2019, Mixed Media, 40x30cm
Untitled #2, 2019, Mixed Media, 40x30cm
Untitled #4, 2019, Mixed Media, 40x30cm
Untitled #9, 2019, Charcoal on paper 100x70cm
Untitled #15, 2019, Charcoal on paper 100x70cm
Untitled #19, 2019, Charcoal on paper 100x70cm