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The present issue is set against the imminent new round of elections. The uncertain future means instability, with different bodies in the art scene putting their plans on hold. Everyone is wondering what the morrow may bring and if and how it may come to bear on our industry. This unpredictability makes it hard to plan ahead, but it can also inspire creative enterprises that may lay dormant in calmer times. Very soon a clearer picture of this country shall emerge and we will find out which changes are about to take place, if any. A country on hold.

A new, captivating exhibition - A New Age: The Spiritual in Art, curated by Ruth Direktor, is now showing at the Tel Aviv Museum. Comprising different, intuitively enmeshed sections, the exhibition has been the focus of much attention. This is a prime opportunity to see several pieces never before shown in Israel. The works of Hilma af Klint are enigmatic, mainly due to their long-overdue exposure, and now they seamlessly integrate in the current artistic landscape and enjoy an all-round acclaim. The works of Marina Abramovi? take viewers on a hands-on experiment, painstakingly designed by her: Brilliant as ever.
Dan Birenboim’s exquisite exhibition, curated by Roni Reuven, is currently showing at the Art Studio of Yavneh, while the large space of the studio is hosting another fine exhibition by the Sheva Art group, curated by Arise Berkowitz. Looking it this exhibition, you cannot help but wonder about the artistic, thematic justification of bringing together those different female artists, who are nothing like one another. Does self-promotion justifies this joint venture, or is their activity underpinned by any common artistic manifesto?

Tagrid Habib’s solo exhibition is currently showing at Kfar Yasif’s Ibdaa art gallery. I decided to leave the text as it is, unedited or proofread, so as to retain the ingenuity and depth of the artist’s language. I find her ongoing activity, straddling her different sectors of affiliation and her personal conclusions from this life to be significant, as authentically reflected in her works.

One exhibition of great original and interesting potential is currently showing at Beit HaOmanim, Tel Aviv. Curated by Orly Hoffman, it explores developments in the growing number of shared spaces throughout the art scene. This enterprise intersects with the obvious previous question, of whether individual artists’ narrow interest of personal promotion justifies the joint ventures that lack any common ground, but may serve a hotbed for artistic thematic endeavors.

Hana Barak Engel
 
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