archive – hazira

DELUZIOT 2024

Under the Sun

The radical concert series “Deluziot” returns to HaZira for two intense days of performances that emerge from the underground and take the theater stage.

This time, each of the artists find their own way to directly confront the gap between the hardship and despair of life in this place, and the poetics hiding within it. This contradicting reality, of which a new horrifying facet is revealed every day, sometimes seems as if it appeared out of the blue. But perhaps, in truth, it has always been this way: What has been will be again, what has been done will be done again; there is nothing new under the sun. The illusion, which seems to have been born thousands of years ago, that one day life here will be bright, continues to shatter again and again, accompanied each time by a different grotesque pyrotechnics. But miraculously, Jerusalem holds an ancient expertise of remaining in an ongoing state of suffering, while waiting for the spectacle of redemption. The preoccupation of the artists who live here with the weight of life itself, and the conflict that this place carries as a genetic code at least a millennium old, gave birth to music that bleeds, cries, spits and seeps a poison that pulsates in their bodies as an existential state. The clash between life and creation brought forth a poetics of fracture and outcry.

Wednesday is a night of fracture:
Cadaver Eyes (Eran Sachs and David Opp.) will present “Autumn Descends / The Road Extends,” fragments of an ongoing collaboration with HaZira, assembled into a record and a performance that hails from a shattered reality to a sensory overload.
Shaul Kohn & Ron Sheskin will play on the broken shards of the amplifiers that Cadaver Eyes leave behind, performing CPR on them by means of double-guitar feedback.

Thursday is a night of outcry:
Tomer Damsky & the Quantum Choir will present the new and ambitious project “Sunken Sun, Suken Soul,” which deconstructs and reconstructs Hebrew folk songs of despair from the archive, and gives voice to the local cry of anguish across the generations.
Marco Milevski Tomasin will offer a glimpse into the development process of OrgaDoom, an electro-acoustic instrument that simulates the sound of a doomsday horn.
Muhammad Cheeta (Sachi Piro & Uri Crystal) will bury us all under a barrage of industrial-noise cries from the inferno of everyday life.

Wednesday 25.12.24
Cadaver Eyes | Autumn Descends / The Road Extends
Shaul Kohn & Ron Sheskin

Thursday 26.12.24
Tomer Damsky & The Quantum Choir | Sunken Sun, Sunken Soul: Lament for a Hebrew Tune
Marco Milevski Tomasin | OrgaDoom
Muhammad Cheetah
DeluZEN: A Contemplative Tour with Lior Pinsky

DELUZIOT | Wednesday 25.12.24

Cadaver Eyes | Autumn Descends / The Road Extends
Shaul Kohn & Ron Sheskin

Cadaver Eyes | Autumn Descends / The Road Extends

Two individuals are facing each other in the dark. They play heavy, ear-splitting music. Both operate at the rawest level of the instruments at their disposal. One uses his body: he drums and screams. He reacts to the world’s violent and oppressive actions on his suffering body. The other plays an electronic system, amplifying the electrical murmur of the silent channels of a no-input mixer, generating unstable sound phenomena. The two navigate as a unit, trapped together in a treacherous and roaring musical terrain. As in an organism, every movement in a cell, even the slightest, causes the entire unit to shift; as in an organism, the cell’s action changes the environment. Cadaver Eyes weave a network of channels for the transmission of high-intensity physical-mental-sonic energy in space. At the site they build from acoustic mud, sludge, and pain, that network is wired to receptors that produce in the listeners the preliminary intense human experience. At its most basic level, their performance replaces the violent reality with an equally intense reality, but one that is fundamentally human and compassionate.

Cadaver Eyes are the drums/no-input-mixer duo of veteran drummer/vocalist David Opp. (BARBARA, Carnation Dingthang, Heart & Crossbone Records) and no-input-mixer virtuoso Eran “Zax” Sachs (Dumitrescu’s Hyperion Ensemble, Asher.Zax). Cadaver Eyes harness their dynamic force through the propulsive structures of Extreme Metal and Hardcore Punk. Their live sound is a total immersive sonic experience – heavy, pounding, and punishing. Their sensory overload operates on the our primal substrate, acting on the very mechanisms that situate us in the world. Projecting their sounds at high volume levels, the acoustic characteristics of the spaces in which they perform necessarily get activated, involving the structure itself in the production of sonic phenomena.

“Autumn Descends / The Road Extends” is the result of a long and arduous process, which intensified in 2022, as Cadaver Eyes started a residency at Hazira. They spent two years researching their relationship to the theater space, collaborating closely with the Tech Poetry team, who constructed costume aparati for the spatial projection of the amplified sound. The project initially dealt with the pain and suffering at the most writhing and primal levels of existence in our age of accelerated capitalism. Over the long stretch of time, another, very personal layer, had accumulated and became deeply infused in the project: life. Life in its hardships and its tributaries, its turns and its crises and the traumatizing scars that it leaves upon us. Cadaver Eyes will open the 2024 edition of Deluziot with a culmination of this vortex, the recorded results of which are also released in an LP by Orthodox Records (Paris).

The performance includes extremely high audio levels, smoke, prolonged darkness and flashing lights, and is not recommended for those dealing with photosensitive epilepsy.

Cadaver Eyes: Eran Sachs & David Opp | Sound design: Marco Milevski Tomasin | Amplifier training: Ron Sheskin | Special Machines: Amit Drori | Development, construction, and technical guidance: HaZira Tech Poetry

Shaul Kohn & Ron Sheskin

Shaul Koh (Andarta) and Ron Sheskin (Karka’it), the scene’s two infamous guitar heroes, converge on Deluziot, each from their own extreme end, to sacrifice themselves on the altar of drone and feedback. In a joint act of destruction and revival, they will breathe new life into the shattered remains of the amplifiers that Cadaver Eyes left behind, and try to extend, for a few moments longer, these instruments’ last throes of life.

DELUZIOT | Thursday 26.12.24

Tomer Damsky & The Quantum Choir | Sunken Sun, Sunken Soul:
Lament for a Hebrew Tune
Marco Milevski Tomasin | OrgaDoom
Muhammad Cheetah
DeluZEN: A Contemplative Tour with Lior Pinsky

Tomer Damsky & The Quantum Choir | Sunken Sun, Sunken Soul: Lamet for a Hebrew Tune

No one in the world, it seems, would want to hear Hebrew folk music right now. Yet, amidst the opening cracks of reality, the Quantum Choir dares to cry out the songs that have been telling, for over a century, about the wounded shards of this place.

From a lullaby in Yiddish to a labor song, from a Russian homeland anthem to a song of abject poverty, and from a Bedouin love song to a kibbutznik’s tune of debauchery: Hebrew song tells more than one story, not only about hope and bravery, but also about the abyss of despair. From the depths of the sound archive, composer and researcher Tomer Damsky has carefully collected ethnographic recordings of songs from the early days of the Yishuv in Palestine, focusing on the depression, frustration, and pain experienced by the early laborers. After extracting them from the archive, she reconstructed them for choir, wind instruments, and drums. Through their deconstruction, a path was revealed, for dismantling the broken narratives of this geopolitical space, for listening to the voices of the past, listening through them, and letting them cry out.

The new and ambitious project of the Quantum Choir comes to HaZira for a rare performance: just before the songs are released as an album and buried once more in the archive from which they came, they will rise from oblivion one more time, to open an imagined space where the melodies keep rolling and changing, to find within the darkness between the sounds a space for cleansing and consolation.

The Quantum Choir, founded by Damsky, is a vocal ensemble that combines contemporary works with radical interpretations of liturgical music. Its repertoire ranges from early polyphony and ancient hymns to folk, metal, drone, and contemporary music. Since its establishment in 2021, it has performed, among other places, at the Israel Museum, the Museum of Italian Jewish Art, the Bat Yam Museum, Diver Festival, and Autumn Cult Festival, recording original works for BBC radio and Ars Electronica Festival, and collaborating with artists and composers including Naama Zisser and Gilad Ratman.

A project by Tomer Damsky (Research, arrangement, artistic direction, executive production)

The Quantum Choir: Singers – Or Aloni, Ilan Barkani, Aya Gavriel, Ido Ben Ami Zohar, Maya Penington, Naomi Shalev, Ron Sheskin, Peter Shapiro, Tomer Damsky. Wind instruments and singing: Amir Lekach Avivi, Noya Fox, Yuval Itzhaki. Drums – Rotem Trifman.

Sound: Ori Kadishay

Transcriptions and research assistance: Amir Lekach Avivi

Marco Milevski Tomasin | OrgaDoom

Seven years ago, when the new tunnels on Highway 1 were inaugurated, Marco Milevski and Eyal Bitton were sitting in the car, stuck in the tunnel in an eternal traffic jam. Suddenly, in one synchronized moment, the walls of the tunnel trembled to the horns of dozens of vehicles. Beneath the thick layer of dissonance, one truck honked in the interval of a fifth. That intense moment, in which one could only sit still, absorb the barrage of horns, and discover the order within chaos, resonated within Milevski’s body for years afterward. In early 2024, he embarked on a research journey into the horn itself. The encounter with that primal mechanism and the raw sound it produces awakened Milevski’s primordial curiosity, the impulse to dismantle the mechanism and observe it from within, and the fantasy of replicating the sound to infinity.

The horn, like an extension of the crying human mouth, has undergone evolutionary processes throughout history that are deeply rooted in humanity’s defining myths. It is the herald on the city walls, announcing a feast as well as an impending war, both the arrival of the king and the approach of foe; it is the aulos of Dionysus, luring the listener into a haze of ecstasy; it is the trumpet of Doom’s Day, raising the dead from their graves; it is the siren, the alarm, the warning; it replaces the scream of the person whose voice is no longer sufficient; and when duplicated, when transformed from singular to plural, it becomes the thunderous organ that simulates the sound of divine thunder.

For a year, in a meditative process where the act of production itself (and not the result) is the heart of the matter, Marco Milevski dismantled, assembled, ordered materials, printed, carved, replicated, sculpted, stretched, measured, fitted, bolted, and gave matter a voice. After what seemed like endless hours immersed in an internal space of pipes, compressors, motors, and rubber bands, he comes to Deluziot to open the door to a process of developing a multi-horn electro-acoustic musical instrument, a mechanical organ unique in its kind: OrgaDoom, the voice that cries out the earthquake of reality.

The project is developed as part of a continuous research residency in HaZira.
Infrastructure, object development, support, and guidance: HaZira Tech Poetry
Technical-artistic support: Amit Drori
Code: Daniel Treistman

Muhammad Cheetah

Fifty percent prophet, fifty percent tiger, one hundred percent Shoah: Yissachar Piro and Uri Crystal, the godfathers of Jerusalem’s industrial-noise scene, named their duo after Muhammad Cheetah, a Congolese striker who, according to legend, almost signed with Beitar Jerusalem but disappeared at the last moment after hearing about the hell awaiting Muslim football players at the Teddy Stadium. When the duo tried to print t-shirts, the factory took the initiative to censor the word “Muhammad” with a black rectangle.

For at least two decades, Crystal (Mujahadeen, SubSonic, Van Paznowsky) and Piro (Remesh, Pica/Cain, Slaves Energy) have existed on the streets of Jerusalem, absorbing despair and compressing it into torn sounds and primeval beats. Sometimes, if you ask them, you might think they have given up on making music. After a long silence, they emerge in Deluziot for a performance that could be the final nail in some coffin, with zero innocence, zero apologies, and zero attempts to pretend they aren’t interested in breaking every inch of our bodies.

DeluZEN: A Contemplative Tour with Lior Pinsky

***more info soon***

Autumn Cult

Each year, it is our custom to turn our gaze to the night sky and discover prophecies, images, and reflections for the impending Autumn Cult. The heavens are adorned with wondrous expressions of creative processes: worlds obliterated in violent explosions, birthing new generations of materials in the cosmos; clouds where star nurseries flourish; and, of course, black holes, steeped in their secrets and gothic promises.
This year, the upward glance reveals ballistic downpours and the resolute flight of war machines. The stars are veiled by black clouds of despair and soot. If only we could cleanse our vision of fear and helplessness. However, this is a time of terror and the collapse of language. The images are coerced, and imagination feels nearly neutralized under the weight of disillusionment which the future may conceal.
We have little to offer in further descriptions of pain and bleeding. We will not attempt to justify the existence of this festival with these opening words, nor will we declare about “the vital role of culture during wartime.” On the contrary, artistic action contracts and trembles in the face of suffering.
We are producing this festival for the same reason that the Squill grows.
We strive to avoid being crushed between escapism and activism, yet we agree to sip from the strange blend of pain and beauty, violence and compassion. In the biological clock of the HaZira Theatre, autumn brings with it the Autumn Cult. As the world outside becomes increasingly colder, it is time to return from the summer’s events to the intimacy of the halls, moving from the blinding brightness of summer into the darkness of the stage. This is the epicenter of our activity in the HaZira Theatre, the moment in the year to ignite the metaphorical flame that will accompany us into the next season.
Autumn is a season of twilight, perfectly suited to our work in HaZira: interdisciplinary art—art of twilight. It is also the time when the city’s schools commence their annual cycle, this is an opportunity to witness vital art that is echoing the voice of the moment, and to be filled with the spirit of intrigue as the academic year begins.
We invite you to witness several events within the festival and experience the unfolding of the Autumn Cult and its energy accumulating from night to night.

Autumn Cult 2024 offers a complex experience. It is not a festival of encouragement or celebration. It is a festival of fierce storms performed by intense, dedicated artists. Some develop their works through confrontation, friction, and struggle—within personal, internal, political, and historical realities. Others grapple with Western civilization trying to shatter its identity characteristics. Some strive to undermine phenomena in an attempt to momentarily capture a fragment of the sublime.

Untitled, November 2024

In October 2023, Tamy Ben-Tor uploaded her video work Dear Hamas to her private Instagram account. Within minutes, she received death threats and antisemitic slurs. She was fired from her teaching position in video performance at Hunter College in New York. What might have once sparked a discussion, or even a heated debate, about an artistic action, quickly turned into a campaign of obsessive violence and defamatory antisemitism, orchestrated by pseudo-pro-Palestinian student groups. The attack spread from art blogs in Brooklyn to Turkish national television. These events are part of a long-building rupture, a festering wound. It is no coincidence that in Dear Hamas, Tamy predicted—just days after the events of October 7th—the intensity of the poison that would set university campuses ablaze in the months to follow. Tamy has long been critical of the moralistic progressiveness that seeps into all areas of life, operating in the name of justice and equality with a mechanistic and opportunistic automatism and dogmatism belonging to propaganda. Her experience and response to the witch-hunt against her are deeply embedded in the new performance she will present at the Autumn Cult 2024.

Tamy lives and creates in Brooklyn, New York. She uses spoken word, soundtracks, costumes, masks, and wigs to create her characters, whom she defines as “hysterical incarnations of the environment.” These characters appear in video works and live performances. The totality of performance and unique skills required for each character blur the boundaries of action. One may wonder if Tamy is “playing,” “embodying,” or “channeling” her characters, which are exaggerated and heightened interpretations of the “normal” (which in itself undergoes a systematic extremization). Her work is composed of images and texts that build slowly out of exaggerated identification with problematic, offensive, and racist states of consciousness. Each character is created like a surrealist collage, where states of consciousness and mind that would “normally” never exist together in one personality coexist. This schizophrenia generates new and intense energy.

Tamy Ben-Tor is a graduate of the School of Visual Theatre in Jerusalem and holds a master’s degree in art from Columbia University in New York. Over the past twenty years, her works have been shown worldwide, primarily in the context of museums, galleries, and alternative exhibition spaces. Her work is part of a larger collaborative project with painter and photographer Miki Carmi. Alongside joint exhibitions, the two have published the following books: Disembodied Archetypes, Regency Arts Press, 2008 and Archive, Minerva Press, 2021.

Tami has, among other places, exhibited at: Moderna Museet, Stockholm; Atlanta Contemporary Art Center; Kunsthalle Winterthur; Cubitt, London; ZKM, Karlsruhe; Institute of Contemporary Art, Philadelphia; Biennale of Sydney; Manifesta 7; Mori Museum, Tokyo; MoCA, Los Angeles; Reina Sofia, Madrid; PERFORMA 05 and PERFORMA 07 Biennials, New York.

Hebrew and English

Hazira and Tamy Ben-Tor wish to declare that the performance is not politically correct and may be perceived as offensive. The performance may include sexual language and content, as well as improper references to racial, national, and gender identity.
Photography is prohibited during the performance.

Terminator

Nimrod Alexander Gershoni returns to the Autumn Cult with a new premiere. Following the endless plunge of his work A-Hole (Night to Forget, Autumn Cult 2022), Gershoni positions himself in a near-future dystopia, continuing his exploration of the human condition, as he is stuck in a single action that stretches infinitely. The suspension of time and the elongation of the situation evoke a sense of the uncanny—an aspect he investigates in his works.

At the center of the fragmented narrative of Terminator is a pair of puppets—loving figures—trapped in a surreal roller coaster designed as a fishing boat. It races through a loop into infinity, moving at a chilling speed while remaining stationary. In this paradoxical, artificial world, the most natural conditions for debates and discussions about love, time, and existence are created. The result is a portrait of fragile identity swirling in a vortex of time, radiating the light of a poetic yet morbid realm.

Nimrod Alexander Gershoni is a multidisciplinary artist specializing in performance, video, and installation art. His work navigates the audio-visual space. In his investigation of the uncanny, he blends live experiences with mediated media, crafting a stunning and dark world of images and sound. Gershoni challenges the boundaries of perception through manipulations of scale and real-time video synthesis. His works have been exhibited in prominent institutions such as the Tel Aviv Museum of Art, the Contemporary Art Center in Tel Aviv, and HaZira Theatre in Jerusalem. His creations delve into themes of time, identity, and human relationships, resulting in immersive and thought-provoking performances that blur the line between reality and abstraction.

Swedish with Hebrew Surtitles
The performance includes flickering lights and high volume sound.

Concert

Winter Family is Ruth Rosenthal and Xavier Klaine. They met in Jaffa in 2004, and since then have lived mostly in Paris with their daughter, Saralai, who has been a significant part of their performances since 2016. Winter Family has developed a rugged, rich, and minimalist world that plays with codes and conventions. Initially, they began with musical performances across the world, in clubs, museums (Louvre, Palais de Tokyo, Art Basel), squats, and churches (St. Ann & the Holy Trinity Church, New York, St. Eustache Church, Paris, Church of the Dormition, Jerusalem).
Since 2012, they have also been creating documentary Theatre, focused on radical, controversial plays that raise burning questions without providing answers, placing the audience in an uncomfortable position and heightening their awareness. Their Theatre performances are produced by the Theatre Vidy-Lausanne, MC93, the Avignon Festival, the National Theatre of Brittany (TNB), and more. They have collaborated with numerous artists, choreographers, and filmmakers, composing soundtracks for stage productions, films, train journeys, and even a few commercials.
The music of Winter Family is described as ‘doom swing,’ ‘funeral pop’ or ‘weird wave’ It is dense, saturated, emotional, simple, and obsessive. Ruth speaks her texts, plays drums, machines, and bells. Xavier plays the organ, piano, philicorda, harmonium, sitar, and celesta. Saralai plays the flute, machines, and sings.

Ruth Rosenthal was born in Haifa and grew up in Jerusalem. She graduated from the School of Visual Theatre in Jerusalem and has performed and designed lighting for various dance and Theatre projects in Israel. Xavier Klaine grew up in Maxville, Lorraine. He won first prize in piano and chamber music at the regional conservatory of Nancy and holds a master’s degree in political geography from the Sorbonne in Paris. He played bass in several hardcore bands.

The family’s discography includes the radio piece Jerusalem Syndrome, commissioned by Radio France in 2009, and albums released on labels such as Sub Rosa (Brussels), Alt.vinyl (Newcastle), Ici d’Ailleurs (Nancy), and Psychic Mule (New York). This year, they released their fourth album, On Beautiful Days.

“Winter Family does not explore the irrationality of the world but the feeling of a non-world…”
Ainoa Jean Clémence, Mouvement magazine

“Their songs have the character of ebb and flow, where moments of pure beauty from chamber post-rock anthems alternate with cascades of aggressive noise. ‘Winter Family’ is a world unto itself—a stunning world, like a nature reserve, and at the same time foreign, frightening, and demanding like a forest in the dead of night.”
Avi Pitchon, Haaretz

Spite Your Face

Tamar Harpaz’s installations function as encrypted and shattered mysteries, scenes throughout which clues are scattered. They require the viewer’s presence and gaze, as a forensic investigator collecting findings that can be revealed in a slight shift of perspective or body movement. Her enigmas are constructed from everyday objects embedded within a web of optical and kinetic mechanisms, through which they are reflected, replicated, and sometimes heard. Viewers wander between the physical presence of the objects and their reflection, witnessing but not always apprehending the overt manipulation at work, weaving the narrative maze.

Harpaz’s works are based on analog mechanisms yet defiant of the digital age in which they are present. They raise questions about current times, the elusiveness of perceiving reality, and the possibility of articulating tangible truths in a world reflected through screens and simulacra.

The meticulously measured installations are formed by a delicate craft of relationships between materials. They are born from chaotic work processes that begin with the collection of various references: from classic and esoteric cinema, through the history of sciences, to current events and personal experiences. These are brought into the studio, where Harpaz conducts wild experiments of sorts, applying physical forces to different materials. From these, she distills the specific mechanisms and images that will form the puzzle pieces of each of her works.

Spite Your Face is presented in the darkness of Hall 1 of Hazira, a space that, between performances, serves as a storage and workshop. Harpaz preserves the various uses of the space, and the installation appears alongside leftover sets and stored work surfaces. The darkness is pierced by beams of light projected onto colored glass panels, glittering facades that the light extracts their gleaming brightness. Simultaneously, the light reveals a network of reflections through which the backstage of the facade unveils. Like in a sadistic plastic surgeon’s operating room, the effort to suture the facial fragments, to hide and smooth the trauma, is exposed. The glow reveals the fragility of the facade and uncovers the violence and horror involved in maintaining a semblance of unity.

Spite Your Face will be on display in two rounds:
July 5-18, 2024
July 26-August 8, 2024

Opening hours:
Tuesday, Wednesday, Thursday: 16:00-20:00
Friday: 12:00-16:00

Miraculous Aspects

First and foremost, Ana Wild is an artist of words. She is interested in the connections between language and meaning, and tells stories from the forgotten past and the unknown future. Her works explore various forms of learning and knowledge, appearing as text, object, or event. They offer mythologies that wander in peculiar ways to the present, where Wild presents how worlds can be created ex nihilo, out of nothing. Her creative practice stems from meticulous yet playful research, gathered and embodied in a performative action, where the transfer of knowledge takes on a wondrous artistic form of shared imagination.

Her new work, Miraculous Aspects, deals with a moment of revelation. During one of Moses’ wanderings in the land of Midian, he encounters a vision: a burning bush that is not consumed, from which a divine voice emerges. This is the moment when Moses becomes a prophet, and the starting point for the redemption story of an entire people. In Wild’s work, the burning bush is a destination in a journey that can be reached through a surrender to the miraculous dimension, inviting us to believe.

Out of the darkness of the everyday and the obscurity of reality, Wild creates illusions born from words and sounds, all existing in the black void of the theater. Bodiless voices resonate throughout the space, creating environments, actions, and scenes within it. By stripping away the visual elements of the stage and relinquishing what is seen, space is created for the non-visual image formed by language, allowing a story of faith and imagination. At a certain place in the desert, at a specific time of day, the sun sets behind the mountain, illuminating a rock. There, you may believe the bush is burning, beyond the event horizon.

The dark theater is a space of consciousness where the body merges with the spirit, and the seen with the imagined. Here, the audience gathers for a shared moment of revelation, invited to say yes: yes to the make-believe, yes to the wonder, yes to being together.

*Please note that the work is in Hebrew with no translation

Miraculous Aspects will be on display between July 5-18, 2024

Opening hours:
Tuesday, Wednesday, Thursday: 16:00-20:00
Friday: 12:00-16:00

Entrance will be possible every half an hour

Four Moons

In his observations of the cosmic theater at the beginning of the 17th century, Galileo Galilei witnessed three moons floating near the planet Jupiter. It was only later that a fourth moon, which was previously hidden, appeared. Through the lens of his refined telescope, he observed the movements of these moons as they disappeared and reappeared, each following its own trajectory around the distant planet. This celestial vision radically changed the perception of humanity’s place in the universe, leading to the proof of the Copernican model, which argued that Earth is not the center of the world but rather a small part of a large system orbiting the sun.

The exhibition “Four Moons” concludes the Art Incubator Project at Hazira Performance Art Arena in which four artists – Tamar Harpaz, Ofer Laufer, Merav Svirsky, Ana Wild – were invited to conduct material and conceptual experiments within the theater’s halls: to build and refine artistic mechanisms, to imagine, discover, and rethink the space of the theater stage. Each project stands on its own but was developed from a shared system of knowledge exchange that Hazira enables, while expanding its interdisciplinary approach.

At the center of each work developed in the Incubator are the relationships between performance and phenomenon. The encounter with the laws of nature, with the world and its secrets, is present in the works through a focus on image-generating mechanisms. The exposure of the spectacular mechanism in the imaginary space of the theater places the viewer in the gap between sight and insight, and in the magic it may unfold. In the elusive tension between doubt and its suspension, emerges a collective longing for a human moment of grace.

As in Galileo’s first observation, in the current vision at the theater, only three of the four moons of the Incubator appear. The exhibition’s image, which follows the moon’s orbit, is taken from an earlier work by Merav Svirsky, our partner in this journey. The project she developed for the Incubator was abruptly halted on October 7, and her research suspended. We long for the moment when she will be able to renew her gaze towards the phenomena of nature, towards art, and synchronize with the movement that she began in Hazira a year ago.

“Four Moons” was created in the framework of the Mifal Hapais Art Incubator Program, an initiative of the Mifal Hapais Council for the Culture and Arts

The works will be on display in two rounds:

Round 1: Tamar Harpaz, Ana Wild
*The entrance to Wild’s work will be possible every half an hour

Opening: 5 June, 2024, 12:00-16:00
Closing: 18 June, 2024, 16:00-20:00

*Please note that Ana Wild’s work is in Hebrew with no translation

Round 2: Tamar Harpaz, Ofer Laufer
*The entrance to Laufer’s work will be possible every round hour. Please pre-register here

Opening: 26 July, 2024, 12:00-16:00
Closing: 8 August, 2024, 16:00-20:00

Opening hours:
Tuesday, Wednesday, Thursday: 16:00-20:00
Friday: 12:00-16:00

For additional information about the works: