Exhibitions

In prehistoric times, human beings and animals roamed the Earth as equals. Like the animals, human beings were subject to the forces of nature, adapting to far-reaching climate change, wandering in search of water and food, hunting and being hunted.

The desire for objects, the passion for "shopping," is translated today into a popular pastime. Indeed, a large part of happy humanity solemnly attends the rituals of consumption, equipped with credit cards. Its goal is to find meaning and discover a new identity: "I consume, therefore I am"; I am inseparable from a large group of happy beings – consumers of merchandise and opportunities.

The critical-ironic gaze appearing often in the exhibited works emphasizes the carnivorousness aspects of feminine shopping.The act of shopping itself is depicted as some sort of a subversive practice. The exhibition manifests the ways in which artists, particularly young female artists, use excess and radicalization as the means of artistic creation

Eyal Assulin's visual language explores the culture of prosperity with reference to global socio-economic aspects. His works engage with Eastern culture, featuring a matrix of historical, gender, and artistic status symbols. These are presented in a forthright manner that parodies the bulimic impulse of contemporary consumerism.

Hannan Abu-Hussein's installation consists of used brassieres fixed in cast concrete. This technique is characteristic of her works, which often use unconventional raw materials. The artist employs these materials in order to express her personal-feminist voice on the issues of religion, capitalism, sexual exploitation, love, and personal freedom.

In her works, Addie Wagenknecht addresses the ethos of the hacker culture and the dark side of the data systems that construct contemporary reality. In the installation Shrine for iPhones (2018) the artist creates a kind of monument to outdated mobile phones that are discarded after each technological update.