"I am at the bank be right back"

Come to say goodbye. An exhibition by Asaf Kliger

This three-room apartment will be rented, to a young couple or two roommates, immediately after the exhibition. The walls have already been stripped of all the decorations that the previous tenants hung, and have been painted in preparation for the new generation of tenants. These new residents still do not know that they will live here, and when they do know they certainly will not know the story of those who lived here before them.

In this rare moment of transition, where an apartment in a very desirable area of central Tel Aviv sits nearly empty, it’s face is changed as it becomes a temporary exhibition space. The naked walls are filled with meaning and emotion. The exhibition sublet in this apartment represents a ritual baton, a transfer between generations.

The last tenant of this apartment was my grandfather, Zvi, who was fortunate enough to be a happy man. I, the grandson of Zvi, was lucky to be a photographer. This exhibition, presented four months after his death, is the product of the lucky combination of his photogenic joy and my fervent documentation. Here are a series of photographs taken during and after my grandfather’s last 12 years, by myself and by my grandfather's family. In those years, when I stood in front of him with a camera, I did not prepare my mind for the project, but acted out of a desire to maintain emotional memory of him. For me, for my family and for future generations. Appropriately designed to photograph and I preserved the memory of my source, the source that died and took with it the various sources that were imported from other countries. The exhibition is my attempt to fill that space.

But this is not just a personal, artistic obituary; it is also an opportunity to share thoughts on the technological changes, on the economy, on place and time. And the time is a time of changes. The chairs used by the occupants of this house for decades have already been granted the status of "vintage", the Singer sewing machines my grandfather fixed in his store no longer need to be fixed because they have become collectors' item decorations, the real estate model that allowed him to keep the business dissolves, and at the ruins of his family home in Warsaw, hundreds of residents living in Soviet complex built after the war. The exhibition is also an attempt to reflect the complex personality of life in a variety of colors. As all the walls and different rooms are reflected in this house, so the materials displayed on the walls make up the character of my grandfather: On the left side a stubborn family celebrations’ singer, on the right side a true Tel Avivian who devoured the world with a smile, and in the entrance a Yiddish speaker who had a mysterious affair with Argentina.
When the exhibition closes on November 10, this apartment will make the ad on the Internet. My grandfather's smile will continue to exist. zei gezunt

Maror - Bezalel,Jerusalem

Refugees from Darfur, South Sudan, Eritrea, and other areas of conflict, in addition to students and volunteers, will present artwork on the topic of genocide, asylum, and freedom.
This exhibit aims to raise awareness regarding the dangers of immediate deportation of asylum seekers back to Egypt, and of the ongoing crimes against humanity in Sudan, Eritrea, and other countries that refugees flee from. It also addresses the need for am Israeli policy consistent with the 1951 Geneva Convention initiated by Israel, where all Asylum seekers, on an individual basis, have the right to apply for asylum by proving they are refugees—defined as individuals fleeing for their lives because of their ethnicity, religion, political opinion, and/or gender.

Equally important, the exhibit will celebrate refugees escape from Egypt, just weeks before Jews celebrate the Passover Holiday and their own redemption from Egypt. 


The time of the spectacle - Lund  Sweden

The decisive moment is an essential concept in the history of photography and its traces remain apparent in contemporary photography.
The photographer is using his skills and the camera function to isolate one moment from a sequence of occurrences, a moment that captures the decisive moment of the event.
As a photojournalist and event photographer I'm required to get the best shot by one or several frames to represent the event. By the photography medium, the source of my work, I aspire to examine the conceptual mode of leisure and peak moments, as well as the decisive moment. I choose to focus on mass crowd events that characterize the consumption culture and in this work I present different representations from the standard versions.
The project is photographed by long exposure while the exposure is measured and determined by the length of the event.
The single picture contains the time and memory and asks of the viewer to experience photography in a different manner than he's accustomed to.
The selection of long exposure is made according to the type of the event, which for most people is a passive experience.
The passiveness of the viewer at the event means it isn't possible for the viewer to be active and makes him feel that the event is real andtrue, while the event and the place is simulation and sometimes is simulacra.
The simulacrum doesn't conceal the truth -- it is the truth which conceals. The simulacrum is the truth.
The result of the long exposure is that the spectator sometimes exists as a ghost and sometimes doesn't exist at all. But the place always exists and its glory can be captured.
The project raises the question about objectivity in representing and realism in the photography world.