Group exhibition of Megido Council artists Curator: Shulamit Weinstein Israel

Nadia Adina Rose Curator: Shir Meller-Yamaguchi

Osnat Ben Dov Curator: Shir Meller-Yamaguchi

Ruthi Helbitz Cohen Curator: Shir Meller-Yamaguchi

Elegant and Subtle Beauty, Chinese Paintings Chinese painting and calligraphy has a very long history, during which it formed its own art culture that is completely different from western painting, and has become an important token of Chinese arts civilization.

[metaslider id=165] Curators: Shir Meller-Yamaguchi and students from the course “The Exhibition as a Dialogue”, Eye Contact Center, Art Institute, Oranim Academic College The exhibition was made possible through the support of Kulanana, Merchavim Institute, and the Ministry of Education, Northern district.

This series of works was created as a dialogue with excerpts from T. S Eliot’s "Four Quartets". The images emerged from a desire to find a visual echo that could enhance the resonance and contemplative quality of the poetry. For this, the simplest materials seemed the most appropriate – starting with the pristine quality of the white water-colour paper where pine needles, twigs, dried leaves and roots were placed.

The Story is in the Scroll: Chinese paintings from the museum collection Curator: Anat Turbowicz 8/2007 – 12/2007 The exhibition presents a selection of 20 Chinese paintings from the collection of the Wilfrid Israel Museum in Kibbutz Hazorea.

Visual Scripts Curator: Shir Meller-Yamaguchi 11/2013 – 4/2014 Between Painting and Writing The exhibition "Visual Scripts" explores the affinities between writing and painting in the cultures of the Near and Far East, and some of its manifestations in Israel art.

When the Gods reveal Themselves Shir Muller-Yamaguchi & Anat Turbowicz One of the most dominant characteristics of Indian culture is the abundance of deities.

The Itamar Procaccia Collection of Japanese paintings presents a variety of paintings, mostly from the Edo period (1615-1868), and brings to light the spirit of creativity which characterized Japanese art during this period when numerous schools of paintings flourished concurrently.

Manar Zuabi"'"s new video and installation work, Humma (Fever), continues to solidify the unique language she has been weaving during fifteen years of artistic practice.

Penny Hes Yassour defines herself as a cartographer-artist. The concept of a "mental map" has served her as a field of research from the outset of her artistic career, linking her two areas of study: geography and art.

A multiarmed sculpture hovers in the back of the space, with a brain made of coral and vertebrae carved of branches that Moshe Roas gathered on his excursions; an imaginary dragon, the mythological gatekeeper, whose vanquisher will win the kingdom’s secret treasures. Between Roas’s personal and family mythology and the ominous winds blowing around us these days, the dragon holds a dual role: It is the epitome of our fears and at the same time, our protector from them.

In Hanita Ilan’s work, painting and erasing act as a conceptual and aesthetic conduit, by which she points to the transience of utopias and ideologies that collapsed in the face of the tumultuous reality.

Like Scheherazade in One Thousand and One Nights, in this exhibition Ella Amitay Sadovsky assumes the role of a storyteller, unfolding absurd fictional tales with no beginning or end. Like the Eastern folktales, and like life itself, these intertwine multiple and even contradictory narratives, alternating between a contemplative and amused tone.