https://angelikasherart.com Angelika Sher Thu, 10 Sep 2026 09:08:50 +0000 https://angelikasherart.com en https://angelikasherart.com/index Wed, 02 Mar 2022 09:28:15 +0000 Angelika Sher https://angelikasherart.com/index https://angelikasherart.com/Almost-Still-2025-2026 Thu, 10 Sep 2026 09:08:50 +0000 Angelika Sher https://angelikasherart.com/Almost-Still-2025-2026 <img width="2669" height="1760" width_o="2669" height_o="1760" data-src="https://freight.cargo.site/t/original/i/0aff5b8661dd853a0a18aed97cfc9716ecc7dd578ce66c5497b07f428080421c/Print-copy.jpg" data-mid="252022235" border="0" src="https://freight.cargo.site/w/1000/i/0aff5b8661dd853a0a18aed97cfc9716ecc7dd578ce66c5497b07f428080421c/Print-copy.jpg" /> <img width="1760" height="2576" width_o="1760" height_o="2576" data-src="https://freight.cargo.site/t/original/i/3ccb56cf50afec9b19b5eb72eaf28b9472f1dfd3b792fa0c2c5900bd3f9cf9ae/B0007039-copy.jpg" data-mid="252022221" border="0" 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data-src="https://freight.cargo.site/t/original/i/98f17732699fba805be5079970cdc8775c721863655cd5877acf14d5c49df117/B0006800-copy-2.jpg" data-mid="252022231" border="0" src="https://freight.cargo.site/w/1000/i/98f17732699fba805be5079970cdc8775c721863655cd5877acf14d5c49df117/B0006800-copy-2.jpg" /> <img width="1196" height="1760" width_o="1196" height_o="1760" data-src="https://freight.cargo.site/t/original/i/091506e128beb5a710b09166cce62bcdf4b63307090d2c0398a0519a9f3cef5d/ABPO-copy.jpg" data-mid="252022233" border="0" src="https://freight.cargo.site/w/1000/i/091506e128beb5a710b09166cce62bcdf4b63307090d2c0398a0519a9f3cef5d/ABPO-copy.jpg" /> <img width="1262" height="1760" width_o="1262" height_o="1760" data-src="https://freight.cargo.site/t/original/i/c265458b30853459172148c94fd01f21defe8c0b5202d36be9e8ce5f51ccc870/Bpra-copy.jpg" data-mid="252022234" border="0" src="https://freight.cargo.site/w/1000/i/c265458b30853459172148c94fd01f21defe8c0b5202d36be9e8ce5f51ccc870/Bpra-copy.jpg" /> <img width="1320" height="1760" width_o="1320" height_o="1760" data-src="https://freight.cargo.site/t/original/i/1f8ea623d2ce4618ac2f6301e85cefc46378fc053a215068023f7750b39b51c4/Bprintpsd-copy.jpg" data-mid="252022230" border="0" src="https://freight.cargo.site/w/1000/i/1f8ea623d2ce4618ac2f6301e85cefc46378fc053a215068023f7750b39b51c4/Bprintpsd-copy.jpg" /> <img width="1097" height="1760" width_o="1097" height_o="1760" data-src="https://freight.cargo.site/t/original/i/cba286f8d7cdc033658014bec7c6cab4621bfd44750cb42d25c8da746ac64fad/B0007146-copy.jpg" data-mid="252022237" border="0" src="https://freight.cargo.site/w/1000/i/cba286f8d7cdc033658014bec7c6cab4621bfd44750cb42d25c8da746ac64fad/B0007146-copy.jpg" /> <img width="1229" height="1760" width_o="1229" height_o="1760" data-src="https://freight.cargo.site/t/original/i/09b36c38df0bbcac1aea1a321c1ab16ce84ceb64d0d22002bc431d80245dc82e/B-copy.jpg" data-mid="252028207" border="0" src="https://freight.cargo.site/w/1000/i/09b36c38df0bbcac1aea1a321c1ab16ce84ceb64d0d22002bc431d80245dc82e/B-copy.jpg" /> <img width="1760" height="1334" width_o="1760" height_o="1334" data-src="https://freight.cargo.site/t/original/i/2f904ff0f69f17b2888325cfd57bd9b719c4e4f18e4b0f2609ac32487692b12c/Untitled-1-copy.jpg" data-mid="252022251" border="0" src="https://freight.cargo.site/w/1000/i/2f904ff0f69f17b2888325cfd57bd9b719c4e4f18e4b0f2609ac32487692b12c/Untitled-1-copy.jpg" /> <img width="1165" height="1760" width_o="1165" height_o="1760" data-src="https://freight.cargo.site/t/original/i/39a7dda74c7295f0231c2a29fbdb9d70a600585fe378e1377d7538f4937d9092/B0006263.jpg" data-mid="252022247" border="0" src="https://freight.cargo.site/w/1000/i/39a7dda74c7295f0231c2a29fbdb9d70a600585fe378e1377d7538f4937d9092/B0006263.jpg" /> <img width="1222" height="1760" width_o="1222" height_o="1760" data-src="https://freight.cargo.site/t/original/i/7ff8f1789f7817ed07ab912c75bd1ce5705824a5150c4b88548d1617d9c55c98/B0006616-copy.jpg" data-mid="252028398" border="0" src="https://freight.cargo.site/w/1000/i/7ff8f1789f7817ed07ab912c75bd1ce5705824a5150c4b88548d1617d9c55c98/B0006616-copy.jpg" /> <img width="1760" height="1760" width_o="1760" height_o="1760" data-src="https://freight.cargo.site/t/original/i/9388a02148db6a0ab66ab176c4449bff6e0a4baec2fd332f9a512e32fdbfe795/B2-copy.jpg" data-mid="252022263" border="0" src="https://freight.cargo.site/w/1000/i/9388a02148db6a0ab66ab176c4449bff6e0a4baec2fd332f9a512e32fdbfe795/B2-copy.jpg" /> <img width="1760" height="1185" width_o="1760" height_o="1185" data-src="https://freight.cargo.site/t/original/i/24747db6bae29bbb3d5d44f273909f719db0c645ca77f5e887129093fe2fc025/B0006411aA-copy.jpg" data-mid="252022262" border="0" src="https://freight.cargo.site/w/1000/i/24747db6bae29bbb3d5d44f273909f719db0c645ca77f5e887129093fe2fc025/B0006411aA-copy.jpg" /> <img width="1266" height="1760" width_o="1266" height_o="1760" data-src="https://freight.cargo.site/t/original/i/b90494baa1bd152ef764721fb377280f9d935a5467edf124a60a0663c6296f22/A4-copy.jpg" data-mid="252022264" border="0" src="https://freight.cargo.site/w/1000/i/b90494baa1bd152ef764721fb377280f9d935a5467edf124a60a0663c6296f22/A4-copy.jpg" /> <img width="1266" height="1760" width_o="1266" height_o="1760" data-src="https://freight.cargo.site/t/original/i/7398376c80c958ec2febdb3fc2392fdf1c402c2f6c5a75ba10b0959d704c37ce/A3-copy.jpg" data-mid="252022265" border="0" src="https://freight.cargo.site/w/1000/i/7398376c80c958ec2febdb3fc2392fdf1c402c2f6c5a75ba10b0959d704c37ce/A3-copy.jpg" /> https://angelikasherart.com/Geography-of-Belonging-2022-2024 Wed, 15 Jul 2026 06:23:02 +0000 Angelika Sher https://angelikasherart.com/Geography-of-Belonging-2022-2024 Geography of Belonging (2022-2025)&nbsp; Geography of Belonging explores the unstable sense of identity formed between Lithuania, where I was born, and Israel, where I live. Through photographic montage, architectural spaces and landscapes from these two places are brought together into imagined yet psychologically familiar environments. European buildings merge with deserts, cacti, orange groves and fragments of human presence, creating spaces in which memory and geography overlap. The project reflects on migration, cultural displacement and the attempt to belong simultaneously to two places, while at times feeling fully at home in neither. <img width="1056" height="709" width_o="1056" height_o="709" data-src="https://freight.cargo.site/t/original/i/005d2a1b00d8b3c62b7f56b12536c28c72b43b04485558e0c01ff333b9737c57/c4.jpg" data-mid="250435128" border="0" src="https://freight.cargo.site/w/1000/i/005d2a1b00d8b3c62b7f56b12536c28c72b43b04485558e0c01ff333b9737c57/c4.jpg" /> <img width="2202" height="1476" width_o="2202" height_o="1476" data-src="https://freight.cargo.site/t/original/i/a1d9b4d8cdb4121b7cf01acf982c73b464a0fd7a18881e333835b9c623373967/c111.jpg" data-mid="250508971" border="0" src="https://freight.cargo.site/w/1000/i/a1d9b4d8cdb4121b7cf01acf982c73b464a0fd7a18881e333835b9c623373967/c111.jpg" /> <img width="1057" height="709" width_o="1057" height_o="709" data-src="https://freight.cargo.site/t/original/i/8ee260254ee5840cdc148cbb0f5806e035d6dc850f62e10203c71809f14b7658/cc6.jpg" data-mid="250508973" border="0" src="https://freight.cargo.site/w/1000/i/8ee260254ee5840cdc148cbb0f5806e035d6dc850f62e10203c71809f14b7658/cc6.jpg" /> <img width="1057" height="709" width_o="1057" height_o="709" data-src="https://freight.cargo.site/t/original/i/9bd186a5134d6ff990186be54640e2607dc0ca10393d31258f1ed12ffdb265b2/ccfab-1.jpg" data-mid="250508972" border="0" src="https://freight.cargo.site/w/1000/i/9bd186a5134d6ff990186be54640e2607dc0ca10393d31258f1ed12ffdb265b2/ccfab-1.jpg" /> <img width="1056" height="709" width_o="1056" height_o="709" data-src="https://freight.cargo.site/t/original/i/2fc2010537e3f41103bb7c121c00b052ab5f94a4478c9a7b2d5d0938f829cb12/c01.jpg" data-mid="250508982" border="0" src="https://freight.cargo.site/w/1000/i/2fc2010537e3f41103bb7c121c00b052ab5f94a4478c9a7b2d5d0938f829cb12/c01.jpg" /> <img width="1057" height="709" width_o="1057" height_o="709" data-src="https://freight.cargo.site/t/original/i/1849ead78c276d1965356aed4eb767d0568eb9ef2f0779489b53c2e04b5637b3/c5.jpg" data-mid="250508981" border="0" src="https://freight.cargo.site/w/1000/i/1849ead78c276d1965356aed4eb767d0568eb9ef2f0779489b53c2e04b5637b3/c5.jpg" /> <img width="1059" height="709" width_o="1059" height_o="709" data-src="https://freight.cargo.site/t/original/i/3379ad5d26000fbb2717a22f5b302dfdaed2cb4643388f6ba7d5b0f0808a89fe/S1.jpg" data-mid="250509281" border="0" src="https://freight.cargo.site/w/1000/i/3379ad5d26000fbb2717a22f5b302dfdaed2cb4643388f6ba7d5b0f0808a89fe/S1.jpg" /> <img width="1760" height="1181" width_o="1760" height_o="1181" data-src="https://freight.cargo.site/t/original/i/f666b928257c07e32a98eb8fa07b0f0a0a368613d191a69624c1db52bea6805f/c1.jpg" data-mid="250508983" border="0" src="https://freight.cargo.site/w/1000/i/f666b928257c07e32a98eb8fa07b0f0a0a368613d191a69624c1db52bea6805f/c1.jpg" /> <img width="5478" height="7304" width_o="5478" height_o="7304" data-src="https://freight.cargo.site/t/original/i/0192eb2e692acca642a98fa53ea6689595dd1ae5169d093994c3a2cba81a02fb/cactuscharg.jpg" data-mid="250508985" border="0" src="https://freight.cargo.site/w/1000/i/0192eb2e692acca642a98fa53ea6689595dd1ae5169d093994c3a2cba81a02fb/cactuscharg.jpg" /> <img width="1063" height="1417" width_o="1063" height_o="1417" data-src="https://freight.cargo.site/t/original/i/3504277114b67e82bba193d6a8b32665785caae1e517ff6cb6186bb24173a495/B03.jpg" data-mid="250508984" border="0" src="https://freight.cargo.site/w/1000/i/3504277114b67e82bba193d6a8b32665785caae1e517ff6cb6186bb24173a495/B03.jpg" /> https://angelikasherart.com/By-The-Window-2022 Fri, 06 May 2022 13:20:42 +0000 Angelika Sher https://angelikasherart.com/By-The-Window-2022 By The Window (2022) Angelika Sher’s new exhibition deals with the aspirations of immigrants, with the stories they tell themselves about life and with the gap between their wishes and desires and stinging reality, the breakdown of ideals and the loss of hope for a better future. The works in the exhibition correspond formally and thematically with the artist Yossel Bergner, whose painting Windows (1981) is shown alongside Sher’s work. The window, a common and multifaceted motif in classical and contemporary art, negotiates between interior and exterior, presenting a gateway to an inner world and allowing the viewer to peek into the lives of others. Through the artistic process of inserting meaningful figures from her life at these windows, Sher recreates the experiences of immigrants, who were sent to the periphery, and emphasizes the surreal sense of alienation of something that is taken out of its natural context and placed elsewhere. <img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/7bb8fe4595d821c5fdc075bcec85e3f4384fcd3b8c88377119b1eb7dc7437bfa/1Winter-evening-100x133.jpg" data-mid="141842324" border="0" alt="Winter Evening" data-caption="Winter Evening" src="https://freight.cargo.site/w/800/i/7bb8fe4595d821c5fdc075bcec85e3f4384fcd3b8c88377119b1eb7dc7437bfa/1Winter-evening-100x133.jpg" /> <img width="800" height="838" width_o="800" height_o="838" data-src="https://freight.cargo.site/t/original/i/c9de578f0d3c8350fe8c6debac12e087742ccbe1d4444364493688d160211c85/2Women-in-window-80x76.jpg" data-mid="141842310" border="0" alt="Women In Window" data-caption="Women In Window" src="https://freight.cargo.site/w/800/i/c9de578f0d3c8350fe8c6debac12e087742ccbe1d4444364493688d160211c85/2Women-in-window-80x76.jpg" /> <img width="799" height="600" width_o="799" height_o="600" data-src="https://freight.cargo.site/t/original/i/72951af85798b0545d87dcb9ee3e80a91599f9338db092e5d516c502a00a87bb/2-Triptych-100x133.jpg" data-mid="141842323" border="0" alt="Tryptych" data-caption="Tryptych" src="https://freight.cargo.site/w/799/i/72951af85798b0545d87dcb9ee3e80a91599f9338db092e5d516c502a00a87bb/2-Triptych-100x133.jpg" /> <img width="1226" height="600" width_o="1226" height_o="600" data-src="https://freight.cargo.site/t/original/i/c6e0e0755f2084d3fa5ecd02c3f2c77461cfc49fcd381488269cecac9f8bfd8e/6Kintsugi-78x160.jpg" data-mid="141842313" border="0" alt="Kintsugi" data-caption="Kintsugi" src="https://freight.cargo.site/w/1000/i/c6e0e0755f2084d3fa5ecd02c3f2c77461cfc49fcd381488269cecac9f8bfd8e/6Kintsugi-78x160.jpg" /> <img width="600" height="787" width_o="600" height_o="787" data-src="https://freight.cargo.site/t/original/i/5f820dc4c5a412b56c839125aad03a8acc5f35274e73a1906ccb2aeb4a7dbf98/5Women-in-window2-100x76.jpg" data-mid="141842312" border="0" alt="Women In Window 2" data-caption="Women In Window 2" src="https://freight.cargo.site/w/600/i/5f820dc4c5a412b56c839125aad03a8acc5f35274e73a1906ccb2aeb4a7dbf98/5Women-in-window2-100x76.jpg" /> <img width="778" height="600" width_o="778" height_o="600" data-src="https://freight.cargo.site/t/original/i/dc99114cd7d1f5cec3f3baa598a91c523afe9488bdb90ccd2322d2417d898088/7Flamingo-80x103.jpg" data-mid="141842315" border="0" alt="Flamingo" data-caption="Flamingo" src="https://freight.cargo.site/w/778/i/dc99114cd7d1f5cec3f3baa598a91c523afe9488bdb90ccd2322d2417d898088/7Flamingo-80x103.jpg" /> <img width="767" height="800" width_o="767" height_o="800" data-src="https://freight.cargo.site/t/original/i/6cb984bfbe20a7316f034215409a1d9557585113c31c8ed7d7eb8c4bd5cb6a53/4Electra-114x110.jpg" data-mid="141842311" border="0" alt="Electra" data-caption="Electra" src="https://freight.cargo.site/w/767/i/6cb984bfbe20a7316f034215409a1d9557585113c31c8ed7d7eb8c4bd5cb6a53/4Electra-114x110.jpg" /> <img width="767" height="800" width_o="767" height_o="800" data-src="https://freight.cargo.site/t/original/i/b0beeab58cacfa1d8ab8276d0d97a735817b7de71f643bf6fc3d6efd0b1a2e08/8Toferet-80x76.jpg" data-mid="141842317" border="0" alt="Toferet" data-caption="Toferet" src="https://freight.cargo.site/w/767/i/b0beeab58cacfa1d8ab8276d0d97a735817b7de71f643bf6fc3d6efd0b1a2e08/8Toferet-80x76.jpg" /> <img width="912" height="800" width_o="912" height_o="800" data-src="https://freight.cargo.site/t/original/i/07ab119f698b1ffe19f3cc84ea5c334e524ea153ceb740e07d3558e207c22e4a/9Invasion--110x125.jpg" data-mid="141842319" border="0" alt="Invasion" data-caption="Invasion" src="https://freight.cargo.site/w/912/i/07ab119f698b1ffe19f3cc84ea5c334e524ea153ceb740e07d3558e207c22e4a/9Invasion--110x125.jpg" /> <img width="800" height="593" width_o="800" height_o="593" data-src="https://freight.cargo.site/t/original/i/43ceeff9382a71001080b07468f524eee598f90d42f827ea35f2b3f319453a1e/_Two-Girls-from-Kyriat-Ono-web.jpg" data-mid="142083971" border="0" alt="Two Girls From Qiryat Ono" data-caption="Two Girls From Qiryat Ono" src="https://freight.cargo.site/w/800/i/43ceeff9382a71001080b07468f524eee598f90d42f827ea35f2b3f319453a1e/_Two-Girls-from-Kyriat-Ono-web.jpg" /> <img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/ce4c258aae961e273d627f1705706ed97fd801b9d75070e9d25bba7c89d918f2/The-Tea-Drinkers.jpg" data-mid="141842321" border="0" alt="The Tea Drinkers" data-caption="The Tea Drinkers" src="https://freight.cargo.site/w/800/i/ce4c258aae961e273d627f1705706ed97fd801b9d75070e9d25bba7c89d918f2/The-Tea-Drinkers.jpg" /> Exhibition @ Zemack Contemporary Art, Tel-Aviv <img width="4032" height="2852" width_o="4032" height_o="2852" data-src="https://freight.cargo.site/t/original/i/011eafd7a1368675f4aeebd89f3b26988d691d6eed585b385f568761a8e94c80/0jpg.jpg" data-mid="142082009" border="0" src="https://freight.cargo.site/w/1000/i/011eafd7a1368675f4aeebd89f3b26988d691d6eed585b385f568761a8e94c80/0jpg.jpg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/ce73b76018f0491e2c34ac818af877404aba6b24871eba7cebc34f8e1a2403aa/4jpg.jpg" data-mid="142082010" border="0" src="https://freight.cargo.site/w/1000/i/ce73b76018f0491e2c34ac818af877404aba6b24871eba7cebc34f8e1a2403aa/4jpg.jpg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/ae3fb0f0c2161bb2dae6b13a6fe81de8c791760752b4ce4616635edf60b860f8/3.jpg" data-mid="142082011" border="0" src="https://freight.cargo.site/w/1000/i/ae3fb0f0c2161bb2dae6b13a6fe81de8c791760752b4ce4616635edf60b860f8/3.jpg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/e92af7d177c7bdbca362cbf812ed274e9bbebd7dfb27cd868323a53689a07b99/2jpg.jpg" data-mid="142082012" border="0" src="https://freight.cargo.site/w/1000/i/e92af7d177c7bdbca362cbf812ed274e9bbebd7dfb27cd868323a53689a07b99/2jpg.jpg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/670b1ea7f7b5638040e3b00fc808fce56ee9a41d982ce5cf35dec3da26217885/1.jpg" data-mid="142082013" border="0" src="https://freight.cargo.site/w/1000/i/670b1ea7f7b5638040e3b00fc808fce56ee9a41d982ce5cf35dec3da26217885/1.jpg" /> By The Window Angelika Sher’s new exhibition deals with the aspirations of immigrants, with the stories they tell themselves about life and with the gap between their wishes and desires and stinging reality, the breakdown of ideals and the loss of hope for a better future. The works in the exhibition correspond formally and thematically with the artist Yossel Bergner, whose painting Windows (1981) is shown alongside Sher’s work. The window, a common and multifaceted motif in classical and contemporary art, negotiates between interior and exterior, presenting a gateway to an inner world and allowing the viewer to peek into the lives of others. Through the artistic process of inserting meaningful figures from her life at these windows, Sher recreates the experiences of immigrants, who were sent to the periphery, and emphasizes the surreal sense of alienation of something that is taken out of its natural context and placed elsewhere. The blocks of hastily built housing estates teem with the lives of the refugee immigrants. Most of them were dreaming of a life of wellbeing now embodied in the plastic flamingo that decorates the house yard. Yet in reality the walls of the house are wounded. The seducer stands in her solitude, a white dove disguised as a peacock, and the dreamers wait, like Rapunzel, for salvation while the sunset paints everything in fool’s gold. Kintsugi, the art of the golden repair, is a Japanese technique in which broken or damaged ceramic vessels are glued back together with lacquer and gold powder. In one of Sher’s photographs fragments of a housing estate appear like a mosaic behind the tree branches. Yet whereas the Japanese use Kintsugi to glorify and heighten the value of the vessel, in the photograph the lines formed by the tree’s dark silhouette indicate that the act of connecting and joining has not produced the desired result. The broken fragments remain in their isolation and the vessel in its destitution. &nbsp; Both Bergner and Sher are attracted to Arab homes in Jaffa and set-like facades. With both the occurrence is imagined, discovered through a window, and expresses the sense of uprootedness and mourning for the loss of the home. The feeling of emptiness is exacerbated by the profusion of sabra plants that Sher “planted” behind a Lithuanian building.&nbsp; Rows of sabra plants in Israeli consciousness symbolize Arab villages abandoned in 1948 and also appear in a photo homage to Bergner’s The Tea Drinkers. A family sits around a set table with teacups and a Lithuanian samovar. The prickly bushes rub against their backs just as the constant friction with Israeli reality. Their gazes reflect their mental state – the mother’s eyes are shut like those of the pricked sleeping beauty. The father is detached, and the adolescent girls seem lost. Only the young son, the sole figure in the painting who looks directly at the viewer, implies that there is still hope. A close look will reveal the burning eyes of a black cat – a omen of bad luck but also of survival - a reminder that all refugees are alike. &nbsp; https://angelikasherart.com/Egle-the-Queen-of-Serpents-2019-2021 Wed, 02 Mar 2022 09:28:15 +0000 Angelika Sher https://angelikasherart.com/Egle-the-Queen-of-Serpents-2019-2021 Egle the Queen of Serpents (2019 - 2021) The title of the series is doubly significant because the photographs feature the highly respected Lithuanian actress&nbsp; Egle Mikoliunite – a forceful, larger-than-life personality possessing keen political awareness and national affinity – who has played dramatic, emotional, and provocative roles in both the theater and the cinema. Angelika Sher, whose work centers on richly detailed staged photography, recounts her version of the myth through photographs full of allusions, symbols, and cultural associations referring to the history of art and literature. <img width="900" height="669" width_o="900" height_o="669" data-src="https://freight.cargo.site/t/original/i/be23f38653bc9d9ca0770b8d26e5869f847816221492a9aca45915184402af4f/A1x.jpg" data-mid="135247849" border="0" src="https://freight.cargo.site/w/900/i/be23f38653bc9d9ca0770b8d26e5869f847816221492a9aca45915184402af4f/A1x.jpg" /> <img width="600" height="900" width_o="600" height_o="900" data-src="https://freight.cargo.site/t/original/i/4615d3cd49a0dafa5fe11f9cd0c18055a67084a626cab6ed761e5a63e890a1ab/A2x.jpg" data-mid="135247857" border="0" src="https://freight.cargo.site/w/600/i/4615d3cd49a0dafa5fe11f9cd0c18055a67084a626cab6ed761e5a63e890a1ab/A2x.jpg" /> <img width="656" height="900" width_o="656" height_o="900" data-src="https://freight.cargo.site/t/original/i/bc9fd1fc278a029dde9d01face54d9e4af71ac7927a761a97d1de82d505562ee/A3x.jpg" data-mid="135247848" border="0" src="https://freight.cargo.site/w/656/i/bc9fd1fc278a029dde9d01face54d9e4af71ac7927a761a97d1de82d505562ee/A3x.jpg" /> <img width="600" height="900" width_o="600" height_o="900" data-src="https://freight.cargo.site/t/original/i/ce285170f7dfa618551bf9beb31e4f181dbcad0338f0649e0a4008bc1a15045d/A4x.jpg" data-mid="135247861" border="0" src="https://freight.cargo.site/w/600/i/ce285170f7dfa618551bf9beb31e4f181dbcad0338f0649e0a4008bc1a15045d/A4x.jpg" /> <img width="600" height="900" width_o="600" height_o="900" data-src="https://freight.cargo.site/t/original/i/fd4996527999f8829d2e9188c216c83795bda750f324a63990abf598423c3b2d/A5x.jpg" data-mid="135247864" border="0" src="https://freight.cargo.site/w/600/i/fd4996527999f8829d2e9188c216c83795bda750f324a63990abf598423c3b2d/A5x.jpg" /> <img width="900" height="628" width_o="900" height_o="628" data-src="https://freight.cargo.site/t/original/i/47c6b24b13717032095f283c4f96eda766f54c2f64688d1b5c51eacbde28dcfc/A6x.jpg" data-mid="135247847" border="0" src="https://freight.cargo.site/w/900/i/47c6b24b13717032095f283c4f96eda766f54c2f64688d1b5c51eacbde28dcfc/A6x.jpg" /> <img width="600" height="900" width_o="600" height_o="900" data-src="https://freight.cargo.site/t/original/i/5adca2329d8bcea2c511fd087a9bbfea707229d468120035fd2aed5a72efb091/A7x.jpg" data-mid="135247846" border="0" src="https://freight.cargo.site/w/600/i/5adca2329d8bcea2c511fd087a9bbfea707229d468120035fd2aed5a72efb091/A7x.jpg" /> <img width="600" height="900" width_o="600" height_o="900" data-src="https://freight.cargo.site/t/original/i/f7d2d6fb531a7715738b1eca9947bbf80db594ec78ef835c415fd58c7dbe50fd/A8x.jpg" data-mid="135247845" border="0" src="https://freight.cargo.site/w/600/i/f7d2d6fb531a7715738b1eca9947bbf80db594ec78ef835c415fd58c7dbe50fd/A8x.jpg" /> Exhibition @ Jewish Museum, Vilnius <img width="900" height="600" width_o="900" height_o="600" data-src="https://freight.cargo.site/t/original/i/475f93cb9812ff04331ee9b7f8020b18fb558ab94ff1bf964f59d9c5f2ec41f0/vilnus-1.jpg" data-mid="135879045" border="0" src="https://freight.cargo.site/w/900/i/475f93cb9812ff04331ee9b7f8020b18fb558ab94ff1bf964f59d9c5f2ec41f0/vilnus-1.jpg" /> <img width="900" height="600" width_o="900" height_o="600" data-src="https://freight.cargo.site/t/original/i/1367646e0e1a67078a77a4c4a44dd7a515a05019166344cfc8b7225a6e65dfaa/vilnus-2.jpg" data-mid="135879046" border="0" src="https://freight.cargo.site/w/900/i/1367646e0e1a67078a77a4c4a44dd7a515a05019166344cfc8b7225a6e65dfaa/vilnus-2.jpg" /> <img width="900" height="600" width_o="900" height_o="600" data-src="https://freight.cargo.site/t/original/i/e62de0157879d07a6c1561278420233d8cc6f6ec1757b31b971412bc82ce63b0/vilnus-3.jpg" data-mid="135879047" border="0" src="https://freight.cargo.site/w/900/i/e62de0157879d07a6c1561278420233d8cc6f6ec1757b31b971412bc82ce63b0/vilnus-3.jpg" /> Egle the Queen of Serpents Longing for what is bygone has led Angelika Sher - a Lithuania-born artist who now lives in Israel – to return to her birth place and create a photographic series based on a local folk tale. The title of the series is doubly significant because the photographs feature the highly respected Lithuanian actress&nbsp; Egle Mikoliunite – a forceful, larger-than-life personality possessing keen political awareness and national affinity – who has played dramatic, emotional, and provocative roles in both the theater and the cinema. Angelika Sher, whose work centers on richly detailed staged photography, recounts her version of the myth through photographs full of allusions, symbols, and cultural associations referring to the history of art and literature. The Soviet-style public housing blocks, with their harsh, gray exteriors, and their interiors teeming with busy lives constrained within green and Baroque blue walls, were the setting of Sher's childhood. She has come back to photograph Mikoliunite's housing project apartment, going back in time to the rooms and kitchen of her mother's home, where reality and imagination, folk tales and familial memories all mingled together. The apartment is like a time capsule – a small, claustrophobic space, crowded with many objects, creating a sense of suffocation but also of warmth and safety. Within the isolated box, there exists a surreal reality unbound by rules and norms and is independent of outside events. The series of photographs, like the folk tale, opens with the night dress – a symbol of innocence and simplicity, and of the violation that would follow. In the legend of Egle, beauty reveals itself and true love is possible in a secret, intimate, faraway place: the water snake becomes a desirable man, and Egle finds happiness and joy. Similarly, inside the housing project apartment, which is a hiding place or a cocoon, a rich inner world exists, detached from the outside, preserving its selfness and independence. Egle sits on the double bed in her full glory and beauty, a single blanket at her feet. A diamond shape is sewn into its center, like in a playing card, the karma of glamorous aloneness. Angelika Sher's series addresses the arts of photography and the stage, as well as the price a woman who chooses to devote her life to art must pay. In her key novel, A Room of One's Own, Virginia Woolf defined the necessary conditions for a woman artist – financial independence and a private space. In the old, broken-down, dismal kitchen, Egle stands dressed in a gorgeous ancient kimono – a museum-quality object whose worth is beyond estimate – which Mikoliunite has received as a sign of appreciation for a dramatic role she had played. &nbsp; There is something almost spiritual in the detachment from materiality and the austerity of the apartment, which has maintained its Soviet character as if outside events have no significance. The fortitudes and the creativity emanate from inner, private places, where the human essence is revealed, and from where its creative energy flows. The tragic story of Egle ends with her sons turning into trees - oak, European ash, and birch – and Egle herself becomes a fir tree. The myth contains two metamorphoses, or shape-shifting (from water snake to man, from man to tree). In folk tales, shape-shifting is a product of magic or a super-power. Choosing acting as a way of life is a kind of shape-shifting, as is the election of a life of making art – an expression of the longing for eternal life. The current focus on the near past is typical of both Lithuania and all of Europe, raising inherent conflicts when textual or visual interpretation changes the narrative. This tension also exists in the gap between personal and collective memory. The two viewpoints, looking outward at the housing project and inward at the hidden and private interior, and the exposure of the secrets of recent history, create an inevitable, emotionally charged conflict. In the last photograph in the series, like laundry spread outside in the sun (a metaphor for the revealed secret), features a shawl suggesting Veronica's Veil, which is actually the original act of photography – an imprint, like a negative, of Jesus's face. The shawl is embroidered with Yin and Yang symbols, two opposing but complementary forces that exist within all things in the universe, always in motion, never in a stationary, finite state. The story of mythical Egle also holds a warning about the inherent danger of returning – an act whose repercussions can be disastrous. Mythical Egle pines her childhood home and does everything in her power to go back there. The consequences of her visit are tragic; her happiness is exposed, her brothers murder her husband, and her life is in ruins. In reality, the Vilnius apartment where the series was shot had been demolished during a renovation and revitalization of the whole area, and there is no way now to experience the travel back in time. The shawl in the photograph represents Time and life's changes. It might be the white flag of surrender and acceptance, but also a wave of goodbye. https://angelikasherart.com/The-Song-Of-Deborah-2016-2018-1 Thu, 03 Mar 2022 20:41:46 +0000 Angelika Sher https://angelikasherart.com/The-Song-Of-Deborah-2016-2018-1 The Song Of Deborah (2016 - 2018) “Angelika Sher presents a series of works that explore the mental and emotional changes in her daughter (Debby) and her daughter’s friends who enlisted in the IDF and on the fraught encounter of cultures, religions and histories. At the same time, the series also reflects the change that took place in the artist, who revisits issues that she explored when she was in the same place in her life as her daughter is now – both reflect on their role as women and human beings today. Military service is a significant milestone in the development of young people in Israel, like a rite of passage from adolescence to adulthood. Military service is associatively linked to power, heroism, and sacrifice for the collective – concepts that correspond well with the values of Pravoslav (Russian Orthodox) culture on which the Lithuanian-born artist was raised. Moreover, for new immigrants, the enlistment of a son or daughter to the IDF constitutes a seal of approval for an entire family, and the ultimate act of acceptance into the bosom of Israeli society.” Ella Harel <img width="1080" height="717" width_o="1080" height_o="717" data-src="https://freight.cargo.site/t/original/i/965b97871b8298012b713769f2b44e2787995ecf4e8504dae916446728f6ab65/ORANTAtr.jpg" data-mid="135247754" border="0" alt="Oranta" data-caption="Oranta" src="https://freight.cargo.site/w/1000/i/965b97871b8298012b713769f2b44e2787995ecf4e8504dae916446728f6ab65/ORANTAtr.jpg" /> <img width="900" height="440" width_o="900" height_o="440" data-src="https://freight.cargo.site/t/original/i/6d26c21a5863b4c32934e6fe2544368e51f6ac93d7ad6b6971671ec414be58db/WATERMELON-EATERS-80x163-57.jpg" data-mid="135247758" border="0" alt="Watermelon Eaters" data-caption="Watermelon Eaters" src="https://freight.cargo.site/w/900/i/6d26c21a5863b4c32934e6fe2544368e51f6ac93d7ad6b6971671ec414be58db/WATERMELON-EATERS-80x163-57.jpg" /> <img width="2062" height="1181" width_o="2062" height_o="1181" data-src="https://freight.cargo.site/t/original/i/118f2b20ed60e1d559465dfd433779470b67e332f07ae768888fe033490840e6/Sacramental-bread-90x160.jpg" data-mid="135247757" border="0" alt="Sacramental Bread" data-caption="Sacramental Bread" src="https://freight.cargo.site/w/1000/i/118f2b20ed60e1d559465dfd433779470b67e332f07ae768888fe033490840e6/Sacramental-bread-90x160.jpg" /> <img width="649" height="900" width_o="649" height_o="900" data-src="https://freight.cargo.site/t/original/i/e503a9841d962aff5c4fb2664240b9b859ac63d7da2cc346fdef8271e903d45f/Habsura.jpg" data-mid="135247742" border="0" alt="Annunciation" data-caption="Annunciation" src="https://freight.cargo.site/w/649/i/e503a9841d962aff5c4fb2664240b9b859ac63d7da2cc346fdef8271e903d45f/Habsura.jpg" /> <img width="900" height="558" width_o="900" height_o="558" data-src="https://freight.cargo.site/t/original/i/996ea8958fd9719220ad54327e733527b4fbfddb5740b5cacb55331e2077efae/BAPTISM80x123.jpg" data-mid="135247762" border="0" alt="Baptism" data-caption="Baptism" src="https://freight.cargo.site/w/900/i/996ea8958fd9719220ad54327e733527b4fbfddb5740b5cacb55331e2077efae/BAPTISM80x123.jpg" /> <img width="900" height="670" width_o="900" height_o="670" data-src="https://freight.cargo.site/t/original/i/1cdd23a61a955801df56671a054a671fd9bbcc8a38603ec2d58b5bfcf72dd077/G-M75x100.jpg" data-mid="135247760" border="0" alt="Gabriel and Michael" data-caption="Gabriel and Michael" src="https://freight.cargo.site/w/900/i/1cdd23a61a955801df56671a054a671fd9bbcc8a38603ec2d58b5bfcf72dd077/G-M75x100.jpg" /> <img width="900" height="612" width_o="900" height_o="612" data-src="https://freight.cargo.site/t/original/i/1b16c7e3102b9a9b035fa7f1cee8d711b5cf728b3f2341f74924936d15091953/PIETA80x117.jpg" data-mid="135247755" border="0" alt="Pieta" data-caption="Pieta" src="https://freight.cargo.site/w/900/i/1b16c7e3102b9a9b035fa7f1cee8d711b5cf728b3f2341f74924936d15091953/PIETA80x117.jpg" /> <img width="1516" height="567" width_o="1516" height_o="567" data-src="https://freight.cargo.site/t/original/i/ea13b568e855aa288bebfcd01f59c3cb9f24a883d1c3ca0545b6888068937dbd/GEULA100x263.jpg" data-mid="135247753" border="0" alt="Geula" data-caption="Geula" src="https://freight.cargo.site/w/1000/i/ea13b568e855aa288bebfcd01f59c3cb9f24a883d1c3ca0545b6888068937dbd/GEULA100x263.jpg" /> <img width="743" height="900" width_o="743" height_o="900" data-src="https://freight.cargo.site/t/original/i/9697814d1e6ff01a09f53ac4f023bc9d1076c4c849d8ac1f9441359d6744c96d/TRINITY80x66.jpg" data-mid="135247752" border="0" alt="Trinity" data-caption="Trinity" src="https://freight.cargo.site/w/743/i/9697814d1e6ff01a09f53ac4f023bc9d1076c4c849d8ac1f9441359d6744c96d/TRINITY80x66.jpg" /> <img width="745" height="900" width_o="745" height_o="900" data-src="https://freight.cargo.site/t/original/i/6a719839c11715bd71e3b84258c1a20af88a2e3690447e71b4128f9c686b257b/ROI80X66.jpg" data-mid="135247763" border="0" alt="Roi [My Sheperd]" data-caption="Roi [My Sheperd]" src="https://freight.cargo.site/w/745/i/6a719839c11715bd71e3b84258c1a20af88a2e3690447e71b4128f9c686b257b/ROI80X66.jpg" /> <img width="901" height="606" width_o="901" height_o="606" data-src="https://freight.cargo.site/t/original/i/d805415de8a419e1f132b91d96db3e5c2c1d70aa255bbff12cb36132de0dc3d2/-DAVID-80x120-.jpg" data-mid="135247761" border="0" alt="David" data-caption="David" src="https://freight.cargo.site/w/901/i/d805415de8a419e1f132b91d96db3e5c2c1d70aa255bbff12cb36132de0dc3d2/-DAVID-80x120-.jpg" /> <img width="1074" height="600" width_o="1074" height_o="600" data-src="https://freight.cargo.site/t/original/i/9f3c40ea2f9bb06dfc5ec1f13eb5cc7d44ef31440c4710815160a40ca5109a36/unnamed-8.jpg" data-mid="135702789" border="0" alt="Shavuot" data-caption="Shavuot" src="https://freight.cargo.site/w/1000/i/9f3c40ea2f9bb06dfc5ec1f13eb5cc7d44ef31440c4710815160a40ca5109a36/unnamed-8.jpg" /> <img width="900" height="517" width_o="900" height_o="517" data-src="https://freight.cargo.site/t/original/i/69f97a985371d22705221df7df5f08eee06e955b0724f40515c45be1004c9dd0/Matthew-90x160.jpg" data-mid="135247756" border="0" alt="Matthew [When?]" data-caption="Matthew [When?]" src="https://freight.cargo.site/w/900/i/69f97a985371d22705221df7df5f08eee06e955b0724f40515c45be1004c9dd0/Matthew-90x160.jpg" /> Exhibition @&nbsp;Zemack Contemorary Art, Tel Aviv <img width="1276" height="850" width_o="1276" height_o="850" data-src="https://freight.cargo.site/t/original/i/0ab4b1dd50099475b888b640808610949d0969efe0466312602c9ff048b23250/unnamed-9.jpg" data-mid="135702970" border="0" src="https://freight.cargo.site/w/1000/i/0ab4b1dd50099475b888b640808610949d0969efe0466312602c9ff048b23250/unnamed-9.jpg" /> <img width="1276" height="850" width_o="1276" height_o="850" data-src="https://freight.cargo.site/t/original/i/7a9b43094f83fb896ed1e8f644f242986dd5795eed47a781776d0612f6e7dd62/unnamed-10.jpg" data-mid="135702984" border="0" src="https://freight.cargo.site/w/1000/i/7a9b43094f83fb896ed1e8f644f242986dd5795eed47a781776d0612f6e7dd62/unnamed-10.jpg" /> <img width="1275" height="850" width_o="1275" height_o="850" data-src="https://freight.cargo.site/t/original/i/0e8aade2c692d2516775352c24dc96f666d8a6c3c5a35cf40950b9498587e8cf/unnamed-12.jpg" data-mid="135702988" border="0" src="https://freight.cargo.site/w/1000/i/0e8aade2c692d2516775352c24dc96f666d8a6c3c5a35cf40950b9498587e8cf/unnamed-12.jpg" /> <img width="1276" height="850" width_o="1276" height_o="850" data-src="https://freight.cargo.site/t/original/i/da3ca96375f7c8444594e712297338ce09542674705f1e3d106675e2ce5f2b2f/unnamed-17.jpg" data-mid="135702998" border="0" src="https://freight.cargo.site/w/1000/i/da3ca96375f7c8444594e712297338ce09542674705f1e3d106675e2ce5f2b2f/unnamed-17.jpg" /> The Song Of Deborah Angelika Sher presents a series of works that explore the mental and emotional changes in her daughter (Debby) and her daughter’s friends who enlisted in the IDF and on the fraught encounter of cultures, religions and histories. At the same time, the series also reflects the change that took place in the artist, who revisits issues that she explored when she was in the same place in her life as her daughter is now – both reflect on their role as women and human beings today. Military service is a significant milestone in the development of young people in Israel, like a rite of passage from adolescence to adulthood. Military service is associatively linked to power, heroism, and sacrifice for the collective – concepts that correspond well with the values of Pravoslav (Russian Orthodox) culture on which the Lithuanian-born artist was raised. Moreover, for new immigrants, the enlistment of a son or daughter to the IDF constitutes a seal of approval for an entire family, and the ultimate act of acceptance into the bosom of Israeli society. At the same time that the artist is accepted into the collective she also separates from her daughter; the fabric of their relationship, portrayed in the artist’s previous series, changes. Control and power struggles are transformed with the shift into their new relationship – no longer an adolescent who tests her mother’s boundaries, but rather a soldier, whom from the moment of her enlistment was consumed by issues like independence, obedience, power, control, hierarchy and physical boundaries, which fill her world and her being. Her delicate and fragile baby is transformed by the uniform and the ranks. Her daughter, who was hers is no longer hers. Pride and anxiety intertwine. The separation between mother and daughter is underscored by the difference in societal social norms. While young women in Lithuania are immersed in romantic thoughts about marriage and building a family, in Israel women their age carry a military duffle bag or weapon in their arms instead of a baby. Angelika Sher’s rich visual world is deeply rooted in European art, to which she was exposed in her childhood. She uses Christian iconography to tell a story, to educate, and to control the viewer-devotee. Christian art iconography is canonical, symbolic and allegorical. Every order of colors, every detail and every figure has precise meaning, definition and convention of use. The same applies to the meaning behind each of the elements of the military – the ranks, emblems, units' insignia, military lingo, and the clear hierarchy. With familiar scenes from the history of art and names drawn from the New Testament, Sher plays and examines the change in the subjects of her photographs and her relationship with them, touching on notions of sacrifice, belonging, and separateness. On the main wall of the gallery, like in a basilica of sorts, we encounter “Maria Orante” – one of the five canonical poses of Maria in the Russian Orthodox Church. Maria originally is shown in prayer, while here the figure is a soldier whose hands are raised, protecting/stopping, or perhaps surrendering in a horrifying allusion to the famous photograph of the Jewish boy in the ghetto. The soldier wears a military identification disk around her neck, evocative of the icons worn by devout Christians. The soldier's hand is decorated with a tattoo of a rose – one of Jesus' symbols – surrounded by the inscription: "Accept upon myself unconditionally” (a quote from the IDF oath), decorated with flowers, Stars of David and snowflakes. “Maria Ornate” is flanked by two archangels: Michael (the military commander) and Gabriel (the voice of the Creator). Originally, both are depicted as the same person, dressed in different clothes. In the photograph, they are portrayed by a young woman of conscription age. Like Gabriel, she is tough-looking: dressed in gothic clothes, her head shaved, and her earlobes gauged. But when she assumes the appearance of Michael, she looks like a thin and frail girl, dressed in IDF uniform that is too big for her, and the tough appearance is gone. Beneath them there are two sheep, who are actually dogs disguised as sheep, symbolizing the holy lamb – the sacrifice. Self-sacrifice for the common good is the common denominator shared by Christianity and the IDF. Throughout the years of acclimatizing and assimilating in Israel, she became more and more aware of the moral conflict in Israeli society regarding the nature of military service in a country that controls a civilian population that strives to gain independence. With time, Sher joins the ranks of many women in Israeli society who are worried about the implications of military service on the bodies and minds of our children, and wonder when and how the change will come. The series closes with a triptych shot in Jerusalem – a city of conflict and strife, a place of an ongoing power struggle. Jerusalem symbolizes the arena of conflictual relations between religions, streams, and factions in Israeli society, and between women and men in the public sphere. Today we are witnessing a social struggle (#MeToo) led by women who are no longer willing to be victims. Women moving away from the passive, silent, and victimized position. Supported by the sisterhood of women, they lead a change in social perceptions and the behavior they imply, and signify that change is possible. The triptych is titled Dominica Palmarum (Palm Sunday), after the holiday that marks the arrival of Jesus to Jerusalem a few days before the Passion. At its center, Sher depicts Salvation – the Messiah, described as a poor man who will arrive on the back of an animal that serves as an agricultural tool and “not a weapon of war.” This Salvation (and in Hebrew – Geula, which is also a female name) will make the world a better and more just place, a world where peace, friendship, and comradery prevail. As is common in many churches, before leaving the place visitors are given images that will lift their spirits and strengthen their faith. Upon exit, postcards await the visitors featuring a figurine of a female soldier, surrounded by banana decorations, hinting at the statement: "It is not spoiled, it's honey!" &nbsp;Ella Harel https://angelikasherart.com/Fifth-Column-2013-2014-1 Wed, 02 Mar 2022 09:49:33 +0000 Angelika Sher https://angelikasherart.com/Fifth-Column-2013-2014-1 Fifth Column (2013-2014) A model of a Moscow icon, a colorful basilica, has emigrated from the Red Square in order to float above a dusty, sandy carpet. Six elegant men's hats – associated with an orthodox Jew, a gentleman, a cowboy – hover in precise formation, as in a graduation ceremony, flying away from the camera and into the blue sky, a moment before they would crash into the sun-burned sand. Shades of Magritte, the French surrealist, but a sense of magic is evoked here too. Alien invasion also comes to mind, enhanced by the image of a flying saucer plunged into the soft sand, surrounded by a crowd of people. It is uncertain whether they are gathering around it or walking away. Is this crowd the fifth column in the show's title? A fifth column is a subversive force working inside the mainstream as an undercover agent, potentially harmful. It's hard to ignore Sher's interest in questions of immigration and foreignness versus the phobic societal imagination, perceiving immigrants as a threat. Yair Barak <img width="526" height="670" width_o="526" height_o="670" data-src="https://freight.cargo.site/t/original/i/4309ef4db99455bb69824588fd7a7beafc2ca3db3857b614e0eb4f6bcdeffe0d/B0000565-copy-copy-2_1_o.jpg" data-mid="135077151" border="0" alt="Grandma Leah's Medals" data-caption="Grandma Leah's Medals" src="https://freight.cargo.site/w/526/i/4309ef4db99455bb69824588fd7a7beafc2ca3db3857b614e0eb4f6bcdeffe0d/B0000565-copy-copy-2_1_o.jpg" /> <img width="670" height="502" width_o="670" height_o="502" data-src="https://freight.cargo.site/t/original/i/8017caceb4ec38d64e3111311b6c99e3f6ddabe6fd646ec085331a66cad5a6de/pechatkreml-psd-copy_o.jpg" data-mid="135077156" border="0" alt="Rishon L'zion" data-caption="Rishon L'zion" src="https://freight.cargo.site/w/670/i/8017caceb4ec38d64e3111311b6c99e3f6ddabe6fd646ec085331a66cad5a6de/pechatkreml-psd-copy_o.jpg" /> <img width="670" height="502" width_o="670" height_o="502" data-src="https://freight.cargo.site/t/original/i/caa1965ac01752f84a91e9c2e42c8a997b2e899d86f88ae776ce9533c0825c3e/untitled-75x100_o.jpg" data-mid="135077178" border="0" alt="Invasion I" data-caption="Invasion I" src="https://freight.cargo.site/w/670/i/caa1965ac01752f84a91e9c2e42c8a997b2e899d86f88ae776ce9533c0825c3e/untitled-75x100_o.jpg" /> <img width="503" height="670" width_o="503" height_o="670" data-src="https://freight.cargo.site/t/original/i/16d9546ced53801bc3543f9b61aa08a61e847161ff7fc36d78b33445f5198a62/-Untitled-100x75-inkjet-print-2014_o.jpg" data-mid="135077187" border="0" alt="Untitled" data-caption="Untitled" src="https://freight.cargo.site/w/503/i/16d9546ced53801bc3543f9b61aa08a61e847161ff7fc36d78b33445f5198a62/-Untitled-100x75-inkjet-print-2014_o.jpg" /> <img width="670" height="431" width_o="670" height_o="431" data-src="https://freight.cargo.site/t/original/i/caa7615d796c31ea1bd16a261eacdc71f224064cbda5a3b914a9dad917824bf1/B0000705-copy-2_o.jpg" data-mid="135077188" border="0" alt="Grandma's Curtain" data-caption="Grandma's Curtain" src="https://freight.cargo.site/w/670/i/caa7615d796c31ea1bd16a261eacdc71f224064cbda5a3b914a9dad917824bf1/B0000705-copy-2_o.jpg" /> <img width="490" height="670" width_o="490" height_o="670" data-src="https://freight.cargo.site/t/original/i/9d3e0e9d5f9f8f835729e7b36d39befd7eb430aed601f11d5b551b6dfcca0a89/B0000464-copy-2_o.jpg" data-mid="135077190" border="0" alt="Alef" data-caption="Alef" src="https://freight.cargo.site/w/490/i/9d3e0e9d5f9f8f835729e7b36d39befd7eb430aed601f11d5b551b6dfcca0a89/B0000464-copy-2_o.jpg" /> <img width="478" height="670" width_o="478" height_o="670" data-src="https://freight.cargo.site/t/original/i/951df381a2fe075b1fb1be1506f6f5754c06104b913efcf5b4b13ba2e4ea8c34/nadunia-100x72-inkjet-print-2014_o.jpg" data-mid="135077195" border="0" alt="Dowry" data-caption="Dowry" src="https://freight.cargo.site/w/478/i/951df381a2fe075b1fb1be1506f6f5754c06104b913efcf5b4b13ba2e4ea8c34/nadunia-100x72-inkjet-print-2014_o.jpg" /> <img width="670" height="491" width_o="670" height_o="491" data-src="https://freight.cargo.site/t/original/i/913542b58002e569daa5c720eb7e28840f479a9608acd583caf7c0bb65a8ce07/B0000019-copy-2-copy-2_o.jpg" data-mid="135077198" border="0" alt="Invasion II" data-caption="Invasion II" src="https://freight.cargo.site/w/670/i/913542b58002e569daa5c720eb7e28840f479a9608acd583caf7c0bb65a8ce07/B0000019-copy-2-copy-2_o.jpg" /> <img width="670" height="669" width_o="670" height_o="669" data-src="https://freight.cargo.site/t/original/i/d4454ee34a5bfec817f2d15e85d50be3d57755726191c4c55807f01717cfcb09/bat-yam-0-copy-copy_o.jpg" data-mid="135077200" border="0" alt="Untitled Heroes" data-caption="Untitled Heroes" src="https://freight.cargo.site/w/670/i/d4454ee34a5bfec817f2d15e85d50be3d57755726191c4c55807f01717cfcb09/bat-yam-0-copy-copy_o.jpg" /> Fifth Column The dune is, without a doubt, the most noticeable image in the show. This image is much associated with the perception of place - the Middle East – and with its representation in 19th century photography. In many photographs taken in the colonialist tradition, 19th century Palestine was a land of dunes, an exotic desert, distinctly oriental. Surprisingly, in the minds of many Europeans Israel looks like that even today. Sher creates Euro-desert hybrids in her photographs. In the one called "Grandma's Curtain," a young girl is wrapped in a curtain. It’s generic; an old person's curtain, or is it ethnic? You can find such curtains in a kibbutz, in an old-age home, or at the flea market. The girl rises Venus-like from the sands, a transplant in a foreign landscape. A model of a Moscow icon, a colorful basilica, has emigrated from the Red Square in order to float above a dusty, sandy carpet. Six elegant men's hats – associated with an orthodox Jew, a gentleman, a cowboy – hover in precise formation, as in a graduation ceremony, flying away from the camera and into the blue sky, a moment before they would crash into the sun-burned sand. Shades of Magritte, the French surrealist, but a sense of magic is evoked here too. Alien invasion also comes to mind, enhanced by the image of a flying saucer plunged into the soft sand, surrounded by a crowd of people. It is uncertain whether they are gathering around it or walking away. Is this crowd the fifth column in the show's title? A fifth column is a subversive force working inside the mainstream as an undercover agent, potentially harmful. It's hard to ignore Sher's interest in questions of immigration and foreignness versus the phobic societal imagination, perceiving immigrants as a threat. In another work, the same girl stands under a fancy crystal chandelier, a required trousseau item in the culture in which the artist has grown up. Two of its polished stones are placed right in front of the girl's eyes, transformed into cold, spellbinding drops of blood. This composition, which is repeated in another portrait of the young girl, this time with medals decorating the front of her black shirt, points to a generation gap and an identity conflict, and fashions Sher's complex and broken syntax whose raw materials are alienation and rootlessness. Yair Barak https://angelikasherart.com/Phoenix-2011-2012-1 Wed, 02 Mar 2022 09:28:16 +0000 Angelika Sher https://angelikasherart.com/Phoenix-2011-2012-1 Phoenix (2011 - 2012) The mythological Firebird rises from the ashes and becomes eternal. “Phoenix” is the title of Angelika’s most recent series. It implies that these pictures are about death, rebirth, and survival. Indeed she addresses this concept in every picture, in a multitude of different ways. Stories, allegorical or real, of life rekindled drive her portraits here. One of my favorites is animage that in its composition and light reminds of a Vermeer. It is of a no longer young but powerful choreographer posed in front of an exquisite Chinese screen. She is defiant and proud, and her gaze seems to challenge death. And she did. This photograph, as with all her images, was pre-conceived. They start as concepts but only the best; she says to her frustration, translate into successful photographs. A tableau of a newborn baby indicates the moment between suffocation and birth. I look at an eerily beautiful landscape of what I take to be dead trees wrapped in an ocher light that makes them glow. She has fooled me. Instead of death they signify survival as they have been replanted to grow. I try to figure out the still life of a bizarre looking fish. I am correct about its oddity but I do not know that it grows a mustache after death. And there is the lovely picture of a dragonfly reborn after Angelika had destroyed the image. She gave life back to it by folding the print and then re-photographing it. I marvel how Angelika can be in command of various genres of photography. She uses them expertly in order to weave her net of ambiguous tales, and I happily try to solve the puzzle of death and survival. Elisabeth Biondi <img width="670" height="503" width_o="670" height_o="503" data-src="https://freight.cargo.site/t/original/i/6e1441fceb9fc2f44f27a9065a3e80388ff35ce5dba1bd1eaa0450b537559794/A1-copy-copy_o.jpg" data-mid="135128249" border="0" alt="Untitled 1" data-caption="Untitled 1" src="https://freight.cargo.site/w/670/i/6e1441fceb9fc2f44f27a9065a3e80388ff35ce5dba1bd1eaa0450b537559794/A1-copy-copy_o.jpg" /> <img width="670" height="630" width_o="670" height_o="630" data-src="https://freight.cargo.site/t/original/i/4ca6661ad5863a482e762e7305dfbfaa5905a147f11b11fd93301b9e48e5f789/A2-copy-copy_o.jpg" data-mid="135128247" border="0" alt="Untitled 2" data-caption="Untitled 2" src="https://freight.cargo.site/w/670/i/4ca6661ad5863a482e762e7305dfbfaa5905a147f11b11fd93301b9e48e5f789/A2-copy-copy_o.jpg" /> <img width="537" height="670" width_o="537" height_o="670" data-src="https://freight.cargo.site/t/original/i/dd4165ee2db6b67cdddde2b1d003aaf40f92085866cb9ed95ea779960b4ed3e5/A3-copy-copy_o.jpg" data-mid="135128244" border="0" alt="Untitled 3" data-caption="Untitled 3" src="https://freight.cargo.site/w/537/i/dd4165ee2db6b67cdddde2b1d003aaf40f92085866cb9ed95ea779960b4ed3e5/A3-copy-copy_o.jpg" /> <img width="509" height="670" width_o="509" height_o="670" data-src="https://freight.cargo.site/t/original/i/f29ceceff60ccd23774797874bee3e450ab69626a018283712a43fefc9b6d69e/A5-_o.jpg" data-mid="135128248" border="0" alt="Untitled 4" data-caption="Untitled 4" src="https://freight.cargo.site/w/509/i/f29ceceff60ccd23774797874bee3e450ab69626a018283712a43fefc9b6d69e/A5-_o.jpg" /> <img width="670" height="511" width_o="670" height_o="511" data-src="https://freight.cargo.site/t/original/i/f5d00230bfd97af3d2d3dd99a9de097f658765ab8e53c4771d7f051f35514837/A4-copy-copy_o.jpg" data-mid="135128246" border="0" alt="Untitled 5" data-caption="Untitled 5" src="https://freight.cargo.site/w/670/i/f5d00230bfd97af3d2d3dd99a9de097f658765ab8e53c4771d7f051f35514837/A4-copy-copy_o.jpg" /> <img width="670" height="481" width_o="670" height_o="481" data-src="https://freight.cargo.site/t/original/i/e68a0f5ccd1daf25f12388c2b80908e1e3089b91e4c9ed08630228ff27a7b34e/A7-copy-copy_o.jpg" data-mid="135128245" border="0" alt="Untitled 6" data-caption="Untitled 6" src="https://freight.cargo.site/w/670/i/e68a0f5ccd1daf25f12388c2b80908e1e3089b91e4c9ed08630228ff27a7b34e/A7-copy-copy_o.jpg" /> <img width="468" height="670" width_o="468" height_o="670" data-src="https://freight.cargo.site/t/original/i/cd38a1cb55e0c3b90a84786b945506bd2e0d82fc332e1614ff2c5506b4888934/A-copy-copy_o.jpg" data-mid="135128243" border="0" alt="Untitled 7" data-caption="Untitled 7" src="https://freight.cargo.site/w/468/i/cd38a1cb55e0c3b90a84786b945506bd2e0d82fc332e1614ff2c5506b4888934/A-copy-copy_o.jpg" /> <img width="670" height="503" width_o="670" height_o="503" data-src="https://freight.cargo.site/t/original/i/3d9fcfab48454cb475d17a762fd427cc665ed9b19228b04f10b1597837814ebf/A8-copy--copy_o.jpg" data-mid="135128242" border="0" alt="Untitled 8" data-caption="Untitled 8" src="https://freight.cargo.site/w/670/i/3d9fcfab48454cb475d17a762fd427cc665ed9b19228b04f10b1597837814ebf/A8-copy--copy_o.jpg" /> Phoenix The mythological Firebird rises from the ashes and becomes eternal. “Phoenix” is the title of Angelika’s most recent series. It implies that these pictures are about death, rebirth, and survival. Indeed she addresses this concept in every picture, in a multitude of different ways. Stories, allegorical or real, of life rekindled drive her portraits here. One of my favorites is an image that in its composition and light reminds of a Vermeer. It is of a no longer young but powerful choreographer posed in front of an exquisite Chinese screen. She is defiant and proud, and her gaze seems to challenge death. And she did. This photograph, as with all her images, was pre-conceived.&nbsp; They start as concepts but only the best; she says to her frustration, translate into successful photographs. A tableau of a newborn baby indicates the moment between suffocation and birth. I look at an eerily beautiful landscape of what I take to be dead trees wrapped in an ocher light that makes them glow.&nbsp; She has fooled me. Instead of death they signify survival as they have been replanted to grow. I try to figure out the still life of a bizarre looking fish. I am correct about its oddity but I do not know that it grows a mustache after death. And there is the lovely picture of a dragonfly reborn after Angelika had destroyed the image. She gave life back to it by folding the print and then re-photographing it. I marvel how Angelika can be in command of various genres of photography. She uses them expertly in order to weave her net of ambiguous tales, and I happily try to solve the puzzle of death and survival. Elisabeth Biondi https://angelikasherart.com/Twilight-Sleep-2009-2010-1 Wed, 02 Mar 2022 09:28:16 +0000 Angelika Sher https://angelikasherart.com/Twilight-Sleep-2009-2010-1 Twilight Sleep (2009 - 2010) “Angelika Sher’s new photographs read for me as a symbolic coded text. In most of them, the object appears to be a signifier. As in a dreaming state, the photograph does not focus on the horse, nor on a table set for a feast. The set of symbols follows the duality of the ritual and the quotidian, the sacred and the profane, beauty andrevulsion. Strangely, when I investigate the photographs I can’t help recalling the Flemish tradition of Vanitas paintings. The highly symbolic memento mori motif, encompassing both death and purity, is central to this genre. At the same time, there’s a sense that Sher is creating a whole different syntax – less specific, deceptive, dialectic. Birth and death are not dichotomous; they dwell together and echo each other. The photograph of the white horse exudes sublime nobility, but its surprising locus – a common stable – brings it back from holiness to mundane, from high to low.” Yair Barak <img width="670" height="504" width_o="670" height_o="504" data-src="https://freight.cargo.site/t/original/i/77751fe50ceeeb0e9b1d5e65f303b35b0cabd58b105b1818ba0710171e218b4d/A1-copy_o.jpg" data-mid="135139744" border="0" alt="Untitled 1" data-caption="Untitled 1" src="https://freight.cargo.site/w/670/i/77751fe50ceeeb0e9b1d5e65f303b35b0cabd58b105b1818ba0710171e218b4d/A1-copy_o.jpg" /> <img width="670" height="472" width_o="670" height_o="472" data-src="https://freight.cargo.site/t/original/i/8b8facb28d06a4f2b1a6d0c72be4f809eb867f5dc189fbf7222f1768bdd02806/A2--copy_o.jpg" data-mid="135139746" border="0" alt="Untitled 2" data-caption="Untitled 2" src="https://freight.cargo.site/w/670/i/8b8facb28d06a4f2b1a6d0c72be4f809eb867f5dc189fbf7222f1768bdd02806/A2--copy_o.jpg" /> <img width="670" height="527" width_o="670" height_o="527" data-src="https://freight.cargo.site/t/original/i/e92b1d6419222513120895450c85f08ac5d4b1888b6b823919d397d344928fe5/A3copy_o.jpg" data-mid="135139741" border="0" alt="Untitled 3" data-caption="Untitled 3" src="https://freight.cargo.site/w/670/i/e92b1d6419222513120895450c85f08ac5d4b1888b6b823919d397d344928fe5/A3copy_o.jpg" /> <img width="669" height="502" width_o="669" height_o="502" data-src="https://freight.cargo.site/t/original/i/74374cf271097deed1788a1954ea375ec810a2a6698b62491aa596ef72b04a2c/A4-copy-_o.jpg" data-mid="135139745" border="0" alt="Untitled 4" data-caption="Untitled 4" src="https://freight.cargo.site/w/669/i/74374cf271097deed1788a1954ea375ec810a2a6698b62491aa596ef72b04a2c/A4-copy-_o.jpg" /> <img width="670" height="503" width_o="670" height_o="503" data-src="https://freight.cargo.site/t/original/i/42b4598a8a27d78abac2064e582917bd6b8a83a890df72d1f4f84c1a0d62ac04/A5-ccopy_o.jpg" data-mid="135139747" border="0" alt="Untitled 5" data-caption="Untitled 5" src="https://freight.cargo.site/w/670/i/42b4598a8a27d78abac2064e582917bd6b8a83a890df72d1f4f84c1a0d62ac04/A5-ccopy_o.jpg" /> <img width="670" height="503" width_o="670" height_o="503" data-src="https://freight.cargo.site/t/original/i/214de0a53515a7b106e444b1800224fd6fded7f36507da50bb940191cbec14f0/A7-copy_o.jpg" data-mid="135139740" border="0" alt="Untitled 6" data-caption="Untitled 6" src="https://freight.cargo.site/w/670/i/214de0a53515a7b106e444b1800224fd6fded7f36507da50bb940191cbec14f0/A7-copy_o.jpg" /> <img width="670" height="527" width_o="670" height_o="527" data-src="https://freight.cargo.site/t/original/i/918e42f658a304f06fcb09975355b61fa2543e5435d0258486395942b265d39c/A8-copy_o.jpg" data-mid="135139743" border="0" alt="Untitled 7" data-caption="Untitled 7" src="https://freight.cargo.site/w/670/i/918e42f658a304f06fcb09975355b61fa2543e5435d0258486395942b265d39c/A8-copy_o.jpg" /> <img width="669" height="570" width_o="669" height_o="570" data-src="https://freight.cargo.site/t/original/i/0742d160c33f313f4bb1dafecc282d846a800c676b35a16be6ae09721e83f3ae/A6-copy_o.jpg" data-mid="135139742" border="0" alt="Untitled 8" data-caption="Untitled 8" src="https://freight.cargo.site/w/669/i/0742d160c33f313f4bb1dafecc282d846a800c676b35a16be6ae09721e83f3ae/A6-copy_o.jpg" /> <img width="670" height="498" width_o="670" height_o="498" data-src="https://freight.cargo.site/t/original/i/b436a4f822ff5d5d5b155eeabb42bd8c2a83b62784e6af43a2deea067a402b45/A9--copy_o.jpg" data-mid="135139739" border="0" alt="Untitled 9" data-caption="Untitled 9" src="https://freight.cargo.site/w/670/i/b436a4f822ff5d5d5b155eeabb42bd8c2a83b62784e6af43a2deea067a402b45/A9--copy_o.jpg" /> Twilight Sleep Angelika Sher’s new photographs read for me as a symbolic coded text. In most of them, the object appears to be a signifier. As in a dreaming state, the photograph does not focus on the horse, nor on a table set for a feast. The set of symbols follows the duality of the ritual and the quotidian, the sacred and the profane, beauty and revulsion. Strangely, when I investigate the photographs I can’t help recalling the Flemish tradition of Vanitas paintings. The highly symbolic memento mori motif, encompassing both death and purity, is central to this genre. At the same time, there’s a sense that Sher is creating a whole different syntax – less specific, deceptive, dialectic. Birth and death are not dichotomous; they dwell together and echo each other. The photograph of the white horse exudes sublime nobility, but its surprising locus – a common stable – brings it back from holiness to mundane, from high to low.&nbsp; I’m thinking of a famous quote of Caravaggio’s, who, according to the story, said to a student who had failed to draw a horse: “Don’t try to draw a horse – try for horseness.” Here too representation is contrasted with the physical object. The Duality in Sher’s work reaches a climax in two photographs: One, a portrait of an old woman, expresses extreme artificiality, bordering on horror. The excessive make-up, the surgically sculpted face, the theatrical gesture, all combine to subvert the natural and turn the body into a death mask. Similarly, the cat, wrinkled due to other causes (it’s a young cat; the wrinkles are no indication of age), stands out in its static pose – being a statue. Its beauty is implied by its noble pedigree, but actually it is amazingly ugly. It lacks expression. An incarnation of a sphinx, its face is sealed. It looks like a stuffed animal. The eastern European-looking feast table conceals a deception. The pseudo-Russian dishes are actually pseudo-Dutch, but in fact are manufactured in China. Sher folds the napkins the way she remembers from her Grandmother’s house. The precise arrangement, heralding the feast, becomes, in its sterility, funereal. The sheep and the young goat hold a central role in this body of work. The immediate connotation is religious, of a sacrifice, but very soon the image of the one against many takes over. The sheep are a herd, a collective. The baby goat, breaking out from a sheet of fabric, appears to be in the process of being born. The grey tarpaulin tears apart and allows the emerging of the individual, the pure one. Purification is the dominant theme also in the bath-house work. A naked man sits, wrapped up in himself, his face hidden. A ritual immersion is suggested here, an act of cleansing. The symbolic content, the iconographic references, the sense of visual tradition – all coalesce into a sharp, crisp, extremely realistic photographic visibility, creating a poignant encounter between historical pictorialism and contemporary photography. Yair Barak https://angelikasherart.com/Thirteen-2008-2009-1 Wed, 02 Mar 2022 09:28:17 +0000 Angelika Sher https://angelikasherart.com/Thirteen-2008-2009-1 Thirteen (2008 - 2009) “In the second series, 13, the relationship between the camera and the objects is significantly changed. The directness and openness of the children become an unbridgeable distance. A sense of loss and departure shoots out like an arrow from colorful, seductive images. The scenes create asense of inaccessibility, and raise thoughts of an inherent, existential anxiety in the depths of the parenting experience. One photograph shows a group of children locked inside a greenhouse in the middle of a fallowfield. The greenhouse, in its botanical context, is the ideal growth environment, providing protection, perfect climate conditions, and optimal nourishment. These human “plants” are not protected – they are trapped, and cannot communicate. The protective cover becomes threatening,&nbsp;distancing. The subjects do not give themselves easily; they surround themselves, physically and mentally, with defense mechanisms. The camera is charged with a new role: it defines territories and marks the limits of intervention. The gaze is the ultimate mechanism of inaccessibility. Here is photography in one of its most frustrating instances – its inherent attempt to document the moment, the becoming of a thing in the past, underlines its impossibility. The significant moment is the moment of failure, where there’s nothing but the huge gap, created by the physical and mental presence of the camera, between the photographer and the object being photographed.” Yair Barak <img width="670" height="503" width_o="670" height_o="503" data-src="https://freight.cargo.site/t/original/i/50bf94ea7023032d75ac0a863b9d0c892d055f3aeaea29d74551d67e7804cb76/A-copy-copy_o.jpg" data-mid="135141853" border="0" alt="AC/DC" data-caption="AC/DC" src="https://freight.cargo.site/w/670/i/50bf94ea7023032d75ac0a863b9d0c892d055f3aeaea29d74551d67e7804cb76/A-copy-copy_o.jpg" /> <img width="670" height="501" width_o="670" height_o="501" data-src="https://freight.cargo.site/t/original/i/89da5a9b9ed68bbb4d1c97f91d91e3aecec0c06a2602b76e7e1edfc1fc52965c/A3-copy_o.jpg" data-mid="135141855" border="0" alt="AC/DC II" data-caption="AC/DC II" src="https://freight.cargo.site/w/670/i/89da5a9b9ed68bbb4d1c97f91d91e3aecec0c06a2602b76e7e1edfc1fc52965c/A3-copy_o.jpg" /> <img width="670" height="515" width_o="670" height_o="515" data-src="https://freight.cargo.site/t/original/i/9509d4d995d4710c41e6b3e5eea0d025e2a754b570c9bf05619e045d87d16467/A4-copy_o.jpg" data-mid="135141852" border="0" alt="Blue Heat" data-caption="Blue Heat" src="https://freight.cargo.site/w/670/i/9509d4d995d4710c41e6b3e5eea0d025e2a754b570c9bf05619e045d87d16467/A4-copy_o.jpg" /> <img width="670" height="515" width_o="670" height_o="515" data-src="https://freight.cargo.site/t/original/i/60bf395caa4d7d287d0d8e2e27bdcba3c582b1c9ad72c02e212d47294b9726d9/A5_o.jpg" data-mid="135141849" border="0" alt="The Yellow Deer" data-caption="The Yellow Deer" src="https://freight.cargo.site/w/670/i/60bf395caa4d7d287d0d8e2e27bdcba3c582b1c9ad72c02e212d47294b9726d9/A5_o.jpg" /> <img width="1200" height="796" width_o="1200" height_o="796" data-src="https://freight.cargo.site/t/original/i/6912d7d1d1c0b794b6dfdc8fcd74b0f48744751493d98cce1df89ec3d2009352/A8-copy_o.jpg" data-mid="135141851" border="0" alt="Lady with a glass" data-caption="Lady with a glass" src="https://freight.cargo.site/w/1000/i/6912d7d1d1c0b794b6dfdc8fcd74b0f48744751493d98cce1df89ec3d2009352/A8-copy_o.jpg" /> <img width="670" height="511" width_o="670" height_o="511" data-src="https://freight.cargo.site/t/original/i/2d238836f018c99e9161d0cb798f3d0d5bd45e0e32a011df2da8788c6a0450ef/A_7copy_o.jpg" data-mid="135141854" border="0" alt="The Flying Object" data-caption="The Flying Object" src="https://freight.cargo.site/w/670/i/2d238836f018c99e9161d0cb798f3d0d5bd45e0e32a011df2da8788c6a0450ef/A_7copy_o.jpg" /> <img width="670" height="526" width_o="670" height_o="526" data-src="https://freight.cargo.site/t/original/i/e41217df8b3603ad084919042cf1c6a28172314544caca979957099a761e6dc5/A1copy_o.jpg" data-mid="135141850" border="0" alt="Fire" data-caption="Fire" src="https://freight.cargo.site/w/670/i/e41217df8b3603ad084919042cf1c6a28172314544caca979957099a761e6dc5/A1copy_o.jpg" /> <img width="670" height="537" width_o="670" height_o="537" data-src="https://freight.cargo.site/t/original/i/48affe446a6232a6eb2423a7b7f496071e4bab16cf415a2e766b911fb3d63d10/A0011111_120_o.jpg" data-mid="135141848" border="0" alt="Mazgan" data-caption="Mazgan" src="https://freight.cargo.site/w/670/i/48affe446a6232a6eb2423a7b7f496071e4bab16cf415a2e766b911fb3d63d10/A0011111_120_o.jpg" /> <img width="670" height="538" width_o="670" height_o="538" data-src="https://freight.cargo.site/t/original/i/94aac0ac625d7947994797a7a6bce59cf4f817771b9e3b0a023fb64a0d8a12ca/A0010787_100_o.jpg" data-mid="135141847" border="0" alt="Tissue" data-caption="Tissue" src="https://freight.cargo.site/w/670/i/94aac0ac625d7947994797a7a6bce59cf4f817771b9e3b0a023fb64a0d8a12ca/A0010787_100_o.jpg" /> Thirteen ...In the second series, 13, the relationship between the camera and the objects is significantly changed. The directness and openness of the children become an unbridgeable distance. A sense of loss and departure shoots out like an arrow from colorful, seductive images. The scenes create a sense of inaccessibility, and raise thoughts of an inherent, existential anxiety in the depths of the parenting experience. One photograph shows a group of children locked inside a greenhouse in the middle of a fallow field.&nbsp; The greenhouse, in its botanical context, is the ideal growth environment, providing protection, perfect climate conditions, and optimal nourishment. These human “plants” are not protected – they are trapped, and cannot communicate. The protective cover becomes threatening, distancing. The subjects do not give themselves easily; they surround themselves, physically and mentally, with defense mechanisms. The camera is charged with a new role: it defines territories and marks the limits of intervention. The gaze is the ultimate mechanism of inaccessibility. Here is photography in one of its most frustrating instances – its inherent attempt to document the moment, the becoming of a thing in the past, underlines its impossibility. The significant moment is the moment of failure, where there’s nothing but the huge gap, created by the physical and mental presence of the camera, between the photographer and the object being photographed. Yair Barak