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fostered a culture of mutuality . The notion of “ togetherness" indeed protects and strengthens some of us , but uniformity does not suit everyone ; for many others it is rather a source of difficulty and social pressure , eliciting a strong desire to realize their freedom , on their own . With all of the beauty and interest innate to life in a ship of fools rocking on the waves of a multicultural sea , one sometimes wishes to turn one’s gaze to the horizon and seek solace in the boats mooring at the shore of art . The exhibition introduces a range of possibilities for human and emotional functioning in the shadow of intense events , which often evoke a sensation of lost control . The featured works were created between 1986 and 2016 . Each artist individually responds to the changing circumstances and conditions of life from his / her personal point of view , which is social and political . In Untitled dots com Lilach Bar-Ami dots one of the gallery walls with round black stickers . She installs a web of readymade images , which display associative connections . The images are extracted from the Internet and from her private collection of digital images : some from her childhood realms , others range from the history of art to states of war and con ֳ ict . Bar-Ami manipulates these images via minute acts , such as cutting , puncturing , piercing , framing , or sticking round stickers on photographs torn from an American encyclopedia . Concurrently , she invites viewers to examine the space in relation to an excerpt from Max Frisch’s bifurcated literary work , Homo Faber , first published in 1957 , in which he calls upon man living in a technological world to resume listening to his soul . The fusion between the beauty of the cherry blossoms and the presence of black fighter planes in the sky is bewildering , but at the same time makes one come to terms with life under fear of the unknown–two sensations which are an integral part of our daily routine . The harsh situations and difficulties experienced by the artists do not silence the muses , but rather–they provide the motivating force for the creation of art . The work of art is significant in its ability to touch upon the viewer’s intellect and emotion . One of the artists whose work is based on memories from her childhood home is Yehudit Sasportas . A solo exhibition she staged at Office in Tel Aviv Gallery at the outset of her career , “ Mapping" ( 1995 ) , was an installation comprised of political maps which were used to wrap domestic objects , e . g . a mattress , a table , plates , and a bed . Next to these she presented a small work : at the center of a map , which on a closer look turned out to be a map of Spain , from which her family hailed , the artist glued round parchment paper on which she drew her mother , the seamstress , from a childhood memory in blue pen . The surface was mounted on cardboard and manipulated with talcum powder and adhesives . Sasportas’s handwriting addresses the tension between the intimacy of familiar use and the alienation of the objects and drawings imprisoned within objects , attesting to the tension between the familiar and the foreign places . Khen Shish likewise draws inspiration from Sophie Jungreis , Dove Song , 2015 , acrylic and charcoal on paper , 100 ש 70 , 2015 , הנויה ריש , זיירגנוי יפוס 100 ש 70 , ריינ לע םחפו קילירקא
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