⏭ ⏮ Artworks at the Center for Contemporary Art

It seems that one of the dials on the time machine in which we live is stuck in the 1990s, as though some part of us is required to retrieve something from there.

The artworks installed and operating throughout the center, and the spatial design created by Eran Shani, are trapped in a palette of colors, objects, and gestures drawn from those years: Oz Melul reinstalls, in the same place, a work he exhibited at the center in 2011: a faltering printer connected to a squeegee for prints, a remnant of generations of electronic equipment and technologies that have fallen out of use. Naama Arad’s fax machine is piled with communication cables and waste. Uri Katzenstein’s ski boots are placed on speakers. Dariusz Podczuk writes a word in white paint on a wall. When it dries and disappears, he writes it again, while Mila Levy is chained to the wall, moving back and forth repeatedly on rollerblades, listening to the same song on a loop.

At the center of the space, the mothership—“The Bartana.” Formerly a display table in an exhibition by Yael Bartana, rescued by Kim Karts and Layla Rose Barry from its fate at the Holon Municipality waste site, and transformed through an act of imagination and rescue, and through the skilled hands of Ayala Shamir, Michael Sidor, and Yonatan Giron, into a bar standing at the center of the first floor.

Open throughout all operating hours; the performance works will be presented at varying times.

Admission: Free, as part of the “El: The Field” events

Image: Uri Katzenstein, Remote Boots, 2005