Previous Vitrine Displays

Roni Packer
Zero Separation

7.7.2022 – 23.9.2022

Roni Packer’s studio practice revolves around color and paint, and the wish to bring forward the abundance of these two on a flat surface. In Zero Separation, Packer’s installation for Magasin III Jaffa bookstore’s vitrine, she takes a step back from her color practice to reclaim the surface underneath the paint. Instead of a brush, she worked on the raw canvas with an iron, highlighting the off-white cloth, creating a double-sided canvas piece. Packer never used red in her work, but in this mini installation she is asking to proclaim Polly Apfelbaum’s red*. She does that with one thin line at the edge of the raw canvas, a red seam which she uses to set a boundary. However, it wasn’t enough. Packer missed the paint. And so, at the foot of the canvas piece, she places a skin of paint, a surface without a surface. The perpendicular canvas and the horizontal skin of paint are two individual pieces, yet a complete separation is not an option. On top of the red paint skin Packer sets a sculpture of a circle figure.
“And, just as the outside of a Cube is a Square, so the outside of a Sphere presents the appearance of a Circle.” (Flatland, Edwin A. Abbott, p 65).

*Apfelbaum’s exhibition Red Desert, Red Mountain, Red Sea is currently exhibited at Magasin III Jaffa, across the street from the bookstore’s vitrine.

Photo: Tal Nisim

Sivan Lavie
My lucky heart

21.4.2022 – 11.6.2022

Sivan Lavie wonders how she can expand a field for the audience, to gift them with an experience of space and breathing. Color and circles are part of her answer. Beat and rhythm of brightly colored dots floating in white emptiness create movement for the audience she imagines, like musical notes, and reflect joy, allowing an inner dance. Thus she creates another world, a parallel universe, more colorful and flowing than the one we already know.

Sivan Lavie, My Lucky Heart. Photo: Arkady Spivak

Ra’anan Harlap

Used construction wood, 2021.

20.1.2022 – 11.4.2022

Ra’anan Harlap hangs a wooden soccer ball in the air. It cannot be played with, and it is suspended in a location where a ball could not remain. It is all the impossible possibilities; all the lost hopes. Haralp names the work Ba’asa, after the big pond that used to accumulate in past winters at the Bloomfield Stadium area, and caused the cancellation of the soccer games, to the chagrin of the players and fans. Today, the work is exhibited at 17 Olei Zion Street, on the soccer fans’ way to the renovated Bloomfield Stadium. Rain will no longer cancel the game but hopes still hang in the air.    

The possibility of representing three-dimensional bodies in two dimensions has intrigued Harlap for many years. In previous works he presented aligned pits[1] and flat tables[2], created illusions using the perception of space. But this time he is doing the opposite: he is rebuilding the geometric body of soccer ball from the two-dimensional remains of building boards, his favorite material. 20 hexagons and 12 pentagons are used to revive the ball, which manages to fuse the flat wooden shapes into a lasting wonder and an inexhaustible object of passion.

[1] Pit, 2011

[2] Table, 2013

Ra’anan Harlap, Ba’asa, 2021. Photo: Noam Preisman.