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Contemporary art gallery: Explorer /// Smadar Sheffi

Sunday by appointment only

Monday-Thursday 11:00-19:00

Friday 10:00-14:00

Saturday 11:00-14:00

117 Herzl Street, Tel Aviv

Tel: 972-3-682 2777

Fax: 972-3-682 6555



Eternal Return // The Culture Trip

Eternal Return // The TelAvivian

Eternal Return // A post by Gil Hovav

Opening hours during Passover

Monday- Wednesday: 11:00-19:00 Thursday- Friday: CLOSED Saturday: 11:00-14:00

Lior Modan, Wild Rice // The Calcalist

BEUYS, BEUYS, BEUYS // The Calcalist

BEUYS, BEUYS, BEUYS // The Culture Trip

Summer Hanging from the gallery collection

Extension of the exhibition "BLACK IS COLOUR" | Dror Ben Ami

we are pleased to inform you that the exhibition "BLACK IS COLOUR" Dror Ben Ami Is extended until the 25 of july 2015 Looking forward to seeing you

Invitation to a gallery talk

We are pleased to invite you to a gallery talk about the exhibition "BLACK IS A COLOUR" With the artist Dror Ben Ami Saturday /// June 20 /// 12.00

Gallery talk with Avital Geva, Micha Ullman and Ronald Fuhrer

Avital Geva & Micha Ullman in the Calcalist

Opening Hours During the Holidays | שעות פתיחה במהלך החגים

David Nipo || Israel HaYom || 27/06/2014 (Hebrew only)

Opening hours during the Passover holidays

G Globes Magazine | Hagit Peleg Rotem | 03/04/2014 (Hebrew)

Gallery talk || Two Moons on the Shore...

Benni Efrat at Daimler Contemporary Art Collection (Berlin)

Gallery talk with the artists Doron Golan and Ron Erlih

Doron Golan // Haaretz // Uzi Tzur

Avital Geva wins the Ministry of Culture and Sport prize for lifetime achievement

Gallery Talk || Back to the Beginning

Friday /// August 9 /// 12 pm

Watch a virtual tour of Avital Geva's installation at the exhibition "Even Though"

David Nipo wins Shiff prize for figurative art


Opening Hours for Shavuot

The portrait of Ronnie Fuhrer painted by David Nipo will be exhibited at the National Portrait Gallery on June 2013

Independence Day 2013

Tuesday 16/4 the gallery will be closed


Contemporary by Golconda will exhibit its best photographers at TEL AVIV PHOTO 2013. Opening: Thursday, April 11 20:00 22 Nahmani st.

Invitation to a gallery talk

"The View from Here" | Three Photographers Friday | April 5 | 12 pm

Opening hours during Passover

Please click for more information

Gallery talk

We invite you to A Gallery talk in the exhibition "The View from Here" | Three Photographers curator: Tali Tamir. Friday /// April 5 /// 12pm

BYOB (Bring your own beamer)

A one-night-exhibition curated by Doron Golan and Adiya Porat. The exhibition will host artists and their projectors.

Gallery Talk

We invite you to A Gallery talk in the exhibition "I PACKED ALONE..." by David Tartakover Saturday /// February 9 /// 12pm

Election day 22/1/13

Tomorrow Jan. 22, Election day, the gallery will be closed


On December 6th the art dealer and gallery owner Ronald Fuhrer launched the book "DAVID NIPO: ABOUT A PORTRAIT"


The exhibition ”Inlusio” by Lital Nidam will be closed for a day on Thursday, December 6th.

Invitation to a gallery talk

Friday /// November 30 /// noon "Place Remains" and "Inlusio"

Investors Fly to Contemporary Art /// The New York Times

NEW YORK — Never underestimate the amazing amount of cash swirling around the world in search of a home. This week, close to $1 billion was spent on contemporary art.

Canceling notification of the reception on Thursday 22/11

Due to the cancellation of the opening of "BRAVO: Some Aspects of Latin-American Art“ at "Habeer“ Art and Visual Media Center, planned for 21st November in Beer Sheva,

"BRAVO: Some Aspects of Latin-American Art"

Contemporary by Golconda, "Habeer" Art and Visual Media Center and Ben-Gurion University of the Negev request the pleasure of your company at a reception to celebrate the opening of the exhibition "BRAVO: Some Aspects of Latin-American Art" at "Habeer“ Art and Visual Media Center, Beer Sheva

The Test Tube

The Contemporary by Golconda Gallery is launching "The Test Tube" in November, a new initiative that aims to showcase as yet unknown young artists.

Explorer - A gallery talk || Friday 19/10/12 || noon

We invite you to A Gallery talk about the exhibition EXPLORER with the curator Iris Mendel and the artists.

Explorer /// Smadar Sheffi

Processes of probing, infiltration and attempts to map the new world connect the works in the group show “Explorer”, which features some excellent works

Adding to Subtract /// Ayelet Zohar

"Adding to Subtract" (curated by Ory Dessau) is a small-scale exhibition featuring only four artists.

The Blind Explorer // Smadar Sheffi

Processes of probing, infiltration and attempts to map the new world connect the works in the group show “Explorer”, which features some excellent works

Smadar Shefi, Haaretz, 14.9.2012

“Explorer” is one of those exhibitions which are like a big knot that needs to be unravelled slowly. There is a thread, at first hidden, that connects the works, and once it is revealed – like a jigsaw puzzle starting to take shape – the exhibition becomes an accessible visual text.

Angela Klein’s two works, “Golden October” and “Realist Chanson”, look like a somewhat macabre homage to American Pop Art: iron dots protruding from the wall seemingly create a word written in Braille, designed for the blind and not legible to those who have not learned it. The works’ titles remain enigmatic, and a close look reveals that the dots, with their perfect finish, lose what from afar seems like a meaningful structure.

Questions of structure, orientation and probing stand at the heart of the exhibition “Explorer”, whose name echoes that of the popular internet browser and could have also echoed the name of the space shuttle, but is taken, as the show’s curator Iris Mendel writes, from the work “Explorer” by Haran Mendel. This work consists of an inflatable boat reminiscent of lifeboats, and a structure made of wooden planks. There is something absurd in the combination of the ship and the wooden structure – on the one hand rescue and on the other hand nature and isolation – and the vague intention is reinforced by a lit red bulb that turns in this context into a kind of longing for a lighthouse, for some absent guidance.

Ra’anan Harlap’s works are rough objects teeming with the memory of the past. Some of them look like a continuation of the genealogy of “The Want of Matter”, especially the works “Door” and “Window” (as well as Gilead Keydar’s Paintings on wooden loading boards).

The 2011 work “Pit” is also linked to this chapter in the history of local art (no less than to the Italian Arte Povera), but here Harlap goes further. In a spiral of coarse wood he creates an almost sucking movement, which creates a troubling imbalance. The work’s title relates to various pits, from the one Joseph was thrown into by his brothers to mass graves, and in general to anything that is hidden, that provokes fears.

Tomer Azulay shows photographs that feature objects in an intermediary state between 3D and 2D, between the real and the model, recalling architectural drawings, which make you intrigued to see more of his work.


Embalming the studio
Gili Avissar’s two video works are excellent and continue to establish his status as one of the interesting artists, with their own distinct language, that have been operating here in recent years. “Action in Sculpture (House)”, shown on the lower floor, creates a sense of grotesqueness when the artist, in absurd costumes, builds houses that collapse, disappear and return, with the logic of a nightmare. We can certainly think in the context of this work of the video pioneer Martha Rosler or of the contemporary artist Paul McCarthy.

And if this work by Avissar takes a different direction from the one that has characterized him in the past, then “Action in Sculpture (Face)”, in which rich textiles are revealed as an image of changing faces, follows in the footsteps of previous works. Avissar succeeds in making palpable a material richness of textiles and with it the role they fill beyond the physical needs of clothing: protection, snuggling, concealment and decoration, a broad range of emotions, hopes and anxieties.

Peter Jacob Maltz’s wall relief “Meeting the Demons” is like a three-dimensional map of the seen and the unseen. The work consists of plaster casts of objects, including a fan, drawers, cupboards, and part of the pipe system in the artist’s studio (according to the accompanying text). The materiality gives the feeling of being in the middle of a process, of what is supposed to be cast in a more noble material. In this work, despite the hints at Pop (especially Rauschenberg), there is a tragic feeling, that recalls one of Borges’ famous stories, “On Rigour in Science”, which tells of a kingdom in which the science of cartography (mapping) becomes so developed that the cartographers create a map on the same scale as the reality, which then replaces the reality and covers it. Maltz covers-replaces the studio, embalming it and making it foreign, just a sign.

Lihi Chen, known for her complex and intelligent installations, has created a work that features an equal measure of humour and poeticism. She has built what looks like an entryway into a secret space behind a bookcase, the kind of detail that expresses sophistication in old thriller books and films. Today the idea seems almost naïve: in the wall of the gallery, just behind the curtain, hides the back room, in which the secret deals are made. In Chen’s case it is tinged with a considerable irony.

Chen’s work, like Malts’ and Haran Mendel’s, hints at changes, at options of transition. In current affairs contexts it is hard not to think of the infiltrators, those refugees and migrant workers, who for several decades have been part of extensive migratory movements in Europe, and have started to be felt in Israel in the last decade. This migration is not like the Israeli “Aliyah” which was perceived as the realization of the vision of generations, even if those waves of immigration have encountered the same problems that characterize all immigrant societies.

The flows of immigration, whether they encounter resistance – as in most cases – or are received with sympathy, change the way in which we perceive the world. Suffice it to remember countries such as England or France who have in the recent decades become multicultural. The groping implied in Angela Klein’s work, the attempt to read a different language while activating a sensory system in an unfamiliar manner, is also connected to the attempt to remap the world.


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