Day’S End — *מי אני, Галерея Двир, до 19 сентября

Born 1960, Montreuil-sous-Bois, France. Lived and worked in Tel Aviv, Israel, 1960 – 2016.

Yossi Breger’s photographic and installation practice explores the processes through which individual images accumulate into coherent systems — abstract yet lucid structures that form a surreal and intelligible narrative. Each photograph bears the trace of his physical and emotional presence, merging passion with contemplation. Through a formal language of striking precision, Breger’s gaze harmonizes the personal and the collective, the intimate and the political, life and death. His works construct a pictorial and cinematic tension that captures the moment when perception transforms into understanding — when facing the world becomes an act of reflection.

Breger exhibited widely throughout his career, including at the Tel Aviv Museum of Art, Museum on the Seam (Jerusalem), Ashdod Museum of Art, Herzliya Museum of Contemporary Art, Haifa Museum of Art, Forum des Images (Paris), and the Israel Museum (Jerusalem). He was the recipient of the Minister of Culture and Sport Prize for Artists in the Visual Arts. His works are held in major public collections, including the Israel Museum (Jerusalem) and the Tel Aviv Museum of Art.

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Yudith Levin‭ (‬b‭. ‬1949‭, ‬Ein Vered‭, ‬Israel‭) ‬is a seminal figure in contemporary Israeli art‭. ‬Over a career spanning several decades‭, ‬she has developed a distinct visual language rooted in gestural abstraction and expressive figuration‭. ‬Working on both traditional canvases and found materials‮ — ‬such as discarded plywood from the streets of Tel Aviv‮ — ‬Levin blurs the line between painting‭ ‬and object‭, ‬chaos and order‭, ‬presence and absence‭.‬

Her compositions‭, ‬often marked by raw brushwork and semi-abstract forms‭, ‬resist clear narrative and invite open interpretation‭. ‬Levin’s paintings are intuitive rather than planned‭; ‬even her figurative works emerge from purely abstract gestures‭. ‬This tension‮ — ‬between the accidental and the intentional‭, ‬the material and the metaphysical‮ — ‬defines her practice‭.‬

In 2021‭, ‬Haaretz critic Ouzi Zur described Levin as‭ ‬“the purest voice in Israeli art‭, ‬”‭ ‬recognizing her singular contribution to the field‭.‬

Her work is held in major public and private collections‭, ‬including‭ ‬ S.M.A.K‭ (‬Ghent‭), ‬the Leopold Museum‭ (‬Vienna‭), ‬the Israel Museum‭, ‬and the Tel Aviv Museum of Art‭.‬ In 2026, Yudith Levin will open a retrospective in the Israel Museum, Jerusalem.

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Born 1953, Tel Aviv, Israel. Lives and works in Tel Aviv, Israel.

Moshe Ninio’s work emerges from a prolonged process of maturation, aiming to transform the image into a realm that is simultaneously polemical, spiritual, and contemplative. His “poor,” latent images — often drawn from the most seemingly trivial or banal sources — inhabit space in relation to one another, creating dialogues between works that challenge conventional hierarchies of meaning. In Ninio’s practice, the image is both complex and iconic: its significance derives as much from its presence and interplay as from the narrative or subject it depicts.

Through this approach, Ninio interrogates the boundaries of perception, memory, and representation, exploring how images acquire resonance and authority over time. His works engage viewers in a reflective, almost meditative encounter, balancing simplicity and depth, stillness and tension.

Ninio has exhibited widely, including in international institutions such as the NBA (Berlin), Musée d’Art et d’Histoire du Judaïsme (Paris), Santa Monica Museum of Art (Santa Monica, USA), Galerie Chantal Crousel (Paris), Dvir Gallery (Tel Aviv), Petah Tikva Museum of Art (Petah Tikva), Centre Pompidou – Musée National d’Art Moderne (Paris), Centre de l’Image Contemporaine (Montreal), Haifa Museum of Art, the International Biennial of Contemporary Art (Jerusalem), and the Tel Aviv Museum of Art. His solo exhibitions include Musée d’Art et d’Histoire du Judaïsme (Paris), Santa Monica Museum of Art (Santa Monica, CA), S.M.A.K. (Ghent), FRAC Languedoc-Roussillon (Montpellier), and the Israel Museum (Jerusalem).

Ninio’s works are held in major public collections, including the Centre Pompidou – Musée National d’Art Moderne (Paris), Musée d’Art et d’Histoire du Judaïsme (Paris), and the Tel Aviv Museum of Art.

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Born 1982, Tel Aviv, Israel, where he lives and works.

Barak Ravitz often employs everyday objects to create minimal, highly aesthetic works that explore the sculptural qualities of readymades and found materials. His practice is driven by an interest in the industrial and global dimensions of commodities — their designation, consumption, distribution, and adaptation to local contexts. While his works embody a universal, timeless beauty, a closer look reveals a deeply rooted connection to his place of birth, with local symbolism woven seamlessly into a visual language that resonates intuitively with international audiences.

Ravitz has held numerous solo exhibitions at leading institutions, including Herzliya Museum for Contemporary Art, The Helena Rubinstein Pavilion (Tel Aviv), Tel Aviv Museum of Art, Bat Yam Museum of Contemporary Art, and Statens Museum for Kunst – National Gallery of Denmark (Copenhagen), among others. His work has also been featured in prominent group exhibitions, including at the Tel Aviv Museum of Art, Kunst um Tunnel (Düsseldorf), Haifa Museum of Art, Ashdod Art Museum, CCA – Center for Contemporary Art (Tel Aviv), Bally Foundation (Switzerland), Madre Museum (Naples), and Fondation CAB (Saint-Paul-de-Vence). Throughout his career, Ravitz has received several prestigious awards, including the Young Artist Award from the Ministry of Culture and Sport (Israel) and the Ingeborg Bachmann Scholarship, donated by Anselm Kiefer.

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Maayan Elyakim is a multidisciplinary artist working across a broad spectrum of artistic media. His practice is rooted in a cosmological approach, with each piece forming a self-contained link in a reimagined (a)historical continuum. His work explores the potential of functional objects and the built environment — those most defined and literal aspects of daily life — to reveal possibilities that evoke abstract, emotional, and spiritual experiences. Driven by a deep engagement with material processes and symbolic systems, his practice reflects a lifelong dedication to mastering techniques from diverse artistic and craft traditions, combined with in-depth research of realms such as art history, the sciences, and mythology.

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Etty Schwartz was born in Jerusalem in 1970 and studied in the photography department at Hadassah Academic College. She has been working on an ongoing project since 1998 — 2022 that presents a series of images inspired by Mendeleev’s periodic table of elements, illustrating how the number of electrons in an element’s atomic structure influences its properties and bonding capabilities in nature.

The periodic table serves as both a catalog of elements and a key to understanding material properties. Schwartz’s photographic chemistry studies ignited her fascination with the relationship between chemistry and photography, leading her to integrate development processes into her artistic practice. As an educator, she shares her passion for chemistry and photography with her students.

Her work focuses on discarded objects — corks, soap remnants, and household waste — often featuring round forms. The photographs explore the materiality of these items, captured against white or black backgrounds in soft natural light. Some images highlight textures sharply, while others intentionally create a sense of ambiguity.

By sorting these photographs according to themes, Schwartz adopts the model of the periodic table, allowing for an associative comparison of organic essence and fundamental qualities. Each axis represents contrasting concepts — alive/dead, black/white, clean/dirty, etc. — enabling a unique perspective on each "element."

This arrangement reflects the passage of time and the aesthetic values of the objects. Schwartz’s exploration also leads to philosophical insights about the parallels between chemical bonding and emotional connections, transforming her catalog into a visual language that captures the effects of time and space.

In line with the second law of thermodynamics, which states that entropy tends to maximize in a closed system, Schwartz’s work illustrates how contrasts and absences contribute to a balanced whole, harmonious yet diverse in its components.

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