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ืžืกืš ืœื‘ืŸ, ื”ืฉืชืงืคื•ืช ื‘ืจืฆืคื”, ื•ื“ื™ืžื•ื™ ืฉืœ ื”ืจืก ืฉืžืชื’ืœื” ืจืง ื‘ืžื‘ื˜ ืฉื ื™ - ื”ืฉื‘ื•ืข ื‘ื ื•ื ืคื™ื ื™ื˜ื• ืื ื—ื ื• ืขื ื ืขืžื” ืจื•ื˜.ื–ื” ืฉื ื™ื ืฉืขืจื•ืฆื™ ื”ื˜ืœื•ื•ื™ื–ื™ื” ืฉ...
18/10/2026

ืžืกืš ืœื‘ืŸ, ื”ืฉืชืงืคื•ืช ื‘ืจืฆืคื”, ื•ื“ื™ืžื•ื™ ืฉืœ ื”ืจืก ืฉืžืชื’ืœื” ืจืง ื‘ืžื‘ื˜ ืฉื ื™ - ื”ืฉื‘ื•ืข ื‘ื ื•ื ืคื™ื ื™ื˜ื• ืื ื—ื ื• ืขื ื ืขืžื” ืจื•ื˜.

ื–ื” ืฉื ื™ื ืฉืขืจื•ืฆื™ ื”ื˜ืœื•ื•ื™ื–ื™ื” ืฉืงื•ืขื™ื ื›ืžืขื˜ ื‘ืจืฆืฃ ืื—ื“ ืื™ื ืกื•ืคื™ ืฉืœ ื“ื™ื•ื•ื—ื™ื. ืžื•ืœ ื”ืจืขืฉ ื”ื–ื”, ืžืกืš ื”ื˜ืœื•ื•ื™ื–ื™ื” ื‘ืขื‘ื•ื“ื” ืฉืœ ืจื•ื˜ ืžืงืจื™ืŸ ื“ื•ื•ืงื ืื•ืจ ืœื‘ืŸ ื‘ื•ื”ืง, ื ืงื™ ืžื›ืœ ื“ื™ืžื•ื™. ืจืง ื‘ืžื‘ื˜ ื ื•ืกืฃ, ื“ืจืš ื”ื”ืฉืชืงืคื•ืช ื‘ืจืฆืคื”, ื ื—ืฉืฃ ื“ื™ืžื•ื™ ืื—ืจ ืœื’ืžืจื™ - ืืฉ, ืขืฉืŸ ื•ื”ืจืก, ืฉืžื•ืคื™ืขื™ื ืžื‘ืขื“ ืœืฉื›ื‘ื•ืช ืฉืœ ื–ื›ื•ื›ื™ืช ื•ืื•ืจ ืžืœืื›ื•ืชื™.

ื”ืคืขืจ ื”ื–ื”, ื‘ื™ืŸ ืžื” ืฉื ืจืื” ืžื™ื“ ืœื‘ื™ืŸ ืžื” ืฉืžืชื’ืœื” ืจืง ื‘ื”ืžืฉืš, ื—ื•ื–ืจ ื’ื ื‘ื—ื•ืžืจื™ื•ืช ืฉืœ ื”ืขื‘ื•ื“ื”. ื”ืื•ืจ ื”ืœื‘ืŸ ื ื—ืกื ื‘ืกื•ืจื’ื™ื ื‘ื“ืžื•ืช ืขืฅ ื•ืคืจื—ื™ื, ืžื ื’ื ื•ืŸ ืฉืœ ื›ืœื™ืื” ื•ืฉืœื™ื˜ื” ืฉืžืชื—ืคืฉ ืœืงื™ืฉื•ื˜ ื‘ื™ืชื™ ืชืžื™ื. ื—ืœื•ื“ื” ื•ื‘ื˜ื•ืŸ, ื—ื•ืžืจื™ื ืฉืœ ื”ืžืจื—ื‘ ื”ืฆื™ื‘ื•ืจื™, ืžื—ื‘ืจื™ื ื‘ื™ืŸ ื‘ื ื™ื™ื” ืœื‘ื™ืŸ ื”ืคืจื“ื”, ื‘ื™ืŸ ื™ืฆื™ื‘ื•ืช ืœื‘ื™ืŸ ื—ื•ืจื‘ืŸ.

ืฉื ื™ ืจืืฉื™ื ื ืฉื™ื™ื ืžื‘ื˜ื•ืŸ ื ื™ืฆื‘ื™ื ื‘ื—ืœืœ ื›ืฉื•ืžืจื•ืช ืกืฃ ืื™ืœืžื•ืช - ื‘ื™ืŸ ืื ื“ืจื˜ื”, ืขื“ื•ืช ื•ืฉืจื™ื“ ืฉื ืฉืืจ ืื—ืจื™ ืืกื•ืŸ.

ืจื•ื˜ ืžื ื”ืœืช ื›ืืŸ ื’ื ื“ื™ืืœื•ื’ ืขื ื”ืฉืคื” ื”ื—ื–ื•ืชื™ืช ืฉืœ ื–ืื‘ ืจื‘ืŸ ื•ืขื "ืกื’ื ื•ืŸ ื‘ืฆืœืืœ", ืฉื—ื™ื‘ืจื• ื‘ื™ืŸ ืื•ืจื ืžื ื˜, ืžืงื•ืจื•ืช ืชื "ื›ื™ื™ื, ื˜ื‘ืข ื•ืžืงื•ืžื™ื•ืช ืœื›ื“ื™ ื“ื™ืžื•ื™ ืื™ื“ื™ืœื™ ืฉืœ ื”ืžืงื•ื. ืืฆืœ ืจื•ื˜, ืื•ืชื” ื”ื‘ื˜ื—ื” ื—ื•ื–ืจืช ื›ืฆืœ ืจื—ื•ืง - ืฉืจื™ื“ ืฉืœ ืคื ื˜ื–ื™ื” ืื•ื˜ื•ืคื™ืช ืฉื ืฉื—ืงื” ืืœ ืชื•ืš ืžืฆื™ืื•ืช ืื—ืจืช ืœื’ืžืจื™.

ื›ืืžื ื™ืช ืžื™ืฆื‘, ืจื•ื˜ ืžืคืจืงืช ืืจื›ื™ื˜ื™ืคื™ื ืชืจื‘ื•ืชื™ื™ื ื•ืื“ืจื™ื›ืœื™ื™ื ื•ื‘ื•ื ื” ืžื”ื ืžืจื—ื‘ื™ื ื—ื•ืžืจื™ื™ื ื•ืจื’ืฉื™ื™ื ืฉืžื‘ืงืฉื™ื ืžืื™ืชื ื• ืœื”ืกืชื›ืœ ืฉื•ื‘. ื•ืื– ืฉื•ื‘.

ื”ืชืขืจื•ื›ื” ืžื•ืฆื’ืช ืขื“ 28.11.26

ืฉืขื•ืช ืคืชื™ื—ืช ื”ื’ืœืจื™ื”:
ืจื‘ื™ืขื™-ื—ืžื™ืฉื™ | 12:00-19:00
ืฉื™ืฉื™-ืฉื‘ืช | 10:00-14:00

ืขื•ื“ ืขืœ ื”ืขื‘ื•ื“ื•ืช ืฉืœ ื ืขืžื” >>> ืœื™ื ืง ื‘ืชื’ื•ื‘ื•ืช

ืฆื™ืœื•ื ืคืจื•ืคื™ืœ ื•ื”ืฆื‘ื”: ืืœืขื“ ืฉืจื™ื’

A white screen, a reflection on the floor, and an image of destruction that reveals itself only on a second look - this week at NonFinito, we turn to Naama Roth.

For several years now, most TV channels have been caught in a single, unending broadcast. In contrast to the constant noise on the television screen at home, the screen in Rothโ€™s work emits a bright white light, devoid of any image, like a promise yet to be fulfilled. On closer inspection, through its reflection on the floor, another image emerges - fire, smoke, destruction - peering at us through layers of glass and artificial light.

This elusive space between the visible and the hidden continues throughout the installation. The pristine white light is blocked by bars in the shape of a tree and flowers - an apparatus of policing and confinement disguised as innocent domestic decoration. Rust and concrete, materials drawn from the real public sphere, bring together construction and control with separation and destruction.

Two female heads cast in concrete stand as silent sentinels - somewhere between monument, testimony, and a remnant left in the aftermath of disaster.

Roth also enters into dialogue with the visual language of Zeโ€™ev Raban, one of the founding fathers of the Bezalel style and of Hebrew design. Rabanโ€™s works helped shape an idyllic visual fantasy of the Land of Israel, where ornament, biblical sources, nature, localism, spirituality, and nationhood converged. In Rothโ€™s work, that image returns as a distant echo - a remnant of a utopian dream transformed into a dystopian reality.

As an installation artist, Roth dismantles cultural and architectural archetypes and uses them to construct complex material and emotional spaces that challenge the viewerโ€™s perception.

The exhibition is on view through November 28, 2026.

Gallery hours:
Wednesday-Thursday | 12 pm-7 pm
Friday-Saturday | 10 am-2 pm

More on Naama Rothโ€™s work >>> link in comments

Profile pic and installation view: Elad Sarig

ืคื•ืจืงืืกื˜, ื”ื™ื›ืŸ ืฉืจืขื™ื•ื ื•ืช ืžื•ืฆืื™ื ืืช ืขืชื™ื“ืืชื•ื›ื ื™ืช ืžื ื˜ื•ืจื™ื ื’ ื‘ื™ื ืœืื•ืžื™ืช ืœื™ื•ืฆืจื™ื ื‘ื™ื ืชื—ื•ืžื™ื™ืื™ื•ื ืจืืฉื•ืŸ, 18 ื‘ืื•ืงื˜ื•ื‘ืจ, ื‘ืฉืขื” 19:30 ืคื•ืจ...
14/10/2026

ืคื•ืจืงืืกื˜, ื”ื™ื›ืŸ ืฉืจืขื™ื•ื ื•ืช ืžื•ืฆืื™ื ืืช ืขืชื™ื“ื
ืชื•ื›ื ื™ืช ืžื ื˜ื•ืจื™ื ื’ ื‘ื™ื ืœืื•ืžื™ืช ืœื™ื•ืฆืจื™ื ื‘ื™ื ืชื—ื•ืžื™ื™ื

ื™ื•ื ืจืืฉื•ืŸ, 18 ื‘ืื•ืงื˜ื•ื‘ืจ, ื‘ืฉืขื” 19:30

ืคื•ืจืงืืกื˜ ื”ื™ื ืคืœื˜ืคื•ืจืžื” ืฉื‘ืกื™ืกื” ื‘ื‘ืจืœื™ืŸ, ื”ืžื•ืงื“ืฉืช ืžืื– ื”ืงืžืชื” ื‘ืฉื ืช 2014 ืœืงื™ื“ื•ื, ืœื™ื•ื•ื™ ื•ืชืžื™ื›ื” ื‘ืคืจืงื˜ื™ืงื•ืช ื™ืฆื™ืจืชื™ื•ืช ืคื•ืจืฆื•ืช ื“ืจืš ื•ื‘ื™ื•ืฆืจื™ื ืืžื ื•ืชื™ื™ื ื ื•ืขื–ื™ื.
ืชื•ื›ื ื™ืช ื”ืžื ื˜ื•ืจื™ื ื’ ื”ื‘ื™ื ืœืื•ืžื™ืช ืฉืœ ืคื•ืจืงืืกื˜ ืžืฆื™ืขื” ืœืืžื ื™ื ื•ืœื”ื•ื’ื™ื ื™ืฆื™ืจืชื™ื™ื ืžื›ืœ ืจื—ื‘ื™ ื”ืขื•ืœื ื”ื–ื“ืžื ื•ืช ืœืขื‘ื•ื“ ืขื ืžื ื˜ื•ืจื™ื ืžื ื•ืกื™ื ื‘ืžื˜ืจื” ืœื”ื‘ื™ื ืืช ื”ืคืจื•ื™ืงื˜ื™ื ืฉืœื”ื ืœื™ื“ื™ ืžื™ืžื•ืฉ. ื”ืคืกื˜ื™ื‘ืœ ื”ืฉื ืชื™ ื‘ื‘ืจืœื™ืŸ ืฉืœ ืคื•ืจืงืืกื˜ ื—ื•ืฆื” ื’ื‘ื•ืœื•ืช ืžื•ื’ื“ืจื™ื ืฉืœ ื“ื™ืกืฆื™ืคืœื™ื ื•ืช ื•ื–ืณืื ืจื™ื, ื‘ืžื˜ืจื” ืœืชืžื•ืš ื‘ืชื”ืœื™ื›ื™ ื™ืฆื™ืจื”, ืœืกืคืง ืชื•ื‘ื ื•ืช ืœื’ื‘ื™ื”ื ื•ืœืคื ื•ืช ืžืงื•ื ืœืฉืืœื•ืช ืฉืžืขืกื™ืงื•ืช ืืช ื”ื“ื•ืจ ื”ื‘ื ืฉืœ ืคื•ืจืฆื™ ื”ื“ืจืš.
ื‘ืฉื™ื— ื‘ืืจื˜ืคื•ืจื˜ ื™ืฆื™ื’ื• ืคืจื™ืื• ืžืื™ื™ืจ, ื™ื•ื–ื ืคื•ืจืงืืกื˜ ื•ื”ืžื ื”ืœ ื”ืืžื ื•ืชื™ ืฉืœื”, ื•ื”ื™ืœื™ ืคืจืœืกื•ืŸ, ื”ืขื•ืจื›ืช ื”ืจืืฉื™ืช ืฉืœ ื”ืคืœื˜ืคื•ืจืžื”, ืืช ื“ืจื›ื™ ื”ืคืขื•ืœื” ืฉืœ ื”ืชื•ื›ื ื™ืช, ืืช ื”ืคื•ื˜ื ืฆื™ืืœ ื”ื™ืฆื™ืจืชื™ ื”ื˜ืžื•ืŸ ื‘ืœืงื™ื—ืช ืกื™ื›ื•ื ื™ื, ื•ื™ืฉืชืคื• ืื™ืš ื”ื”ืชืžื•ื“ื“ื•ืช ืขื ื”ืฉืืœื•ืช ื•ื”ืืชื’ืจื™ื ืฉืขืœื• ืœืืจื•ืš ื™ื•ืชืจ ืžืขืฉื•ืจ ืกื™ื™ืขื” ืœืขืฆื‘ ืืช ื”ืชื•ื›ื ื™ืช ื‘ืื•ืคืŸ ืžืชืžืฉืš.

ื”ืฉื™ื— ื™ืชืงื™ื™ื ื‘ืืจื˜ืคื•ืจื˜, ืจื—ื•ื‘ ื”ืขืžืœ 8, ืชืœ ืื‘ื™ื‘

Where Ideas Find Their Future
Forecast and the Power of Mentoring

Sunday, October 18, at 7:30 pm

Forecast is a Berlin-based platform dedicated to facilitating, mentoring, and promoting trailblazing creative practices and audacious artistic practitioners since its inception in 2014. Forecastโ€™s international mentoring program that offers artists and creative thinkers from anywhere in the world the chance to work with accomplished mentors toward bringing their projects to fruition. Forecastโ€™s annual Festival in Berlin transcends neatly defined disciplines and genres to support and provide insight into creative production processes, and carve out space for the questions on the minds of the next generation of trailblazers. At Artport, Forecastโ€™s initiator and artistic director Freo Majer, and executive editor Hili Perlson introduce the mentoring program and methodology, the generative potential of risk-taking, and how responding to the questions and challenges met across over a decade of activity help shape the program continuously.

Artport, 8 Ha'amal Street, Tel Aviv

ื”ืฉื‘ื•ืข ื‘ื ื•ื ืคื™ื ื™ื˜ื• ืื ื—ื ื• ื ื›ื ืกื•ืช ืืœ ื”ืกื˜ื•ื“ื™ื• ืฉืœ ืจื•ืขื™ ืžื ื—ื ืžืจืงื•ื‘ื™ืฅ' - ืื• ืœื™ืชืจ ื“ื™ื•ืง, ืืœ ืกื˜ื•ื“ื™ื• ื‘ืชื•ืš ืกื˜ื•ื“ื™ื•, ืฉื ื‘ื ื” ื›ื“ื™ ืœื”ืžืฉื™ืš ืœ...
11/10/2026

ื”ืฉื‘ื•ืข ื‘ื ื•ื ืคื™ื ื™ื˜ื• ืื ื—ื ื• ื ื›ื ืกื•ืช ืืœ ื”ืกื˜ื•ื“ื™ื• ืฉืœ ืจื•ืขื™ ืžื ื—ื ืžืจืงื•ื‘ื™ืฅ' - ืื• ืœื™ืชืจ ื“ื™ื•ืง, ืืœ ืกื˜ื•ื“ื™ื• ื‘ืชื•ืš ืกื˜ื•ื“ื™ื•, ืฉื ื‘ื ื” ื›ื“ื™ ืœื”ืžืฉื™ืš ืœืขื‘ื•ื“ ื’ื ื›ืฉื”ืขื•ืœื ื‘ื—ื•ืฅ ืžืชืคืจืง.

ืขื‘ื•ื“ื•ืชื™ื• ืฉืœ ืžืจืงื•ื‘ื™ืฅ' ื ืขื•ืช ื‘ื™ืŸ ื”ื•ืžื•ืจ ืคื™ืกื•ืœื™ ื‘ืืกืชื˜ื™ืงื” ื™ื•ืžื™ื•ืžื™ืช ื•ืžืื•ืœืชืจืช ืœื‘ื™ืŸ ืžื‘ื˜ ื‘ื™ืงื•ืจืชื™ ืขืœ ื”ืชืจื‘ื•ืช ื”ืžืงื•ืžื™ืช ื•ื”ืื•ื ื™ื‘ืจืกืœื™ืช. ื”ื•ื ื™ื•ืฆืจ ืคืกืœื•ื ื™ื ืงื˜ื ื™ื ืฉืžื ื”ืœื™ื ื“ื™ืืœื•ื’ ืขื ืคื™ืกื•ืœ ืžื•ื“ืจื ื™ืกื˜ื™ ืื™ืงื•ื ื™, ื•ื‘ืžืงื‘ื™ืœ ื‘ื•ื ื” ื‘ืขื‘ื•ื“ื•ืช ื”ื•ื•ื™ื“ืื• ืฉืœื• ื ืจื˜ื™ื‘ื™ื ื•ืกื‘ื™ื‘ื•ืช ืงื•ืœื ื•ืขื™ื•ืช ืฉื—ื•ืฉืคื™ื ื’ื ืืช ืžื” ืฉืงื•ืจื” ืžืื—ื•ืจื™ ื”ืงืœืขื™ื ืฉืœ ืชื”ืœื™ืš ื”ื™ืฆื™ืจื”.

ื‘ืžื”ืœืš ืฉื”ื•ืชื• ื‘ืืจื˜ืคื•ืจื˜ ื‘ื ื” ืžืจืงื•ื‘ื™ืฅ' ืกื˜ื•ื“ื™ื• ื ื™ื™ื“ ื•ืžื•ืงื˜ืŸ ื‘ืชื•ืš ื”ืกื˜ื•ื“ื™ื• ืฉืœื• - ืื•ื‘ื™ื™ืงื˜ ืฉื™ืžื•ืฉื™ ืฉื”ื•ื ื’ื ื›ืžื•ืกืช ื”ื™ืฉืจื“ื•ืช ืขืฆืžืื™ืช ื•ืžืžื•ื’ื ืช, ืฉื ื•ืขื“ื” ืœืืคืฉืจ ืœื• ืœื”ืžืฉื™ืš ืœื™ืฆื•ืจ ื’ื ื‘ืœื‘ ืงื˜ืกื˜ืจื•ืคื”.

ืžืจื—ื•ืง ื”ืžื‘ื ื” ืขืฉื•ื™ ืœื”ื™ืจืื•ืช ื›ืžืขื˜ ืขืชื™ื“ื ื™ ื•ืžืœื•ื˜ืฉ. ืžืงืจื•ื‘ ืžืชื’ืœื” ืคืกื™ืคืก ืžืื•ืœืชืจ ืฉืœ ืžื™ื™ื‘ืฉื™ ื—ืกื”, ืžื˜ืงืช ื™ืชื•ืฉื™ื, ื›ื‘ืœื™ ื—ืฉืžืœ ื•ืงื•ืคืกืื•ืช ืฉื™ืžื•ืจื™ื. ืžืกืคื™ืง ืขื•ื“ ืจื’ืข ืฉืœ ื”ืชื‘ื•ื ื ื•ืช ื›ื“ื™ ืฉื”ืคืืจ ื™ืชืคืจืง ื•ื™ื—ืฉื•ืฃ ืืช ื”ื—ื™ื‘ื•ืจื™ื ื”ืจืขื•ืขื™ื ืฉืžื—ื–ื™ืงื™ื ืืช ื”ื›ื•ืœ ื™ื—ื“.

ื‘ืชื•ืš ื”ืงื•ืคืกื” ื”ืืžืŸ ื”ื•ืคืš ืœืžืคืขื™ืœ ืฉืœ ืžื›ื•ื ื”, ื”ืžื™ื™ืฆืจืช ืคืกืœื™ื ื–ืขื™ืจื™ื ื‘ืืžืฆืขื•ืช ื ื™ืกื•ืจ, ื”ื‘ืจื’ื” ื•ื”ื“ื‘ืงื”. ืขื‘ื•ื“ืช ื”ื•ื•ื™ื“ืื• ืขื•ืงื‘ืช ืื—ืจื™ ื”ืขื‘ื•ื“ื” ื”ืขืžืœื ื™ืช ื•ืื—ืจื™ ื”ืกื˜ื•ื“ื™ื• ืขืฆืžื•, ืฉืžืฉื ื” ืฉื•ื‘ ื•ืฉื•ื‘ ืืช ืชืคืงื™ื“ื• - ืžืชื ื—ื ื•ืง ืœืžืชืงืŸ ืžืžื•ื’ืŸ, ืžืžื›ืฉื™ืจ ืžืขืงื‘ ืœืžื›ืช"ื–ื™ืช, ืžืžืงื•ื ืžืคืœื˜ ืœืžืชืงืŸ ืžื™ืœื•ื˜ - ื‘ื–ืžืŸ ืฉื”ืคืกืœื™ื ืฉื ื•ืฆืจื™ื ื‘ืชื•ื›ื• ืžืฉื•ื’ืจื™ื ื”ื—ื•ืฆื”.

ื‘ืขื•ืœื ืฉืœ ืžื“ืคืกื•ืช ืชืœืช-ืžืžื“ ื•ื‘ื™ื ื” ืžืœืื›ื•ืชื™ืช, ืฉื‘ื• ืคืขื•ืœืช ื”ื™ืฆื™ืจื” ื”ื•ืœื›ืช ื•ืžืชืจื—ืงืช ืžืžื’ืข ื™ื“ ืื“ื, ืžืจืงื•ื‘ื™ืฅ' ืžืžืฉื™ืš ืœื”ื™ืื—ื– ื‘ื—ื•ืžืจ ื”ืื ืœื•ื’ื™. ื”ืกื˜ื•ื“ื™ื• ื”ื•ืคืš ืœืฉืจื™ื•ืŸ ื•ืœืžืจื—ื‘ ืžื‘ื•ื“ื“ ืฉื‘ื• ื”ื•ื ืžืžืฆื™ื ืืช ื”ื—ื•ืงื™ื ืžื—ื“ืฉ, ื‘ื ื™ืกื™ื•ืŸ ืœื”ืžืฉื™ืš ืœื™ืฆื•ืจ ื‘ืชื•ืš ืขื•ืœื ื’ื•ืขืฉ - ื•ืœืชืงืŸ ืžืฉื”ื• ืฉืชืžื™ื“ ื ืฉืืจ ื›ืžืขื˜ ืฉืœื.

ื”ืชืขืจื•ื›ื” ืžื•ืฆื’ืช ืขื“ 28.11.26

ืฉืขื•ืช ืคืชื™ื—ืช ื”ื’ืœืจื™ื”:
ืจื‘ื™ืขื™-ื—ืžื™ืฉื™ | 12:00-19:00
ืฉื™ืฉื™-ืฉื‘ืช | 10:00-14:00

ืขื•ื“ ืขืœ ื”ืขื‘ื•ื“ื•ืช ืฉืœ ืจื•ืขื™ ืžื ื—ื ืžืจืงื•ื‘ื™ืฅ' >>> https://www.artport.art/artist/roy-menachem-markovich/

This week at NonFinito, we step into Roy Menachem Markovichโ€™s studio - or more precisely, into a studio within a studio, built to keep working even when the world outside is falling apart.

Markovich is a video artist and sculptor who uses materials close at hand to create DIY cinematic sets, installations, and playful mock-up sculptures. His works move between sculptural humoresques rooted in an improvised everyday aesthetic and sharp reflections on local and universal culture, often revealing the โ€œbackstageโ€ of both the creative process and reality itself.

During his residency at Artport, Markovich built a mobile studio. Nested within his actual studio, this scaled-down workspace functions as a utilitarian object and a self-contained, protected survival capsule, enabling him to continue working even amid catastrophe and disaster zones.

At first glance, the structure appears almost futuristic and polished. A closer look reveals an improvised arrangement of salad spinners, an electric mosquito zapper, electric cables, and tin cans. It takes only a moment for the illusion of technological sophistication to dissolve, exposing the fragile, wounded joints that hold everything together.

Inside this autarkic apparatus, the artist becomes the operator of a machine that produces miniature sculptures through acts of sawing, screwing, and gluing. The accompanying video follows the painstaking process of making, while the studio itself continually changes its function - from a suffocating chamber to a fortified enclosure, from a surveillance device to a water cannon, from a place of refuge to an escape facility - all while the sculptures produced inside are launched beyond its confines.

In a world saturated with 3D printers and artificial intelligence, where artistic production is becoming increasingly detached from human touch, Markovich clings to analogue matter. The studio becomes an impenetrable shell, an isolated domain in which he invents the rules and bends materials to his will in order to keep creating in a turbulent world. Suspended between the fortified refuge and the dangers outside, the work reflects the human desire for control and the attempt to mend a rift that always remains within the realm of โ€œalmost.โ€

The exhibition is on view through November 28, 2026.

Gallery hours:
Wednesday-Thursday | 12 pm-7 pm
Friday-Saturday | 10 am-2 pm

More on Roy Menachem Markovichโ€™s work >>> https://www.artport.art/artist/roy-menachem-markovich/?lang=en

Profile pic: Roni Kaufman
Installation view: Tal Nisim

ื•ืจื“ื™ืช ื’ืจื•ืก ืžื“ืœื’ืช ื‘"ืžื’ืœื™ื ืื•ืฆืจื•ืช" ื‘ืคืจื•ื˜ืคื•ืœื™ื• ืžื ื•ื ืคื™ื ื™ื˜ื• ื”ืจืืฉื•ืŸ ื‘ื• ืขื“ื™ื™ืŸ ืจืืชื” ืืช ืขืฆืžื” ื›ืขื•ื‘ื“ืช ืชื—ื–ื•ืงื”, ื•ืขื“ ืœื ื•ื ืคื™ื ื™ื˜ื• ื”ืžื•ืฆื’ ...
30/09/2026

ื•ืจื“ื™ืช ื’ืจื•ืก ืžื“ืœื’ืช ื‘"ืžื’ืœื™ื ืื•ืฆืจื•ืช" ื‘ืคืจื•ื˜ืคื•ืœื™ื• ืžื ื•ื ืคื™ื ื™ื˜ื• ื”ืจืืฉื•ืŸ ื‘ื• ืขื“ื™ื™ืŸ ืจืืชื” ืืช ืขืฆืžื” ื›ืขื•ื‘ื“ืช ืชื—ื–ื•ืงื”, ื•ืขื“ ืœื ื•ื ืคื™ื ื™ื˜ื• ื”ืžื•ืฆื’ ื‘ื™ืžื™ื ืืœื• ื‘ืืจื˜ืคื•ืจื˜ - "ืขื‘ื•ื“ื•ืช ื’ื“ื•ืœื•ืช ื•ืฉืืคืชื ื™ื•ืช. ื›ืœ ืื—ืช ืžื”ืŸ ื”ื™ื ืžืขื™ืŸ ืžื™ื ื™ ืชืขืจื•ื›ืช ื™ื—ื™ื“, ื•ื”ืจื‘ื” ืžื”ืŸ ื”ืขืกื™ืงื• ืื•ืชื ืœืื•ืจืš ื—ืœืง ื’ื“ื•ืœ ืžื”ืฉื ื”. ื‘ื’ืœืจื™ื” ืžื•ืฆื’ ื”ืชื•ืฆืจ ื”ืกื•ืคื™, ืื‘ืœ ืžืื—ืจ ืฉื›ื•ืœื ื• ื—ื•ืœืงื™ื ืืช ืื•ืชื• ื”ื‘ื ื™ื™ืŸ โ€“ ื–ื›ื™ื ื• ืœืจืื•ืช ืืช ื”ืขื‘ื•ื“ื•ืช ื”ืืœื• ืžืชืคืชื—ื•ืช ื•ืžืฉืชื ื•ืช, ื•ื›ื•ืœื ื• ืžืจื’ื™ืฉื™ื ืฉื•ืชืคื™ื ื‘ื”ื™ื•ื•ืฆืจืŸ."

https://www.prtfl.co.il/archives/260645
Vardit Gross

23/09/2026

ื‘ืคืจืง ื”ื—ื“ืฉ ืฉืœ Artport on Air ื•ืจื“ื™ืช ื’ืจื•ืก ืžืฉื•ื—ื—ืช ืขื ื”ืืžืŸ ื•ื™ื•ืฆืจ ื”ืงื•ืœื ื•ืข ื™ื•ื ืชืŸ ืขื•ืžืจ ืžื–ืจื—ื™ ืขืœ ื“ื™ืžื•ื™ื™ื ืฉื ืžืฆืื™ื ืกื‘ื™ื‘ื ื• ื›ืœ ื”ื–ืžืŸ, ืขืœ ื”ืžืงื•ืžื•ืช ืฉื‘ื”ื ืืžื ื•ืช ื•ืคืจืกื•ื ืžืชื—ื™ืœื™ื ืœื”ื™ืจืื•ืช ื“ื•ืžื™ื, ื•ืขืœ ื”ื“ื‘ืจื™ื ืฉืื ื—ื ื• ืžืคืกื™ืงื™ื ืœืจืื•ืช ื“ื•ื•ืงื ื‘ื’ืœืœ ืฉื”ื ืชืžื™ื“ ืฉื.

ืžื–ืจื—ื™, ืฉื‘ื“ืจืš ื›ืœืœ ืขื•ื‘ื“ ื‘ื•ื•ื™ื“ืื• ื•ื‘ืงื•ืœื ื•ืข, ืžืฆื™ื’ ื‘ืชืขืจื•ื›ื” ื ื•ื ืคื™ื ื™ื˜ื• ืขื‘ื•ื“ื•ืช ืงืฆืช ืื—ืจื•ืช: ืขื‘ื•ื“ื•ืช ื“ื• ืžืžื“ื™ื•ืช, ืžื‘ื•ืกืกื•ืช ื˜ืงืกื˜ ื•ืžื—ืงืจ, ืฉื ื•ืœื“ื• ืžืชื•ืš ืžืคื’ืฉื™ื ืขื ื“ื‘ืจื™ื ืฉื›ื‘ืจ ื ืžืฆืื™ื ืžืžืฉ ืœื™ื“ื ื•.

ืื—ื“ ืžื”ื ื”ื•ื ืฉืœื˜ ืงื•ืงื” ืงื•ืœื” ื“ื”ื•ื™ ืขืœ ื”ื‘ื ื™ื™ืŸ ื”ืกืžื•ืš ืœืืจื˜ืคื•ืจื˜, ืฉื”ื•ื‘ื™ืœ ืื•ืชื• ืœืžื—ืงืจ ืขืœ ืกื•ื›ืจ, ืคืจืกื•ื, ืžื“ื™ื” ืžืกื—ืจื™ืช ื•ื”ืงืฉืจื™ื ื‘ื™ื ื™ื”ื. ืื—ืจ ื”ื•ื ื”ืฉื‘ื•ืขื•ืŸ "ืงืจื•ื‘ ืืœื™ืš", ืฉืžื—ื•ืœืง ื‘ื‘ืชื™ ื›ื ืกืช, ื•ืฉืื•ืชื• ื”ืคืš ืžื–ืจื—ื™ ืœื–ื™ืจื” ืฉืœ ืคืขื•ืœื” ืืžื ื•ืชื™ืช ื›ืฉื”ื—ืœ ืœืฉืœื•ื— ืœืžืขืจื›ืช ืžื•ื“ืขื•ืช ืžื–ื•ื™ืคื•ืช, ืฉื ืจืื•ืช ื›ืžืขื˜ ื‘ื“ื™ื•ืง ื›ืžื• ื”ืคืจืกื•ืžื•ืช ืฉืืžื•ืจื•ืช ืœื”ื•ืคื™ืข ื‘ื•.

ื‘ืฉื™ื—ื” ื”ื ื—ื•ื–ืจื™ื ื’ื ืืœ "ื“ืœื•ืช ื”ื—ื•ืžืจ", ืืœ ื”ืžืฉืžืขื•ืช ืฉืœ ืœื”ื™ื•ืช ืงืจื•ื‘ ืžื“ื™ ืœื˜ืงืกื˜, ืœืžืงื•ื ืื• ืœื“ื™ืžื•ื™, ื•ืืœ ื”ืฉืืœื” ืžื” ืงื•ืจื” ื›ืฉืขื‘ื•ื“ืช ืืžื ื•ืช ืžืฉืชืœื‘ืช ื‘ืชื•ืš ื”ืžืฆื™ืื•ืช ืขื“ ืฉืœื ื‘ื˜ื•ื— ืฉืžื™ืฉื”ื• ื‘ื›ืœืœ ืžื‘ื—ื™ืŸ ื‘ื”.

ืคืจืง ื—ื“ืฉ ืฉืœ Artport on Air ืขื ื™ื•ื ืชืŸ ืขื•ืžืจ ืžื–ืจื—ื™.

ืœื”ืื–ื ื” >> ืœื™ื ืง ื‘ื‘ื™ื• ๐ŸŽง

In the new episode of Artport on Air, Vardit Gross speaks with artist and filmmaker Jonathan Omer Mizrahi about images that are constantly around us, the moments when art and advertising begin to look strangely similar, and the things we stop noticing precisely because they are always there.

Mizrahi, who usually works with video and film, presents a somewhat different body of work in the NonFinito exhibition: two-dimensional, text- and research-based works that grew out of encounters with things found right nearby.

One of them is a faded Coca-Cola sign on the building next to Artport, which led him into a research process around sugar, advertising, commercial media, and the connections between them.

The conversation also returns to what it means to be too close to a text, a place, or an image, and to the question of what happens when an artwork blends into reality so seamlessly that it is no longer clear whether anyone notices it at all.

Listen now >> link in bio ๐ŸŽง

ื›ืฉืฉื ืช ืจื–ื™ื“ื ืกื™ ื ื•ืกืคืช ืžืกืชื™ื™ืžืช ื•ืฉื ื” ื—ื“ืฉื” ืžืชื—ื™ืœื”, ื”ืขื‘ื•ื“ื•ืช ื™ื•ืฆืื•ืช ืžื”ืกื˜ื•ื“ื™ื• ื•ื ืคื’ืฉื•ืช ืžื—ื“ืฉ ื‘ื—ืœืœ ื”ืชืขืจื•ื›ื”. ืื—ืจื™ ืฉื ื” ืฉืœ ืขื‘ื•ื“ื”, ื ื™ืกื•...
22/09/2026

ื›ืฉืฉื ืช ืจื–ื™ื“ื ืกื™ ื ื•ืกืคืช ืžืกืชื™ื™ืžืช ื•ืฉื ื” ื—ื“ืฉื” ืžืชื—ื™ืœื”, ื”ืขื‘ื•ื“ื•ืช ื™ื•ืฆืื•ืช ืžื”ืกื˜ื•ื“ื™ื• ื•ื ืคื’ืฉื•ืช ืžื—ื“ืฉ ื‘ื—ืœืœ ื”ืชืขืจื•ื›ื”. ืื—ืจื™ ืฉื ื” ืฉืœ ืขื‘ื•ื“ื”, ื ื™ืกื•ื™ ื•ืžืคื’ืฉื™ื, ื”ืŸ ืžืงื‘ืœื•ืช ืฆื•ืจื” ื—ื“ืฉื”, ื•ืขื“ื™ื™ืŸ ืžืžืฉื™ื›ื•ืช ืœื”ืฉืชื ื•ืช.

ื”ืฉื‘ื•ืข ืื ื—ื ื• ืžืคื ื•ืช ืืช ื”ื–ืจืงื•ืจ ืืœ ื™ื•ื ืชืŸ ืขื•ืžืจ ืžื–ืจื—ื™ โœจ

ืžื–ืจื—ื™ ื”ื•ื ืืžืŸ ื•ื™ื•ืฆืจ ืงื•ืœื ื•ืข ืฉืขื‘ื•ื“ืชื• ืขื•ืกืงืช ื‘ื™ื—ืกื™ ื›ื•ื— ื•ื‘ืื•ืคืŸ ืฉื‘ื• ื”ื ืžืขืฆื‘ื™ื ืืช ื”ื“ืจืš ืฉื‘ื” ืื ื—ื ื• ืชื•ืคืกื™ื ืžืงื•ืžื•ืช, ืื ืฉื™ื ื•ื“ื™ืžื•ื™ื™ื. ื“ืจืš ืขื‘ื•ื“ื” ื‘ืžื“ื™ื” ืฉื•ื ื™ื ื•ืฉื™ืชื•ืคื™ ืคืขื•ืœื” ืขื ื—ื•ืงืจื™ื, ืืงื˜ื™ื‘ื™ืกื˜ื™ื, ืขื•ื‘ื“ื™ื ื•ืงื”ื™ืœื•ืช ื—ืงืœืื™ื•ืช, ื”ื•ื ื‘ื•ื—ืŸ ื’ื‘ื•ืœื•ืช ืœืื•ืžื™ื™ื ื•ืžื•ืฉื’ื™ื™ื, ืื—ืจื•ืช, ืคื•ืœื™ื˜ื™ืงื” ื•ื˜ืจืื•ืžื”.

ื‘ื ื•ื ืคื™ื ื™ื˜ื• ื”ืžื‘ื˜ ื”ื–ื” ืžื•ืคื ื” ื’ื ืืœ ื”ืกื‘ื™ื‘ื” ื”ืงืจื•ื‘ื” ืฉืœ ืืจื˜ืคื•ืจื˜.
ืžืขืœ ืคืœืืคืœ ื’'ื™ื ื” ื‘ืจื—ื•ื‘ ื”ืขืžืœ ื”ืชื ื•ืกืกื” ื‘ืžืฉืš ื›ืฉืœื•ืฉื” ืขืฉื•ืจื™ื ื›ืจื–ืช ืคืจืกื•ืžืช ืœืงื•ืงื” ืงื•ืœื”. ืขื ื”ืฉื ื™ื ื“ื”ื” ืฆื‘ืขื” ื”ืื“ื•ื, ืขื“ ืฉื›ืžืขื˜ ื ืขืœืžื” ืžืขื™ื ื™ ื”ืขื•ื‘ืจื™ื ื•ื”ืฉื‘ื™ื. ืขื‘ื•ืจ ืžื–ืจื—ื™, ื”ืฉืœื˜ ื ืงืฉืจ ืœืขืจื•ืฆื™ ื”ื—ื“ืฉื•ืช ื•ื”ืžื“ื™ื” ื”ืžืกื—ืจื™ืช, ื”ืฉื–ื•ืจื™ื ื‘ืื•ืชื ืžื‘ื ื™ื ื›ืœื›ืœื™ื™ื ื•ืžื™ื™ืฆืจื™ื ื™ื—ื“ ืžืฉื˜ืจ ื—ื–ื•ืชื™ ืฉืœ ื”ื•ืŸ, ืžื™ื“ืข ื•ืชืฉื•ืงื”.
ื›ืฉื”ื›ืจื–ื” ื”ื•ืกืจื”, ื ื—ืฉืฃ ืžืื—ื•ืจื™ื” ืฆื™ื•ืจ ืงื™ืจ ื—ื‘ื•ื™: ื‘ืจื‘ื•ื ื™ื” ื‘ืื•ืจืš ืืจื‘ืขื” ืžื˜ืจื™ื.

ืœืžื™ื“ืข ื ื•ืกืฃ ืขืœ ื™ื•ื ืชืŸ >>> https://www.artport.art/artist/jonathan-om-omer-mizrahi/

As another residency year comes to an end and a new one begins, the works leave the studios and meet again in the exhibition space. After a year of work, experimentation, and encounters, they take on a new form, while continuing to change.

This week, we turn the spotlight to Jonathan Omer Mizrahi โœจ

Mizrahi is an artist and filmmaker whose work explores power relations and the ways they shape how we perceive places, people, and images. Working across different media and in collaboration with researchers, activists, workers, and agricultural communities, he examines national and conceptual boundaries, otherness, politics, and trauma.

In NonFinito, this gaze is also directed toward Artportโ€™s immediate surroundings.
For nearly three decades, a Coca-Cola billboard hung above Falafel Gina on Haโ€™amal Street. Over the years, its red color faded until it nearly disappeared from the sight of passersby. For Mizrahi, the billboard is tied to news channels and commercial media, embedded within the same economic structures and together producing a visual regime of capital, information, and desire.

When the billboard was removed, a hidden mural was revealed behind it: a four-meter-long red mullet.

For more information about Jonathan >>> https://www.artport.art/artist/jonathan-om-omer-mizrahi/?lang=en

ืดืชืขืจื•ื›ืช 'ื ื•ื ืคื™ื ื™ื˜ื•' ื‘ืืจื˜ืคื•ืจื˜ ื”ื™ื ื”ืžืฉื•ื‘ื—ืช ื‘ื™ื•ืชืจ ืžืื– ืจืืฉื™ืช ื”ืคืจื•ื™ืงื˜ ื‘-2013ืด, ื›ืชื‘ ื”ื™ื•ื ืื‘ื™ ืคื™ื˜ืฉื•ืŸ ื‘ืดื”ืืจืฅืด โœจื‘ื›ืชื‘ื” ื”ื•ื ืขื•ื‘ืจ ื‘ื™...
18/09/2026

ืดืชืขืจื•ื›ืช 'ื ื•ื ืคื™ื ื™ื˜ื•' ื‘ืืจื˜ืคื•ืจื˜ ื”ื™ื ื”ืžืฉื•ื‘ื—ืช ื‘ื™ื•ืชืจ ืžืื– ืจืืฉื™ืช ื”ืคืจื•ื™ืงื˜ ื‘-2013ืด, ื›ืชื‘ ื”ื™ื•ื ืื‘ื™ ืคื™ื˜ืฉื•ืŸ ื‘ืดื”ืืจืฅืด โœจ

ื‘ื›ืชื‘ื” ื”ื•ื ืขื•ื‘ืจ ื‘ื™ืŸ ื”ืขื‘ื•ื“ื•ืช ืฉืœ ื ื‘ื—ืจืช ื”ืื•ืœ-ืกื˜ืืจืก ืฉืœื ื• - ื ื•ืขื” ื™ืคื”, ื™ื•ื ืชืŸ ืขื•ืžืจ ืžื–ืจื—ื™, ืื•ืจื™ ื”ื•ืœื‘ืŸ, ืจื•ืขื™ ืžื ื—ื ืžืจืงื•ื‘ื™ืฅืณ, ื ืขืžื” ืจื•ื˜ ื•ื™ืกืžื™ืŸ ื“ื™ื™ื•ื•ื™ืก - ื•ื‘ื™ืŸ ื”ืขื•ืœืžื•ืช ื”ืฉื•ื ื™ื ืฉื ืคื’ืฉื™ื ื‘ื—ืœืœ ื”ื’ืœืจื™ื”.
ืชื•ื“ื” ืขืœ ื”ืžื™ืœื™ื ื”ื™ืคื•ืช!

ืขื›ืฉื™ื• ืจืง ื ืฉืืจ ืœื‘ื•ื ืœื‘ื“ื•ืง ื‘ืขืฆืžื›ื ~

ื‘ืกื•ืคืดืฉ:
ืฉื™ืฉื™-ืฉื‘ืช | 10:00-14:00

ื•ื‘ื—ื’ื™ื:
โ˜ผ ืขืจื‘ ืกื•ื›ื•ืช | ืฉื™ืฉื™, 25.9 | ืกื’ื•ืจ
โ˜ผ ืกื•ื›ื•ืช | ืฉื‘ืช, 26.9 | ืกื’ื•ืจ
โ˜ผ ื—ื•ืœ ื”ืžื•ืขื“ | ืคืชื•ื— ื‘ืฉืขื•ืช ื”ืคืขื™ืœื•ืช ื”ืจื’ื™ืœื•ืช
ืจื‘ื™ืขื™-ื—ืžื™ืฉื™ | 12:00-19:00
ืฉื™ืฉื™-ืฉื‘ืช | 10:00-14:00

ืœื›ืชื‘ื” ื”ืžืœืื” > https://shorturl.at/Vg4Gm
ืขื•ื“ ืขืœ ื”ืชืขืจื•ื›ื” >>> https://www.artport.art/exhibition/nonfinito-2026/

โ€œArtportโ€™s โ€˜NonFinitoโ€™ exhibition is the finest since the project began in 2013,โ€ Avi Pitchon wrote in Haaretz today โœจ

In the article, he moves between the works of our all-star lineup - Noa Yafe, Jonathan Omer Mizrahi, Oree Holban, Roy Menachem Markovich, Naama Roth, and Yasmin Davis - and the different worlds that meet within the gallery space.
Thank you for the kind words!

Now all thatโ€™s left is to come and see for yourselves ~

This weekend:
Friday-Saturday | 10 am-2 pm

During the holidays:
โ˜ผ Erev Sukkot | Friday, September 25 | Closed
โ˜ผ Sukkot | Saturday, September 26 | Closed
โ˜ผ Chol HaMoed | Open during regular gallery hours
Wednesday-Thursday | 12 pm-7 pm
Friday-Saturday | 10 am-2 pm

Read the full article > https://shorturl.at/Vg4Gm
More about the exhibition >>> https://www.artport.art/exhibition/nonfinito-2026/

ื ื•ื ืคื™ื ื™ื˜ื• ื ืคืชื—ืช ื”ืขืจื‘ (!), ื•ืื ื—ื ื• ื›ื‘ืจ ืžืชื›ื ื ื•ืช ืืช ื”ืื™ืจื•ืขื™ื ืฉื™ืœื•ื• ืื•ืชื” - ืฉืžื—ื•ืช ืœื”ื–ืžื™ื ื›ื ืœืฉื™ื— ื”ื’ืœืจื™ื” ื”ืจืืฉื•ืŸ ื‘ืชืขืจื•ื›ื”, ืขื ื”ืืžืŸ...
10/09/2026

ื ื•ื ืคื™ื ื™ื˜ื• ื ืคืชื—ืช ื”ืขืจื‘ (!), ื•ืื ื—ื ื• ื›ื‘ืจ ืžืชื›ื ื ื•ืช ืืช ื”ืื™ืจื•ืขื™ื ืฉื™ืœื•ื• ืื•ืชื” - ืฉืžื—ื•ืช ืœื”ื–ืžื™ื ื›ื ืœืฉื™ื— ื”ื’ืœืจื™ื” ื”ืจืืฉื•ืŸ ื‘ืชืขืจื•ื›ื”, ืขื ื”ืืžืŸ ื™ื•ื ืชืŸ ืขื•ืžืจ ืžื–ืจื—ื™ ~

ื™ื•ื ืฉื ื™, 14.9, ื‘ืฉืขื” 20:00

ื™ื•ื ืชืŸ ืขื•ืžืจ ืžื–ืจื—ื™ ื•ื‘ื›ืจื™ื” ืžื•ืืกื™ ื ืคื’ืฉื™ื ืœืฉื™ื—ื” ืขืœ ื”ืขื‘ื•ื“ื•ืช ืžื‘ื•ืกืกื•ืช-ื”ื˜ืงืกื˜ ื”ืžื•ืฆื’ื•ืช ื‘ืชืขืจื•ื›ื” ื‘ื™ืŸ ืกื•ื›ืจ ืœื›ืœื™ื•ืŸ, ื•ืœืฆื“ ืืžื™ืœ ื—ื‘ื™ื‘ื™, ืื ื˜ื•ืŸ ืฉืžืืก ื•ื‘ืจื‘ื•ื ื™ื” ืื“ื•ืžื” ืžืžื ืฉื™ื™ื”. ื”ื ื™ื“ื•ื ื• ื‘ื“ื™ืžื•ื™ื™ื ืกืื˜ื™ืจื™ื™ื ืฉืžืกืจื‘ื™ื ืœืชืช ืœื”ื™ืกื˜ื•ืจื™ื” ืœื”ื™ื’ืžืจ.

ืืจื˜ืคื•ืจื˜, ืจื—ื•ื‘ ื”ืขืžืœ 8, ืชืœ ืื‘ื™ื‘

ื ืฉืžื— ืœืจืื•ืชื›ื โœจ

ืขื•ื“ ืขืœ ื ื•ื ืคื™ื ื™ื˜ื• >>> https://www.artport.art/exhibition/nonfinito-2026/

NonFinito opens tonight (!), and we're already planning the events that will accompany it - we're happy to invite you to the exhibition's first gallery talk, with artist Jonathan Omer Mizrahi ~

Monday, September 14, at 8 PM

Jonathan Omer Mizrahi and Bekriah Mawasi will meet for a conversation about the text based works presented in the exhibition, between sugar and annihilation and alongside Emile Habibi, Anton Shammas, and a red mullet fish from Manshiya, they'll discuss satirical imagery that refuse to let history end.

Artport, 8 Haโ€™amal Street, Tel Aviv

Weโ€™d love to see you thereโœจ

More about NonFinito >>> https://www.artport.art/exhibition/nonfinito-2026/?lang=en

ื ื•ื ืคื™ื ื™ื˜ื• ืขื•ื“ ืจื’ืข ื›ืืŸ, ื”ืงื™ืจื•ืช ืžืฉืชื ื™ื ื‘ื›ืœ ืจื’ืข, ื•ืคืชื™ื—ืช ื”ืชืขืจื•ื›ื” ืžืžืฉ ืžืขื‘ืจ ืœื•ื•ื™ืœื•ืŸ. ืžื™ื“ ืื—ืจื™ื” ืžืชื—ื™ืœื” ืชืงื•ืคืช ื”ื—ื’ื™ื. ื”ืขื™ืจ ืžืื˜ื” ื...
06/09/2026

ื ื•ื ืคื™ื ื™ื˜ื• ืขื•ื“ ืจื’ืข ื›ืืŸ, ื”ืงื™ืจื•ืช ืžืฉืชื ื™ื ื‘ื›ืœ ืจื’ืข, ื•ืคืชื™ื—ืช ื”ืชืขืจื•ื›ื” ืžืžืฉ ืžืขื‘ืจ ืœื•ื•ื™ืœื•ืŸ.
ืžื™ื“ ืื—ืจื™ื” ืžืชื—ื™ืœื” ืชืงื•ืคืช ื”ื—ื’ื™ื. ื”ืขื™ืจ ืžืื˜ื” ืืช ื”ืงืฆื‘, ื”ื™ืžื™ื ืžืชืงืฆืจื™ื, ื•ืื•ืœื™ ืžืชืคื ื” ื’ื ื™ื•ืชืจ ื–ืžืŸ ืœืขืฆื•ืจ ื•ืœื”ืชื‘ื•ื ืŸ.

ืื– ื‘ื™ืŸ ืืจื•ื—ื” ืœื—ื’, ื‘ื•ืื• ืœื‘ืงืจ ื‘ืดื ื•ื ืคื™ื ื™ื˜ื•ืด, ืชืขืจื•ื›ืช ื”ืกื™ื•ื ืฉืœ ืืžื ื™ ื•ืืžื ื™ื•ืช ืชื•ื›ื ื™ืช ื”ืจื–ื™ื“ื ืกื™ ื”ืฉื ืชื™ืช ืฉืœ ืืจื˜ืคื•ืจื˜.

ืฉืขื•ืช ืคืชื™ื—ื” ื‘ื—ื’ื™ื ื•ื‘ืžื•ืขื“ื™ื โฐ

ืขืจื‘ ืจืืฉ ื”ืฉื ื” | ืฉื™ืฉื™, 11.9.26 | 10:00-14:00
ืจืืฉ ื”ืฉื ื” ืืณ | ืฉื‘ืช, 12.9.26 | ืกื’ื•ืจ

ืขืจื‘ ืกื•ื›ื•ืช | ืฉื™ืฉื™, 25.9.26 | ืกื’ื•ืจ
ืกื•ื›ื•ืช ืืณ | ืฉื‘ืช, 26.9.26 | ืกื’ื•ืจ
ื—ื•ื”ืดืž | ืคืชื•ื— ื‘ืฉืขื•ืช ื”ืคืขื™ืœื•ืช ื”ืจื’ื™ืœื•ืช ืฉืœ ื”ื’ืœืจื™ื”

ื‘ื•ืื• ืœื‘ืงืจ ืœืคื ื™ ื”ื—ื’ ื•ื‘ื™ืžื™ื ืฉืื—ืจื™ื• โœจ

ืขื•ื“ ืขืœ ื”ืชืขืจื•ื›ื” >https://www.artport.art/exhibition/nonfinito-2026/

NonFinito is almost here, the walls are changing by the minute, and the exhibition opening is around the corner.
Right after that, the holiday season begins. The city slows down, the days grow shorter, and perhaps thereโ€™s a little more time to pause and take a closer look.

So, somewhere between one holiday meal and the next, come visit NonFinito, the final exhibition by the artists of Artportโ€™s annual residency program.

Holiday Opening Hours โฐ

Rosh Hashanah Eve | Friday, September 11, 2026 | 10 am-2 pm
Rosh Hashanah, Day 1 | Saturday, September 12, 2026 | Closed

Sukkot Eve | Friday, September 25, 2026 | Closed
Sukkot, Day 1 | Saturday, September 26, 2026 | Closed
Chol HaMoed | Open during regular gallery hours

Come visit before the holiday and in the days that follow โœจ

More about the exhibition > https://www.artport.art/exhibition/nonfinito-2026/?lang=en

Address

8 Ha'amal Street
Tel Aviv

Opening Hours

Wednesday 12:00 - 19:00
Thursday 12:00 - 19:00
Friday 10:00 - 14:00
Saturday 10:00 - 14:00

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