Non-Sites is a group show that I curated and participated in in June 2015.
Participants were Relli de Vries, Milcah Bassel and myself (Noa Heyne).
The show was exhibited in Hanina Contemporary Art gallery, a cooperative gallery I was member of in the years 2013-2016.
Excerpts from the exhibition text (written and translated from Hebrew by myself):
"The works in the show explore themes of body and space, or space from which the body is explicitly absent [...] they convey dialectics of in and out, of center and periphery.
Milcah Bassel’s installation, Where is The Line With You, is made of elastic bands that stretch along the boundaries of the gallery like a drawing in space [...] and are marked with lines that signify, perhaps, measuring units. Bassel invites the viewers to follow the bands and discover how the distance between the units changes in accordance with the journey in space and the tightness of the material. By connecting the elasticity of the bands with the firmness of the architecture, Bassel explores the flexibility of structure and space in relation to the viewers.
Like the earth and the roots that are modeled by the pot, like the bird’s nest which is built as the negative of its body (“A bird’s tool is its own body, that is, its breast, with which it presses and tightens its materials..."[Jules Michelet, L'oiseau, 4th edition, 1858, p. 208, in: Gaston Bachelard, The Poetics of Space: The  Classic Look at How We Experience Intimate Places (Boston: Beacon Press, 1969), p. 100]) so does the turtle’s armor grow with the turtle’s body, to house it and perfectly fit its dimensions. The sculpture Armor is a free standing relief, based on a small turtle shell but enlarged to possibly fit a human body. In its traditional form, the relief is a flat sculpture, framed according to the architecture of the space for which it is designed, and intended to create an illusion of three dimensionality without disrupting the continuity of the walls. In the sculpture Armor, the artist attempts to do the opposite. The entire form is situated in the middle of the space in a way that creates, from certain angles, an illusion of volume, but mostly emphasizes its absence. In this way, the structure of the house becomes an illusion, not only of the external shell but of the space inside it: the large empty armor cannot contain what it was meant to protect.
The inability of a place to function as such stretches from Clay Bird (Noa Heyne) to the bird swing that hangs from Terarium #3 (Relli de Vries); it is a swing too small and a bird too heavy, made of clay, of earth. While the swing hangs outside the box (where a stuffed animal would have been placed, in its original museum setting), and the box hangs from the ceiling, the bird is anchored to the ground. The work Parachute (Noa Heyne) is also a relief: a slice of a tree and pieces of stretched cloth that create - from certain viewpoints - an illusion of volume. The cut-out tree carries the parachute, which in a different time had the volume of an immense balloon; what enabled its volume was the weight of the person - now absent - that hanged from it and pulled it down toward the ground.
The act of demarcation inevitably contains a reminder of chaos. The making of art is the building and breaking of the frame, an eternal return to the chaos in order to examine the components of the world around us and define ourselves in relation to them over and over again. [...] Each work is a result of interaction and a desire to turn thoughts, physical sensations and bits of imagination into presences, into worlds that are complete but flexible in their peripheries, and are capable of maintaining a dialogue with their surrounding."