The exhibition seeks to examine the moment when a line ceases to be a line and becomes a thing, and the reverse moment, in which material, despite its physical presence, reverts to behaving like a painting. As one of the central and influential artists in Israeli art of the second half of the twentieth century, Moshe Kupferman is identified above all with painting as an ongoing process of constructing depth and pictorial space through layers, surfaces, and stripes. Layers that emerge between surfaces, between bands, and through varying degrees of paint dilution. Kupferman created a form of pai

The title of Tama Goren’s new solo exhibition (her second at Chelouche Gallery) initially sounds like an inside joke, when in fact it is taken from a news item about a southern Tel Aviv neighborhood’s struggle against crime families. Goren identifies a surreal anecdote in the report: on a peeling wall behind the journalist and the interviewee, a social activist named Moti, a graffiti appears: “Moti, How Was the Stabbing?” This incidental detail continues to resonate with Goren’s broader engagement with how reality generates folklore.