Solo Artist

Apollo and the Chimney-Sweeper

HOLY DAY | Uri Gershuni

Cockeye: Male Nude in Contemporary Israeli Art

The Blue Hour | Artist Book, 2014

Local Testimony | Exhibition catalog | 2013

Dofek Mekomi

Hilun Ha'Kodesh

Winners 2012

Uri Gershuni and Shay Zilberman: ‘Eye Contact’ | Exhibition catalog | Inga Gallery, Tel Aviv, 2012

Yesterday's Sun

Living Room | Exhibition Catalogue, Tel-Aviv Museum, 2010 | 5 Photographers, 10 Years After

Hamidrasha Magazine

Day and Night

Cocks Achilles

A5 magazine, Issue no. 6, Sex, 2008

A5 magazine, Issue no. 4, Portrait, 2008

Boys Craft

Eventually We'll Die

Kink Magazine

The Homes of Others

Sweet 16


Mono.Kultur Magazine



Rose c'est la Vie

Behind Closed Doors

Hamidrasha Magazine | Issue no. 4, 2001



Click-Clack, exhibition catalogue, University of Haifa Art Galley, 2008

curators: Ruti Direktor and Danny Yahav-Brown

isbn 978-965-7230-15-2


Each of the projectors in Uri Gershuni’s work carries in it an organ, a part of a whole, a body part. The images were extracted from a 1970’s work by the artist’s father, Moshe Gershuni, entitled ‘The main problems are with the Tongue and Toes’. Lips, nose, finger, feet – all strive to economically depict, to formulate with an accurate allusion, the essence of flesh. But not only. Gershuni installs five projectors, five sculptural organs that momentarily assume bodily form all their own: head, spine, limbs.

There is something naïve about the sculpture, a type of cross between a children’s game in a deserted classroom and an antiquated model of a transformer. One on one, as in duel, the sculpture’s awkward body (the artist? The father?) sets itself against flatness of the images. The sculpture has a life of its own. It “moans”, hums, and platters “ its light on the opposite wall. The father’s figure evolves gradually, takes form, yet paradoxically – the process of construction is also one of deconstruction. Each organ marked by a ray of light also presents an absence, the lack of other organs. To wit, each organ may also attest to an end. Gershuni’s work is thus stratified – from formulating the essence of flesh to an equally meticulous touching upon the essence of kinship and bond.

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