Liquid SasportasYehuditProjectDesert July 2022@VG Bild-KunstSeptember 2022@VG Bild-Kunst
This series as well as others have brought Sasportas’ works to receive meaningful recognition as an artist with clear political relevance. Sasportas represented Israel in the 2007 Venice Biennial, and has presented more than 17 international solo exhibitions during the last decade, in venues such as The Kunsthalle Basel, The Berkeley Museum of Art, San Francisco, The Kunstverein Braunschweig, DA2 Domus Atrium, Salaman ca, and The Israel Museum, Jerusalem. Sasportas is a senior professor at the Bezalel Academy for Art and Design in Jerusalem. She works in Tel Aviv and Berlin and is also a lecturer in the International Academy of Consciousness (Germany and the US).
About Yehudit Sasportas
Yehudit Sasportas is one of the most prominent and prolific Israeli artists working in the local and international art scene today. Her work is fo cused on site-specific installations, which include sculptures, drawings, video and sound works, and call for an intense sensory experience. Her installations have gone through a process of adapting and responding to the architecture of various museum spaces while forming into artworks that present a new way of reading architecture itself, as well as the wid er cultural context it was created in. Her sculptural arrangements deal with a fascinating correspondence taking place between subconscious materials, unspoken and unseen, and the way these layers of informa tion activate conscious areas across the surface. Sasportas’ Active Consciousness films, which were made over a course of more than seven years, present relatively simple actions, yet such that provoke a deep and condense discussion about the manner in which we experience, understand and project our own personal stories on reality.
1. About / About The Liquid Desert project 2. Mother-base model / Mother-base action model diagram 3. The Index / Architectural Plan of the liquid Desert Site 4. Apparatuse / Three channels of action Table of Content:
From the exhibition text; No Man's Land, curated by Selen Ansen, Arter museum, Istanbul. Turkey March, 2022
'..The Liquid Desert project is an art work of extraordinary scale and scope, as well as in its appearance and modus operandi in the public sphere. This is a sculptural and architectural project of unusual proportions.'
1 About The Liquid Desert Project
Liquid Project Liquid Project
In this respect, the Liquid Desert project deals with the movement of structures and the lively dialogue between the overt dimension of our life and the hidden one – the one which con tains important information essential for the ac tual movement.
in the manifest physical world.
The site is virtually located in the northern Negev Desert, in southern Israel, a place of deep significance to the artist’s nuclear family. According to tradition, this is the site of a historic dialogue between the human dimension in the form of Abraham and divine presence – as demonstrat ed by the change in Abraham’s name – from Avram to Avraham, introducing the Hebrew let ter ה (H) which symbolizes in the simplest and deepest sense the acknowledgment of God’s
The rooms and levels function as a cinemat ic arena for the emergence of films, as well as unique artistic processes, such as curatorship ventures, conferences and special cooperation activities with international artists.
About The Liquid Desert Projectpresence
Our collective subconscious sphere as a society functions as an invisible storage of life materi als which have been repressed, denied and exiled in the course of our personal and collective historical journey, while frequently surfacing as enigmatic and bothersome events secretly run ning reality. These life materials have been pro cessed and translated into an active component of mute works of art which re-activate them in the form of physical works displayed in real ven ues as disturbing and complex sculptural instal lations providing a non-verbal but sensual and physical experience.
The Liquid Desert Project is a virtual and meta physical site that consists of 49 virtual exhibition spaces spread across three underground levels.
The Liquid Desert Project deals with the emer gence and reflection of our hidden collective subconscious in the reality of our visible, physi cal existence. In its essence, The site acts as an allegory to a three-dimensional sculptural diagram of the psyche.
2 .
Thus, the Liquid Desert site offers a new and different mode of contemporary and advanced thinking in the form of a lively conversation with our world of shadows as a society and culture. This parallel shadow world is represented virtu
The actual works of art can be seen by the pub lic at any public venue where they are being pre sented, and from there they maintain an active “conversation/resonance” with the metaphysi cal site throughout the exhibition.
The virtual rooms of the desert site host the re flections of actual leading art works from the fields of drawing, sculpture, sound and video –which are simultaneously exhibited in an encod ed and partial matter in the visible public sphere. This creates a unique correspondence between a physical and visible field and its hidden under ground and metaphysical counterpart.
awakened old life material. The viewing experi ence takes place via the physical consciousness at the actual exhibition scene.
The project is based on the principle of exposure / emergence/ salvage and renewed synchroniza tion of impacted life material frozen in time and its reactivation by means of the art viewer’s eye, functioning as an active and necessary witness of an evolutionary movement related to the renewed emotional acknowledgement of the re
Sasportas / nuclear family, 1984
ally and in essence functions as a metaphysical zone in the underground site in the Negev.
The project is a distilled and profound new step for the artist, who has been mapping the subconscious space – personal and collective –for years, using drawing, sculpture and sound, which act as fragments of a muted and necessary witnessing in that space.
Liquid Desert site Abraham path, Negev desert Top view
Landmark:DesertAbraham Path Negev desert, Southern Israel Outdoor actions: Mapping, Navigating, Casting
Abraham Path Negev desert, North East, Road no. 31 Sasportas / nuclear family, 1984
The first aluminum casting sculpture was buried in The Liquid Desert site / Abraham Path, Negev Desert
The Hidden Legacy
October 2018 Negev Desert, Israel.
The Liquid Desert site prototype buried in a specific landmark in the Negev desert
2.
Desert Mother-base model Desert Mother-base model
‘...The project is based on the principle of exposure/emergence/salvage and renewed synchronization by means of the art viewer’s eye, functioning as an active and necessary witness of an ment of the reawakened old life material. The viewing experience takes place via the
om the upcoming exhibition cataluge text, No Man’s Land, The Liquid Desert Project is a unique architectural formation which acts as an diagram of the psyche, tackling the concealed collective subconscious containing Liquid Desert project Site, Abraham Path, Negev Desert.
an allegory to a three-dimensional sculptural containing repressed life material.
an allegory to a three-dimensional sculptural containing repressed life material.
Liquid Desert Site, Ground level Abraham, Path, Negev Desert.
-3-2-1 Liquid Desert Site, Underground 3 levels Mother-base Model Abraham, Path, Negev Desert.
-3-2-1
Museum, Istanbul. Turkey Land2022
Action Axis No. 1a / Solo Exhibitions
Corresponding Rooms: First Room|conceptual Field (Desert): This room functions as a comprehensive meta-story of the collective subconscious warehouse located in the Liquid Desert site. It takes place in Ma’ale Avraham, which serves as the physical landmark of the site in the Negev Desert. The conceptual site produces an active resonant field through the sound and video works for the whole duration of the exhibition, in which the project episodes are displayed in various phys ical spaces around the world.
Second Room|Physical Field (Museum\Gallery space): Every exhibition space that wishes to host the Liquid Desert project or its chapters, in fact, presents actual physical works, which are accompanied by unique video and sound works. These works trigger an active conver sation between the physical display in the museum on the one hand, and the underground, virtual and metaphysical display rooms in the desert site on the other. In the exhibition spac es, an active conversation is created between a real object in the world and its subconscious space. It is the formulation of an active encounter between the visible space above and the invisible space below.
The realization of solo exhibitions relating to the Liquid Desert project includes two operating principles: The first principle refers to the concept of the corresponding room and the second principle to the tearing and detachment of walls from the metaphysical site in the Negev Desert.
Detaching walls from a virtual site and their physical realization in the display space: A museum that chooses to display the contents of the project is welcomed to detach walls from the site itself and implement them into a physical construction in the museum space. These walls will carry within themself sound works recorded at the Negev site and will act as an encoded wall on which the art chapters themselves will be displayed.
Action Axis No. 1b / Solo Exhibitions - Apparatus of Ghost Conversations An array of fascinating discourses with important deceased artists from different historical periods, as well as such whose work is deeply significant and relevant to our current times. Among the international artists with whom such a discourse is currently being formulated and proposed to different exhibition venues in the world are: Sasportas - Absalom / Upper Compartment - Lower Compartment. Ashdod Museum, Israel. Room no.9 Sasportas - Paul Celan / I Heard That The Axe Is Flowering. Arter Museum, Istanbul. Room no.10 Sasportas - Fabio Mauri / That The Moon Is Moving. Phillips Collection Museum, Washington. Room no.15 *Important note: All the conversations lead to the formulation of Solo exhibitions in concrete leading contemporary art museums spaces and venues.
Schwante, Oberkrämer Aveda2022
Israel Curated by
of important international
Body; Group
Sep - Dec 2020 Room no.17 The
25.
,
Action Axis No. 2 - Group Exhibitions exposure of from the Liquid Desert project as part group exhibitions, as the Group show, Oberkrämer. Loretta Würtenberger. June Oct Rohkunstbau The Jubilee Group show. Lieberose, Spreewald, Curated by Heike June Sep to The Jerusalem Botanic Gardens, Curated Hadas Maor. Mechanical show, Bar David Museum, Kibbutz Bar’Am, Avi
Jerusalem, Group show.
Nature;
2020. Room no.32 Returning
2021 Room no.36 Zärtlichkeit /
exhibition;
Germany ,
various chapters
Schloss
Ifergan. Feb - Nov 2020 Room no.18 On the brink of an abyss, Israel museum, Jerusalem. Group show. Curator Amiti Mendelson. May 2022 Room no.24
The
Germany Curated by
2020 -
by
such
following: Sculpture & Nature;
-
3. The Index / Plan of The Liquid
LiquidArchitecturalDesertSite
Wall Mobile walls from the site’s architecture are uncovered and shown in different exhibitions around the world. The wall is a fragment of a complex, multipart index that manifests one axis of the site’s subconscious archeology as a real physical space of artworks. It corresponds to a parallel, unseen, unresolved space that is in conflict with its shadow and with its very essence. The wall proposes a poetic move and is imprinted with muted imagery, such as drawings and photographs.
The site’s interior spaces that contain and host raw information. For years, Sasportas’ work has dealt with the different ways the collective and individual subconscious space, without the individual’s control, invades the space of lived, real action and discourse. The invasion emerges as an unexpected and trou bling event that cannot be pushed away to the marginal subconscious space. The rooms present capsules of rejected and suppressed information that has been frozen in time and through the manual act of drawing, objective witnessing is reactivated.
Structure
The Index / Architectural Plan of the Liquid Desert Site
Floor
This subconscious bunker has three underground levels that don’t see daylight. Every floor has its own role and it corresponds with the floor above it. The different rooms are engaged in an active and meaningful conver sation with the rooms directly above them. Floor -3: The Inventory Code, rooms 37-49, is concerned with the inventory of subjects for different topics that Sasportas is leading with artists, philosophers, curators, authors and film directors. Floor -2: The Shadow of Object, rooms 19-36, is concerned with the dark rooms. Floor -1: The Illuminated Objects, rooms 1-18, is concerned with changing cu ration processes and with the visual expres sion of various installation possibilities, later exhibited in museums and galleries around the world. Floor 0: Ground level, The Specific location in Abraham Path in the Negev Des ert, Israel.
The principle behind the site’s architectur al complex is of the necessary motion of all the site’s rooms and walls. Philosophically, this mobilization principle aims to uncover and float information that has been denied, suppressed and stored outside the system. On the one hand, the walls of all 49 rooms of the site constitute the spaces of their corre sponding subterranean rooms; on the other, by their very essence, these walls can be dis connected, torn, demolished, and subjected to any operation that would expose them to the full daylight of the surface – an encod ed fragment with the enduring potential to make the incomplete narrative whole.
Room
Building Sasportas’ work is characterized by site-spe cific sculptural installations, composed of sculptures, drawings, video and sound re cordings that demand the viewer’s total and intense sensory immersion. The installations, after years-long processes of adaptation and correspondence with the spaces in Europe where they were exhibited, now activate a new reading process of the architectural structure itself and of its wider cultural con text. Sasportas’ sculpture arrays deal with the unsettling correspondence between unspo ken, unseen subconscious life materials, and in the ways in which these layers of informa tion activate and establish the psyche’s visi ble surface. These processes have made Sas portas’ work into a tool for investigating the mechanism of the human psyche and how it leads, dictates and shapes the experience of life and the quality of being. Thanks to this investigation, Sasportas has been widely rec ognized in Europe as an artist who tackles urgent political matters in the same way that a poet, reacting to events as they occur, still notes the very mechanism of the psyche that enables the experience and participation in reality, as well as the mechanism that disen gages, forgets, rejects, remembers or denies it.
Screen
Black Box
The work represents a multilayered, arrest ed human psychic mechanism, where hidden rooms contain remnants of permanently de ferred emotional information, unabsorbed and unresolved because of the magnitude and energetic density of the events that have become frozen in time.
The walls built in the different exhibitions act as a blind spot, likened to a screen or a shad ow. In Sasportas’ sculptural installations and in her new work in particular, the wall emerg es as the marker of a hidden limit or border. This lmit divides the economy of the site’s ob jects between a conscious, illuminated and visible space and a liminal and dark subcon scious space, waiting as a silent, obstructed witness that can’t take action. The walls are presented on one plane with the wall in the space of the museum, which demonstrates the hidden space’s invasion and movement into a visible space.
Through the mechanism of her work, Saspor tas teases out fragments of the hidden layers of psychic archeology: dormant areas in the system of the individual subject or of a whole collective. Though they had participated ac tively and fully on life’s stage, these fragments were put asleep, suppressed and frozen in time on another level due to their density. Sasportas’ work suggests an encounter and dialogue with a part of the psyche that had been disconnected and therefore estranged. In this sense, the work seeks to express the moment of encounter or reception of the estranged and disconnected within us.
Time
The re-encounter with these fragments cre ates bewilderment, silence, muteness and a full presence of an act of witnessing fac ing the artwork’s active and muted imagery. The imagery is activated as an agent, a silent emissary, through the creation and manifes tation of absent areas, areas that have de parted time and space and are re-entering matter. The concept of impregnating matter with time outside of time, or the melding and fusing of the structure, is foundational to the resurfacing of darkened, dense and trans formed life material and to their integration, both individually and collectively.
In Sasportas’ works, the act of witnessing communicates materials of tension, con tradiction, conflict and crisis: materials that charge the system energetically but cannot be verbally expressed. Using silent imagery, the artist explores the invasion and inunda tion of the surface by the suppressed subcon scious material. At its core, the Liquid Desert seeks to express this unique space, which exists outside of language and time.
The estranged
Witnessing
The Liquid Desert Site
A virtual tour of several core rooms of the underground / subconscious site in the Negev desert, southern Israel
(Floor - 1) The Illuminated Objects
Rooms (01-18)
(Floor - 2) The Shadow of Objects
Rooms (19-36)
(Floor - 3) The Inventory Code
Rooms (37-49)
4. Apparatus / of Actions
3 Channels3 Channels
Action Axis No. 1a Solo Exhibitions The realizations of the in Soloaroundmuseumthe
the Liquid Desert project museum exhibitions the world the Liquid Desert project museum exhibitions the world
1. Corresponding Rooms:
Apparatus /
First Room|conceptual Field (Desert): This room functions as a comprehensive meta-story of the collective subconscious warehouse located in the Liquid Desert site. It takes place in Ma’ale Avraham, which serves as the physical landmark of the site in the Negev Desert. The conceptual site produces an active resonant field through the sound and video works for the whole duration of the exhibition, in which the project episodes are displayed in various phys ical spaces around the world.
Second Room|Physical Field (Museum\Gallery space): Every exhibition space that wishes to host the Liquid Desert project or its chapters, in fact, presents actual physical works, which are accompanied by unique video and sound works. These works trigger an active conver sation between the physical display in the museum on the one hand, and the underground, virtual and metaphysical display rooms in the desert site on the other. In the exhibition spac es, an active conversation is created between a real object in the world and its subconscious space. It is the formulation of an active encounter between the visible space above and the invisible space below.
Action Axis No. 1a Solo Exhibitions
Detaching walls from a virtual site and their physical realization in the display space: A mu seum that chooses to display the contents of the project is welcomed to detach walls from the site itself and implement them into a physical construction in the museum space. These walls will carry within themself sound works recorded at the Negev site and will act as an encoded wall on which the art chapters themselves will be displayed. Three Channels of Actions
4.1 a
2. Detaching walls
The realization of solo exhibitions relating to the Liquid Desert project includes two operating principles: The first principle refers to the concept of the corresponding room and the second principle to the tearing and detachment of walls from the metaphysical site in the Negev Desert.
Israel Museum
Arter museum, Istanbul,
Active underground I subconscious resonance field Liquid desert project I
Resonance field: Negev Desert, Israel - Istanbul, Turkey. The field be activated between 03-12/2022
will
No Man's Land Turkey. Solo exhibition Arterl
museum
NO MAN'S LAND Arter museum, Istanbul, Turkey Curated by Selen Ansen March - Decmber 2022
The exhibition intends to raise a question and refer to the subconscious field of the visible, heavenly and terrestrial realms, past and lost or fantasized and nev er-existed places and various landscapes. Sasportas’s installation is based on a dialogue between two key walls from the Liquid Desert project, in the form of sculpture, photography, drawings and sound works. It will comprise two originally hidden walls from the distant underground space that have metaphorically been detached, salvaged and exposed in the museum space for the means of surfacing the active poetic and timeless information which corresponds with life in the nat ural and visible scene.
The first wall is taken from the northeastern side of the Liquid Desert site, Room No. 10. It comprises a long library containing active and hidden coded information named: Hadvarim. It bears the photograph of an owl, with two round wood works in the back, bearing etchings of precise sound stripes of authentic life information recordings. The second wall is located in the southwestern side in Room No. 10. It holds the Witness drawing series, the Rooms drawings, photographs of the for ests – the Hashavat Aveda works, the Cad-Ot works and the Kelim prints are hung at the back. no. Liquid Desert project
10.
No Man’s Land, Wall no.14&15 Room
Solo show, Arter museum Istanbul, Turkey. 2022 Curated by Selen Ansen. Mar 2022- Dec 2022 2022
NO MAN’S LAnd - The Time Dwellers Arter MarchIstanbul,museumTurkey-December 2022 MuseumArter
The Owls No. 1, 2019 Archival pigment print 64 x 87 LiquidChaptercmno.4Desert project
Room No.18, 2019 Graphite drawing on archival pigment print 62.3 x 86.8 cm Chapter no.1 Liquid Desert project
The Magnetic Shaky Table film,screen shot Two-channel full HD video, including sound. Part A&B, 26′27′′
The Archeology of The Unseen Liquid Desert project
Solo exhibition, Kunsthalle Wilhelmshaven, Germany
Oct 2020 - May 2021
Curated by Petra Stegmann
The Archeology of the Unseen is a site specific installation, first shown in Germany in the city of Wilhelmshaven, that constitutes one of the core chapters of the Liq uid Desert project. At the center of the installation stands a black wall, detached from room no. 16 of the Liquid Desert site. The installation, which functions as an architectural branch of the actual desert site, was specifically adapted to the museum space and its architectural style. It maintains a historical correspondence with the particular character of the city of Wilhelmshaven and the specific point in history when the museum was erected. The city carries in its urban space a series of significant bunkers such as: Bunker
Curated by Petra Stegmann Oct 2020 - May 2021
- Banter See / Bunker T 750 Hannoverkai Bunker / Bunker Arngaststraße. In the framework of Sasportas’s work, these bunkers function as architectural testimo ny sculptures of unusual scale. Their actual historical age entails the existence of storage, waiting and defense rooms, while their present existence comprises an empty and deserted void of impacted information, metaphorically frozen in time. As such, they maintain a timeless vigil in their urban surroundings. In this re spect, the Archeology of the Unseen installation sparks an active link between the charged and hidden life material entombed within the visible bunker structures and the virtual underground latent rooms of the Liquid Desert structure.
THE ARCHEOLOGY OF THE UNSEEN LIQUID DESERT PROJECT Solo exhibition, KunsthalleWilhelmshaven, Germany
Negev desert and the physical realization into museum exhibition spaces
underground site
walls
world.
Artistic Apparatus
From the current exhibition text; The Archeology of The Unseen, Liquid Desert project Curated byPetra Stegmann, Kunsthalle Wilhelmshaven, Germany Oct 2020 - May 2021 of Room
No. 16 from the underground site virtually located in the Negev Desert in Israel has been detached, brought to the surface and transferred to Germany. Its presence in the Wilhelmshaven Museum represents the core of the Liquid Desert site’s apparatus as a conceptual and sculptural action of exposing hidden subconscious material."
The
The I The Walls mobility of from the in the around the
"...Wall No. 6
Portable
A conceptual action of moving the wall out of a subconscious/ Underground space for the purpose of its physical realization within a public museum space.
The Conceptual Wall
The Physical Wall
The realization of the conceptual act of moving the wall from the Liquid Desert Site into a museum space; Such as Wall no. 6 in The Archeology of the Unseen , Kunsthalle Wilhelmshaven, Germany
The Archeology of The Unseen, Liquid Desert project Solo exhibition, KunsthalleWilhelmshaven, Germany Installtion view, October 2020
Hashavat Aveda No. 1, 2019 Archival pigment print 120 x 90 cm Chapter no.1 Liquid Desert project
The Archeology of The Unseen, Liquid Desert project Solo exhibition, KunsthalleWilhelmshaven, Germany Installtion view, October 2020
Tfilin, 2015 Black MDF, black lacquered wood, vertical diptych 300 x 200 cm Core LiquidElementsDesertproject
The Lightworkers film 2010, screenshots Dual channel projection 10:00 min, looped Full HD Format with sound
Kelim 2A, 2B, 2019 Archival pigment print 80 x 120 cm Chapter no.3 Liquid Desert project
Rifts of Absence, 2010 Ink drawing on paper 70 x 120 cm Core LiquidElementsDesertproject
The Magnectic Shakey Table film, 2013 Installation view, 26:27 min, looped Full HD Format.
The Magnectic Shakey Table film, 2013, screenshots from the film
The Witnesses, 2020 Installation view, Ink drawings on paper 61 x 45,7 cm
The Witnesses, 2020 Ink drawings on paper 61 x 45,7 cm Chaper no.7, Liquid Desert project
Seven Winters Solo show, Israel museum, Jerusalem. Israel May 2013 - November 2013 Israel Museum
The Archeology of the Unseen is a site specific installation, first shown in Germany in the city of Wilhelmshaven, that constitutes one of the core chapters of the Liquid Desert project. At the center of the installation stands a black wall, detached from room no. 16 of the Liquid Desert site. The installation, which functions as an architectural branch of the actual desert site, was specifically adapted to the museum space and its architectural style. It maintains a historical correspondence with the particular character of the city of Wilhelmshaven and the specific point in history when the museum was erected.
The city carries in its urban space a series of significant bunkers such as: Bunker
SEVEN WINTERS
- Banter See / Bunker T 750 Hannoverkai Bunker / Bunker Arngaststraße. In the framework of Sasportas’s work, these bunkers function as architectural testimo ny sculptures of unusual scale. Their actual historical age entails the existence of storage, waiting and defense rooms, while their present existence comprises an empty and deserted void of impacted information, metaphorically frozen in time. As such, they maintain a timeless vigil in their urban surroundings. In this re spect, the Archeology of the Unseen installation sparks an active link between the charged and hidden life material entombed within the visible bunker structures and the virtual underground latent rooms of the Liquid Desert structure.
Solo show, Israel museum Jerusalem. Israel. 2013 Curated by Mira Lapidot
Seven Winters Solo exhibition, Israel museum, Jerusalem. Israel Installtion view, May 2013
Seven Winters Solo exhibition, Israel museum, Jerusalem. Israel Installtion view, May 2013
The realizations of the in Apparatus of Ghost jointaroundmuseumthe Action Axis No. 1b Joint Exhibitions / Apparatus of Ghost Conversations of the of Ghost joint
the Liquid Desert project Ghost Conversations museumthetheexhibitionsworldLiquidDesert theexhibitionsworld
An array of fascinating discourses with important deceased artists from different historical periods, as well as such whose work is deeply significant and relevant to our current times. Among the international artists with whom such a discourse is currently being formulated and proposed to different exhibition venues in the world are: Sasportas - Absalom Black Room - White Room Ashdod Museum, Israel. Room no.9 Sasportas - Paul Celan I Heard That The Axe Is Flowering. Arter Museum, Istanbul. Room no.10 Sasportas - Fabio Mauri That The Moon Is Moving. Phillips Collection Museum, Washington. Room no.15 Action Axis No. 1b Joint Exhibitions / Apparatus of Ghost Conversations Apparatus / Three Channels of Actions4 .1 b
Arter
Sasportas - Fabio Mauri That The Moon Is Moving. Collection Museum,
Phillips
/
An array of fascinating discourses with important deceased artists from different historical periods, as well as such whose work is deeply significant and relevant to our current times. Among the international artists with whom such a discourse is currently being formulated and proposed to different exhibition venues in the world are:
Sasportas - Absalom / Upper Compartment - Lower Compartment Ashdod Museum, Israel. Room no.9
Washington. Room no.15 Action Axis No. 1b Solo Exhibitions / Apparatus of Ghost Conversations
Room
Sasportas - Paul Celan / I Heard That The Axe Is Flowering. Museum, Istanbul. no.10
WHITE ROOM / BLACK ROOM LIQUID DESERT PROJECT Sasportas-Absalon, Ashdod Museum Curated by Yuval Biton & Roni Cohen Binyamin Dec 2023 - May 2024. White Room / Black Room Ashdod museum, Ashdod, Israel. Joint exhibition Active underground I subconscious resonance field Liquid desert project I Ashdod museum Resonance field: Negev Desert - Ashdod Museum, Israel The field will be activated between 12/2023-05/2024
White Room Black Room Yehudit Sasportas - Absalon Apparatus of Ghost Conversation no. 5
As part of this discourse, the six known sculpture cells of Absalon will meet six of her own key sculptures, from the 1990’s, that essentially deal with the subcon scious of the object and the existence of a parallel room in the space that exists below the visible space above. This meeting takes place in room no. 28 which car ries the subject code: cell, room, place.
In addition, a video work filmed in room no. 28 of the virtual desert site, presents Both Sasportas’s and Absalon’s sculptures, which are scanned as objects and ap pear in the room as weightless metaphysical shadows. The lack of weight and transparency of the material allows for an unexpected sculptural encounter that creates a new space inside the subconscious room/cell in the Negev desert. This move will be exhibited in its broad and complete format at the Ashdod Museum as part of the exhibition.
The conversation mechanism of the Liquid Desert project produces fascinating conversations with artists that Sasportas has chosen to focus on, while the first action of this kind is a conversation with the artist Absalon, originally from the city of Ashdod, where Sasportas grew up herself.
WHITE ROOM - BLACK ROOM
Sasportas-Absalon, Ashdod Museum, Israel
LIQUID DESERT PROJECT
Curated by Yuval Biton & Roni Cohen Binyamin Dec 2023 - Sep 2024.
Bed Trash-can ScalePiano Bed PillowPlaste-Lina The Scorpion Cellule No. 1 Cellule No. 6 Cellule No. 2 Cellule No. 5 Cellule No. 3 Cellule No. 4SasportasAbsalon
Liquefying Reality Solidifying Light Yehudit Sasportas - Fabio Mauri Apparatus of Ghost Conversation no. 6
LIQUEFYING REALITY & SOLIDIFYING LIGHT LIQUID DESERT PROJECT Sasportas-Mauri, The Phillips Collection, Washington Klaus Ottman, Chief Curator and Deputy Director for Academic Affairs April 2025 Liquefying Reality & Solidifying Light The Phillips Collection, Washington Active underground I subconscious resonance field Liquid desert project I The Phillips Collection museum Resonance field: Negev Desert, Israel - Washington, US. The field will be activated between 04-12/2025
The realizations of the in Apparatus of Active Jointaroundmuseumthe Action Axis No. 1b Solo Exhibitions / Apparatus of Active Code Conversations
the Liquid Desert project Active Code Conversations museumtheexhibitionsworld
The Dark Brain Yehudit Sasportas - Katja Stunz Apparatus of Active Code Conversation no. 9
Abyss TheFalling/DarkBrain,Liquid
Desert project
The Dark BrainKatja Strunz Works Dark Brain Sasportas - Katja Stunz Apparatus of Active Code Conversation no. 9
„My works revolve around the intertwining of time, space and movement.The folding of material stands metaphorically for a compressed space-time, the collapse of here and there, of now and then. Construc ted fragments, folded triangles and collapsed spaces seem like falling fragments blasted out by force.“ Katja Strunz Einfalt und Ort, 2010 Stahl, lackiert, spritzverzinkt 175 x 230 x 197 cm Im Geviert, 2010 Saarlandmuseum, Saarbrücken
Code: The Dark Brain Active Conversation: no.9
350 x 100 x 75 cmlk Kreatur des Einfalls, 2019 lackierter, spritzverzinkter Stahl
(Arend Oetker, 2014, in Ich Sehe Was, Was Du Nicht Siehst, ed. Saarland Cultural Heritage Foundation).
350 x 100 x 75 cm Kreatur des Einfalls, 2019 lackierter, spritzverzinkter Stahl
Einfall, 2010 Stahl, lackiert, spritzverzinkt 573 x 88 x 65,5 cm Im Geviert, Saarlandmuseum,2010 SaarbrückenKreaturdesEinfalls, 2019 lackierter, spritzverzinkter Stahl 350 x 100 x 75 cm Biester der Zeit, 2019 Haus am Waldsee, Berlin
350 x 100 x 75 cm Kreatur des Einfalls, 2019 lackierter, spritzverzinkter Stahl
Formal borrowings from objects and collages of the avant-gardes of the early 20th century, such as the Futu rists or Constructivists, are hard to overlook here, as they are in the rest of Katja Strunz nut‘s work. The clear, strictly reduced vocabulary of basic geometric forms in combination with monochrome surfaces speaks for itself. Yet despite the superficial parallels, Strunz‘s adaptations have no eclectic character whatsoever. Her clear reference to the old produces something new, chrackteristic and only her own. She does not use the square, not the perfectly circled circle, she avoids the security and constancy of the closed form. Through fragmentariness, folds, bends and breaks, it negates any forward-looking utopia, which, quite in contrast, was aspired to by its formal predecessors at the beginning of the 20th century. The temporal dimension plays a central role in the work of Katja Strunz. If, on the one hand, the fragmentary character of her works refers to a past whole, the foldings themselves presuppose previous processes and moments of folding. The formalaesthetic caesura in space is joined by ruptures in the course of time.
Katja Strunz` 2010 work Einfall - a metal sculpture nearly 6 meters high - literally bores into the lawn of the sculpture garden, literally falls into it and stands out from its surroundings due to its material and form. Strunz` work forms a caesura in space, a splinter in the landscape. The ambivalent title Einfall refers not only to the core and starting point of every artistic process - the idea, the inspiration. It can also be read as a synonym for assault and the crossing of borders, thus harboring an inkling of violence - possibly referring here to the consistency with which the object conquers space and takes possession of it both materially and aesthetically. Einfall is part of a group of works that represents an artistic penetration of Martin Heidegger‘s philosophical conception of the world as a „Geviert,“ or rather its deconstruction and fragmentation. This circumstance gives the artist‘s work a strong content dimension.
Kreatur des Einfalls, 2019 lackierter, spritzverzinkter Stahl
350 x 100 x 75 cm Kreatur des Einfalls, 2019 lackierter, spritzverzinkter Stahl
350 x 100 x 75 cm Kreatur des Einfalls, 2019 lackierter, spritzverzinkter Stahl 350 x 100 x 75 cm
Einfalt der Vier, 2010 Stahl, Edelstahl, Holz, Lack 431 x 560 x 560 cm Im Geviert, Saarlandmuseum,2010Saarbrücken
Untitled, 1997 Collage on paper 30 x 21 cm
(Henry Lacante, 2019, in Konkrete Gegenwart, Hg. Haus Konstruktiv, Zürich)
Like an echo, a condition from the past is actualized in the present. Katja sees unfinished processes from the past as traumas, as a loss of the present. This is where her terminology emerges: Space Fold, Aftertime, Zeittraum, Space Lips.
„Shards, splinters of a past, remnants that retain the ability to pierce the present and to recall a past whole“.
The collage „Untitled“ from 1997 is at the beginning of her artistic practice. It is simply a random jumble of paper scraps and snippets. However, the similarity of this random arrangement to a historical constructi vist collage seemed unusual to her and could not be a coincidence. Constructivism seemed to her to be a welcome specter, which she pursued in her work from then on.
„It‘s about the still-present of the past“ Katja Strunz tells me in a conversation. She quotes Aleida Assmann and Heinrich Böll: „The restlessness that emanates from the past is surprisingly present“. In her works, she tries to give this restlessness a face: „I grew up in a small town in South Germany. The architectural landscape seemed to be a potpourry of new and old ruins. There was a lack of relation, blind spots, disruptions - things felt disconnected. I started to make collages from used landscape books, cutting out the shadows. My point was, to show the spatial fractures, to suspend the spatial continuum, to break the arrow of time“.
Rückfall, 2017 Pulp Painting 180 x 134 cm
Code: The Dark Brain Active Conversation: no.9
Over the course of the past 20 years or so, Strunz has made 13 Zeittraum installations for specific exhibitions and spaces. The numbers in titles, from 1 through 13 suggest a chrono logy in moments and spaces of constellation. The individual fragments, however, find their place in new orders, upcycled from one installation to another. They represent the bygone as a material for the present, something referred to by the German historian Reinhart Koselleck as ‘sediments of time.’
( Dana Zaja, 2021, Zeittraum #13, Hg. Contemporary Fine Arts, Berlin)
The fall and the fold are Strunz’s means of organization—there is an order to chaos that often remains overlooked. As histories take shape, it is the present material that continues to resist. Are the folded-up triangles an homage to avant-garde constructivism or are they falling fragments of something that was once whole and can never be assembled again, suspended in the moment before the crash? They may be ruptures in the everyday, contracting the space of the present for future’s sake. In Strunz’s works, abstract concepts eventually emerge as tangible forms.
Zeittraum, 2002 letterpress print on paper 24 x 17,5 cm
It was Walter Benjamin who coined the term “Zeittraum” to refer to the immediate expe rience of the past through the dream. For a world in perpetual crisis, surviving one end after the other, Benjamin saw the dream-space was the only world common to us all. In Strunz’s works, this hazy philosophy is granted concrete formal language and made experiential—into a physical undeniability.
Code: The Dark Brain Active Conversation: no.9
Code: The Dark Brain Active Conversation: no.9
The Dark BrainYehudit Sasportas Works The Dark Brain Yehudit Sasportas - Katja Apparatus of Active Code Conversation no. 9
Crucial to her work, Sasportas has a continual interest in the exposure of subterranean spaces and of missing parts of the conscious that are suspended in time, as well as its direct effect on what is on the surface. The exhibition space [functioned] as a platform for a fertile dialogue between two parallel worlds that exist at the same time but are hidden from each other. The visual bridge that Sasportas builds generates movement of thoughts, shapes, and objects between the physical and the metaphysical dimension. This is a sculptural journey to the depth of both the collective and personal subconscious that is expressed by movement in time and space in (MiraJerusalem…"Lapidot,
The [...] installation revolved entirely around the exposure of the complex subconscious structure that exists deep below the earth’s surface, while the museum space itself [was] used as a threshold to this place. The exhibition lead the viewer to the depth of the soul to search for raw information that Sasportas wishes to lift to the surface and has a political, social, and spiritual meaning.
Seven Winters, Israel Museum, Jerusalem, 2013
2013)
“...The large solo exhibition by Yehudit Sasportas at the Israel museum is a sculptural installation, which was comprised of four videos, sculptures and drawings. The layout of the exhibition is parabolic to a multi channeled walk through the different lobes of the brain, a kind of glimpse at conciseness itself.
From the Exhibition text -
Seven Winters Solo exhibition, Israel museum, Jerusalem. Israel Installtion view, May 2013
The Magnectic Shakey Table film, 2013 Installation view, 26:27 min, looped Full HD Format.
“...Night time photographs of the magnetic table/ model, taken from the Berlin studio ceiling in the course of seven years. The Magnetic Shaky Table is a simple still life scene that represents a collective subconscious which is constantly on the move. Sasportas's philosophical interest originates in the swamp located in north-west Germany, which she took various materials from and dried them in her studio, creating part of a conceptual still life which moved constantly, halted only due to an active magnetic field caused by inserted magnets. The film shows the dynamics of the components: magnetic stones, dried tree parts from the swamp with inserted magnets, electrified branches with wires wrapped around them and felt ropes that function as drawing lines. In Sasportas work the swamp embodies an unprocessed part of nature, partly rejected, which has not undergone cultural integration; on the other hand, it constitutes an entrance gate to the metaphysical dimension. The movement of these two spaces - the physical and the metaphysical - form one of the main topics of Sasportas's work. Stegmann, 2020)
(Petra…"
The Magnetic Shakey Table film From the Exhibition text -
From the Exhibition text -
The Arvheology of The Unseen, Kunsthalle Wilhelmshaven, Germany, 2020
At this junction, personal life data becomes an anonymous fragment of information, which functions as part of a wider and more complex sphere. Different black geometrical parts, resembling sculptural elements, metaphorically represent an alienation from the rest of the domestic life space or from the rest of the work itself. These particles of foreign material have been incorporated in the surface of the drawing, representing the penetration of subconscious or foreign information from an invisible sphere into the (Miravisible.…"Lapidot, 2013)
“...A series of large three-dimensional sculptural drawings. Vertical Swamps presents unusual landscapes which function as maps of mental data outlines. Those mind landscapes deal with the meeting point between the personal space and the collective expanse.
31 Mar 2022 - 31 Dec 2022
No-Man's Land - The Time Dwellers
structure of the room serves as a container for repressed/nonverbalised emotions, while the works that take place in it activate/transform an unspoken life material which exists in the collective subconscious outside of language and time. These works explore the invasion of the surface by suppressed subconscious material, and in doing so, delve into the unsettling correspondence between unspoken, unseen and subconscious life materials, and the ways in which these layers of information activate and establish the psyche's visible surface. They enable the act of witnessing by communicating materials of tension, contradiction, conflict and crisis: materials that charge the system energetically but cannot be verbally expressed.
The installation is an integral part of the Liquid Desert Project that the artist has been elaborating over the past 7 years with the aim of mapping individual and collective subconscious space. Conceived as a conceptual apparatus for investigating the mechanisms of the human psyche that enable one to participate in reality or to forget, reject, and deny it, the Liquid Desert project brings to the surface a negative subterranean site –a bunker virtually situated in the Negev Desert (in southern Israel), consisting in total of 3 underground levels and 49 rooms. Featuring the Room No. 10, the installation presented at Arter is derived from two black walls that function as dividers and thresholds, supports and Thesurfaces.architectural
Locus Solus, Arter museum, Istanbul, 2022
From the Exhibition text -
curated by Selen Ansen
No-Man's Land - The Time Dwellers
From the Exhibition text -
The film’s point of departure was my fascination with a swamp located in north-west Germany, where I took various materials and vegetation from the swamp itself and dried them in my studio in Berlin, creating part of a conceptual still life which moved constantly, halted only due to an active magnetic field caused by inserted magnets. I have been working in the swamp for the last 13 years. After working there for 8 years - recording the site in video and sound - I discovered that it hid in its depths a secret underground architecture: a bunker that was hidden for 70 years. Creating a sculptural model from the swamp’s plants was an important milestone in my artistic process. I had found a way to correspond with the swap’s physical location and the parallel collective subconscious area it represented, by using its vegetation and recording its movement.
Locus Solus, Arter museum, Istanbul, 2022
The installation I created includes The Magnetic Shaky Table film, which focuses on a simple stilllife scene that represents a collective subconscious that is constantly on the move. It is derived from night-time photographs of the magnetic table/ model, taken from the Berlin studio ceiling in the course of seven years.
(Yehudit Sasportas & Selen Ansen conversation, 2021)
The exhibition Locus Solus aims to rethink the relationships between the mineral, vegetal, animal and human lives and the ways in which nature and culture intertwine with each other.
ACTIVE CODE CONVERSATION CODE DARK SUMMERBRAIN,Berlin,July
SUMMERBRAIN,CONVERSATIONROOM18EVENTJuly2022
One of the Liquid Desert Project’s modes of action is the collaboration with of visual art, cinema and philosophy whose work resonates with the codes relevant to our current time. The collaborators include both living artists
On the 21th of July, 2022, a beautiful and unique event took place in Berlin artist Katja Strunz, held in her studio & home in Berlin. This event is a conceptually in the framework of the code / The Dark Brain, of Room no. dialogue between Katja and I, during which she visited my studio and the This is a unique working process that is typical to the formulation of new This project essentially deals with mapping the sphere of our collective life materials that have been repressed, denied and exiled in the course surfacing in a detached and unconnected manner to the visible realm. component in the form of physical works that are displayed in real venues The Active Dialogue with the artists is focused on the code that I have The artists’ ongoing action takes place in one of the 49 virtual rooms of formulated the collaborative process and the code I devised - in this instance, in a parallel exhibition space. The aforementioned process is an integral
Action Axis No. 2 Group Exhibitions The realizations of the in grouparoundmuseumthe
the Liquid Desert project museum exhibitions the world
The exposure of various chapters from the Liquid Desert project as part of important international group exhibitions, such as the following: Sculpture & Nature; Group show, Oberkrämer. Germany Curated by Loretta Würtenberger. June 2020 - Oct 2021 Zärtlichkeit / Rohkunstbau 25. The Jubilee exhibition; Group show. Schloss Lieberose, Spreewald, Germany. Curated by Heike Fuhlbrugge June - Sep 2020. Returning to Nature, The Jerusalem Botanic Gardens, Jerusalem Group show. Curated by Hadas Maor. Sep - Dec 2020 The Mechanical Body. Group show, Bar David Museum, Kibbutz Bar’Am, Israel Curated by Avi Ifergan. Feb - Nov 2020 On the brink of an abyss. Group show, Israel museum, Jerusalem. Curator Amiti Mendelson. May 2022 Action Axis No. 2 Group Exhibitions Apparatus / Three Channels of Actions3.2
The IsraelMuseumBar-DavidGardensBotanicalJerusalem
LAKE OF VOID, LIQUID DESERT PROJECT BY THE SEA
July
Group exhibition, Kunsthalle Wilhelmshaven, Germany
Curated by Petra Stegmann - October 2021
Zärtlichkeit / Tenderness Rohkunstbau 25. / The Jubilee exhibition; Schloss Lieberose, Spreewald, Germany June - September 2020 Zärtlichkeit / Tenderness Rohkunstbau 25. / The Jubilee exhibition, Schloss Lieberose Spreewald, Germany. Group exhibition Active underground I subconscious resonance field Liquid desert project I Schloss Lieberose Resonance field: Negev Desert, Israel - Schloss Lieberose, Spreewald, Germany The field was activated between 06-09 202021
Schloss Lieberose
Zärtlichkeit / Tenderness Rohkunstbau 25. / The Jubilee exhibition; Schloss Lieberose, Spreewald, Germany June - September 2020
Zärtlichkeit / Tenderness Rohkunstbau 25. / The Jubilee exhibition; Schloss Lieberose, Spreewald, Germany
Sculpture & Nature Group show, Oberkrämer. Germany June 2020 - October 2021 Sculpture & Nature Schloß Schwante, Oberkrämer. Germany. Group exhibition Active underground I subconscious resonance field Liquid desert project I Schloß Schwante Resonance field: Negev Desert, Israel - Schloß Schwante, Oberkrämer. Germany The field is being activated between 06/2020-10/202121
For the outdoor project at Schloss Schwante in Germany, the artist uncovers Chap ter No. 3 from the Liquid Desert project – Clay Sentences. The first Field Sentence clay work introduced in the exhibition includes nine large scale handmade clay pots that were located in the Schloss castle grounds and together formulate the Field Sentence Hashavat Aveda. It was created as a site-specific work especially for the Schlossgut Schwante grounds and its historical context. The Outdoor sculptures that compose the poetical Field Sentences, are to be set in six different areas across Germany and photographed from a bird’s-eye view after the unveiling of the first Field Sentence - an encoded minefield of hidden and folded information. In this sense, the artist’s interest in the outdoor area is linked to her interest in a forsaken no-man’s land, to which the art-space/ letters/ sculp tures are entrusted. & NATURE DESERT PROJECT Group show, Oberkrämer. Germany June 2020 - October 2021 Oct 2020 - May 2021
SCULPTURE
LIQUID
Sculpture & Nature Group show, Oberkrämer. Germany June 19, 2020 - October 4, 2021
SchwanteSchloss
Clay Sentences, הדיבא תבשה /1 ח, exhibition view, Sculpture & Nature Group exhibition, Kunsthalle Wilhelmshaven, Germany, Installtion view, October 2020
Clay Sentences sculptures Studio working processes,Tel Aviv
Clay Sentences,( 1 ח), d2020 size 46.5 X 41 cm. Clay, ink drawing, sound work (recording of trees), rolled soundtrack drawing, Black metal box, branches, thread. Different dimensions. הדיבא תבשהClay Sentences
Clay Sentences,( 2 ד), d2020 size 51 X 39 cm Clay, ink drawing, sound work (recording of trees), rolled soundtrack drawing, Black metal box, branches, thread. Different dimensions. הדיבא תבשהClay Sentences
Clay Sentences,( 1 ש), d2020 size 51 X 39 cm Clay, ink drawing, sound work (recording of trees), rolled soundtrack drawing, Black metal box, branches, thread. Different dimensions. הדיבא תבשהClay Sentences
The Mechanical Body Group show, Bar David Museum, Kibbutz Bar'Am, Israel Curated by Ifergan Avi Feb - Nov 2020
The Mechanical Body David Museum, Kibbutz Bar'Am, Israel. Group exhibition
Bar
Active Bar David
Museum
The
Resonance field: Negev Desert, Israel - Bar David museum, Israel field was activated between 02-11/202021
underground I subconscious resonance field Liquid desert project I
THE MECHANICAL BODY LIQUID DESERT PROJECT Group show, Bar David Museum, Kibbutz Bar'Am, Israel Feb - Nov 2020
The exhibition dealt with the subject of the mechanical abstraction, which seemingly lacks principles such as sublimity, infinity, spirituality and mythicality. The different artworks included in the exhibition use mechanical means, but beneath the mantle of visibility there is an encrypted philosophical thinking, subconscious ness and hidden information, that are inherent to the creative process. Sasportas’s installation deals with the individual and collective subconscious and the exhibition exposed the first mobile wall from the Liquid Desert project - Wall no. 13, room no. 18, north-eastern side. The wall unveils a poetic process embedded with silent images such as drawings of the rooms, photographs of owls in their dark habitats and drawings of nocturnal birds that lead their physical lives in the space of the hidden site. The wall composition’s nucleus is a unique spatial expression, which exists past language and beyond time. The fragments presented on this Wall, represent the essence of deceleration or acceleration of life process es as a reaction to anomalous events, and the surfacing of life material into the open for both personal and collective examination.
Bar-David Museum Israel
The Mechanical Body Group show, Bar-Daviv museum, Kibut Baram, Israel, Feb 2020
Resonance field: Negev Desert, Israel - Jerusalem. Israel was activated between 09-12/2020 - 10/1/2021
Nature Group show, The Jerusalem Botanic Gardens, Jerusalem, Israel Curated by Hadas Maor Sep - Dec 2020
The field
Returning to Nature The Jerusalem Botanic
Returning to
The Jerusalem Botanic Gardens, Jerusalem, Israel. Group exhibition Active underground I subconscious resonance field Liquid desert project I
Gardens
The work is part of a series of six mine sentences: The first sentence of the proj ect, In Us Are the Polars, was placed in January 2019 at the bottom of a swamp in northeast Germany, where Sasportas has been working for over a decade. Lev Parum is the second phrase in the series of and it is the first presentation of the Liquid Desert project in Israel. The tracks of sound, which have been inserted into the mines, were recorded manually and follow an original track that the artist re corded for seven years in the south of Germany’s Black Forest. Sasportas currently operates in the Black Forest nine different recordings of series of trees, which refer to various historic landmarks.
Sasportas’s work for the exhibition, Lev Parum (Unraveled Heart), opens the pathway through which the visitors are invited to view the show, which is mostly invis ible to the eye. It is composed of six mines made of clay, each containing a hand made drawing of sound data rolled inside a metal box. They operate in a coded, mute and silent manner, as though awaiting a potential moment of activation. The mines were burned in an especially high temperature in order to allow them to sink to the bottom of the aquatic flowers pool at the Botanical Garden, and the viewer, who is only made aware of the work after the mines had already been submerged in the water, cannot fully detect them.
RETURNING TO NATURE LIQUID DESERT PROJECT Group show, The Jerusalem Botanic Gardens, Jerusalem, Israel Sep - Dec 2020
Returning to Nature The Jerusalem Botanic Gardens Group show, Jerusalem, Israel Sep - Dec 2020
The Jerusalem Botanical Gardens
Unravelled Heart, 2020, 2020 Silent Letters / Still Mine no. 2/6 Chapter no. 8, Liquid Desert Project
Unravelled Heart, 2020, 2020 Silent Letters / Still Mine no. 2/6 Chapter no. 8, Liquid Desert Project םורפ בלSilent Letters / Still Mine
the realizations of the in Live event conversations in metaphysicalintheliquid Action Axis No. 3 Live event conversations the realizations in Live in metaphysicalintheliquid
the Liquid Desert project liquidconversations/virtualroomsdesertsite
All the conversations in this section take part in live conferences and online professional summits.
*Important note:
The project enables a conversational activity which is not limited by the physical conditions of a specific political reality, depending upon a political system or other. In this respect, it promotes free thinking, independence and mutual generosity operating and moving on a dif ferent code. This activity axis offers the contemporary art scene professional and high quality motions taking place in the subconscious field of the local culture, relating profoundly to the local history, the locality where the site has been built during the past few years and to the more distant past influencing current reality.
4.3
The invitation of these figures to a round of talks, interviews, writing and expression creates a series of important reflective activities reacting to the different strata of the local reality; these, in turn, correspond with historical, political and social aspects on the one hand, and outstanding art works from the contemporary art scene - on the other. These materials are exhibited in leading museums and cultural centers in the world, thus initiating a fresh and relevant discourse and updated models of cooperation between significant artists.
Meetings with important figures in the fields of art, cinema, philosophy, literature and psychoanalysis, whose work deals with collective trauma in a profound and unique manner, ex pressing local cultural themes which had eluded full integration, while leaving their mark on current social and political reality.
Action Axis No. 3 Live event conversations Apparatus / Three Channels of Actions
*Important note:
Action Axis No. 3 Live event conversations Apparatus / Three Channels of Actions
4.3
The invitation of these figures to a round of talks, interviews, writing and expression creates a series of important reflective activities reacting to the different strata of the local reality; these, in turn, correspond with historical, political and social aspects on the one hand, and outstanding art works from the contemporary art scene - on the other. These materials are exhibited in leading museums and cultural centers in the world, thus initiating a fresh and relevant discourse and updated models of cooperation between significant artists.
The project enables a conversational activity which is not limited by the physical conditions of a specific political reality, depending upon a political system or other. In this respect, it promotes free thinking, independence and mutual generosity operating and moving on a dif ferent code. This activity axis offers the contemporary art scene professional and high quality motions taking place in the subconscious field of the local culture, relating profoundly to the local history, the locality where the site has been built during the past few years and to the more distant past influencing current reality.
Meetings with important figures in the fields of art, cinema, philosophy, literature and psychoanalysis, whose work deals with collective trauma in a profound and unique manner, ex pressing local cultural themes which had eluded full integration, while leaving their mark on current social and political reality.
All the conversations in this section take part in live conferences and online professional summits.
ABRAHAM PATH / THE FROZEN EDEN ROOM NO.42, CONVERSATIONS Svalbard Global Seed Vault, Norway Yehudit Sasportas, Liquid Desert project Yehudit Sasportas & Thomas Huebl, Pocket Project May 2024. Abraham Path / The Frozen Eden Room no.42, Conversations Svalbard Global Seed Vault, Norway. Live Event Conversations Active underground I subconscious resonance field Liquid desert project I Svalbard Global Seed Vault, Norway Resonance field: Negev Desert, Israel - Svalbard Global Seed Vault, Norway. The field will be activated between 05-12/2024
A correspondence between Abraham’s Path and the Frozen Garden of Eden: The extrication of frozen time - created by indigestible past events - is one of the key principles of the Liquid Desert Project, and led to the choosing of Abraham’s path in the Negev Desert in the south of Israel as its physical location.
This spot is of historical and personal significance to the artist and is related to her nuclear family. According to tradition, this is the site of a historic dialogue between the human dimension in the form of Abraham and divine presence –as demonstrated by the change in Abraham’s name – from Avram to Avraham, introducing the Hebrew letter ה (H) which symbolizes in the simplest and deepest sense the acknowledgment of God’s presence in the manifest physical world. In this respect, the Liquid Desert project deals with the movement of structures and the lively dialogue between the overt dimension of our life and the hidden one –the one which contains important information essential for the actual movement. The essence of the connection between the Liquid Desert Project that is physically located in Abraham’s Path in the Negev Desert in Israel to the Svalbard Global Seed Vault, that can also be referred to as “The Frozen Garden of Eden” and is located in Northern Norway and in the northern hemisphere, is a metaphorical and symbolic bond.
ABRAHAM PATH / THE FROZEN EDEN
ROOM NO.42, CONVERSATIONS
LIQUID DESERT PROJECT
Svalbard Global Seed Vault, Norway Yehudit Sasportas, Liquid Desert project Yehudit Sasportas & Thomas Huebl, Pocket Project May 2024.
The manner in which the conference will be held: The conference itself will take place in two places simultaneously: the virtual space - one of the rooms of the Liquid Desert site - as well as an exhibition space at a museum in Norway. The Liquid Desert site consists of 49 virtual exhibition spaces designated for different activities in corresponding topics - among those is the hosting of international conferences on relevant and current issues, which take place in the virtual code rooms spread across the three underground levels of the site. The proposal for the current conference refers to room no. 42 that bears the code “The Frozen Eden”. It will host lectures, talks and interviews regarding this subject in a virtual space and will enable an international audience to connect, listen, engage and participate in the conference. The Negev desert is located approximately on the equator that divides the planet in two. As an artist, I see this connection as a correspondence between two time domains: the time of Abraham, the era of the beginning of history and the recep tion of the contents of humanity’s ethical code on the one hand, and a dialogue with the future time, with the end of history and the end of the world on the other, preparing for a scenario of collective trauma or apocalyptic disaster, in which case the seed vault would enable life’s rebirth. In this aspect, the correspondence is between the beginning of ancient human history, grounded in the past, and the time of the future, requiring a focus on the present times and to put aside the collective apathy to the world’s deterioration.
Liquid Desert Project Abraham Path, Negev Desert Southern Israel
Hidden Connection
Svalbard Global Seed Vault Svalbard & Jan Mayen Norway
The conference’s current Thomas Hübl, founder of the Academy of Inner Science A Process for Integrating Our Intergenerational Kirsten Dunlop, Chief Executive Officer at EIT Climate-KIC, Karen O’Brien, a Nobel prize candidate, a lecturer Lene Rachel Andersen & Tomas Björkman, Yehudit Sasportas, Professor at Bezalel Academy of Arts and Design,
Exhibition Digital brochure Click on the image Exhibition Trailer Click on the image Exhibition Window Text Scan the QR code with an open mobile camera Exhibition Wall Text Scan the QR code with an open mobile camera Or click here Or click here Or click here Or click hereOr click here For further information about The Liquid Desert project: For further information about The last Liquid Desert solo show: The Archeology of the Unseen, Kunsthalle Wilhelmshaven, Germany The Liquid Desert / Instagram Page Click on the image Wall Window
YEHUDIT SASPORTAS - SEVEN WINTERS Published in conjunction with the exhibition, Organized by The Israel Museum, Jerusalem 2013 Click here to view the digital catalogue THE LABORATORY Published by Prestel Publishing Ltd Kunstverein, Branuschweig 2008 Click here to view the digital catalogue FILM Yehudit Sasportas HASIPUR – THE STORY Villa Wachholtz 2010 Published by Herbert-Gerisch-Stiftung Click here to view the digital catalogue THE CAVE LIGHT Published by Leonhardi - Museum Leonhardi - Museum, Drezden 2005 Click here to view the digital catalogue GUARDIANS OF THE THRESHOLD Published by Dumont Literatur und Kunst Verlag Israel Pavilion, La Biennale Di Venezia 2007 Click here to view the digital catalogue Yehudit Sasportas - Selected catalogues YEHUDIT SASPORTAS - SEVEN WINTERS Published conjunction exhibition, Organized The Israel Museum, Jerusalem Click here to view the catalogue THE LABORATORY Published by Ltd Kunstverein, Branuschweig Click here to view the catalogue FILM HASIPUR THE STORY Villa Wachholtz Published by Click here to view the catalogue THE CAVE Published by - Museum Leonhardi Museum, Drezden Click here to view the catalogue GUARDIANS THE THRESHOLD Published by Literatur und Kunst Israel Pavilion, Biennale Di 2007 Click here to view the catalogue
Born in 1969 in Ashdod, Israel
2004 Locher, Muellerhaus, Literatur und Sprache, Lenzburg, Switzerland
2022 Locus Solus, No Man's Land - The T ime dwellers, Arter museum, Istanbul, Turkey
2019 Feldfantom, Galerie Nikolaus Ruzicska, Salzburg, Austria
The Mechanical Body, Bar David museum, Kibut Baram, Israel
2017 Drawings & Sculptures, Sommer gallery, Tel Aviv, Israel
The Guardian of the Pearl’s Shadow 2, Tilton Gallery, Los Angeles, USA
2017 RIFTS OF ABSENCE, Villa Schöningen, Potsdam, Germany
2008 The Laborator y, Kunstverein Braunschweig, Germany
2003 The Swamp and the Magnetic Ants, Galerie EIGEN + ART, Leipzig, Germany
Education
Selected group exhibitions
2001 How did it ever come so far..., Galerie EIGEN + ART, Berlin, Germany
Returning to Nature, The Jerusalem Botanic Garden, Jerusalem, Israel Sculpture & Nature, Schloss Schwante, Oberkrämer, Germany
2016 Once in a Lifetime, the Oude Kerk, Amsterdam, Holland
20 Years, Sommer Contemporary Art Gallery, Tel Aviv, Israel
2017 Senior professor at the Bezalel Academy for Art and Design, Jerusalem, Israel
1997 Ingeborg Bachmann Scholarship, established by Anselm Kiefer, Wolf Foundation, Herzliya, Israel
1997 99 M F A , Fine Art Department, Bezalel Academy of Art and Design, Jerusalem in collaboration with the Hebrew University of Jerusalem, Israel
2002 By the River, Matrix 200, the Berkley Museum Of Art, San Francisco, USA
W ind Mind, Hansen House, Jerusalem, Israel
Body Talk, CIRCLE1 GALLERY, Mittenwalder Str. 47, Berlin. Germany
Tangle, Maya Gallery, Tel Aviv, Israel
2021 By The Sea, Kunsthalle Wilhelmshaven, Germany
The Guardian of the Pearl’s Shadow 1, Sommer Contemporary Art, Tel Aviv, Israel
2007
Artist Statement, Gallery EIGEN + ART, frieze art fair, London, UK
1994 Drawings, Jerusalem Artists’ House, Jerusalem, Israel
Fellowships and prizes
2003 Artist in residence, Binz Foundation, Nairs, Switzerland
Sehnsucht nach Landschaft, Kunsthalle Bahnitz, Bahnitz. Germany
VLADO AND MARIA ONDREJ, Museum Angerlehner, Thalheim bei Wels, Austria
The Guardians of the Threshold, 52 Venice Biennale, Think with the Senses – Feel with the Mind Art in the present Tense, Israeli Pavilion, Venice, Italy
2022 The T ime dwellers, Arter museum, Istanbul, Turkey
The Archive, Artist`s Statement, Galerie EIGEN + ART, Art Cologne, Cologne, Germany
2013 Seven Winters, Solo show, Israel Museum, Jerusalem, Israel
Sauvage, Shenkar, Ramat Gan, Israel
2020 Vessel, Sommer Contemporary Art, Tel Aviv, Israel.
Looking at her Reflection, On line exhibition
1988 89 College for Visual Art, Beersheva, Israel
Since 2004 Lives and works in Berlin and Tel Aviv
1996 Kadishman Prize for Sculpture, America Israel Cultural Foundation, Israel Young Artist Award, Israeli Ministry of Culture and Education, Israel
2021 The Archeology of The Unseen, Liquid Desert project, Kunsthalle Wilhelmshaven, Wilhelmshaven Germany
Illuminations, Yeltsin Center Yekaterinburg, Russia
The Clearing of the Unseen, DA2 Domus Atrium, Salamanca, Spain
2016 Vertical Swamps HAMAKOM, Galleri Bo Bjerggaard, Copenhagen, Denmark
Since 1993 she teaches at the Bezalel Academy of Art and Design, Jerusalem, Israel
2001 Arthur Goldreich Foundation, Bezalel Academy of Art and Design, Jerusalem, Israel
YS Solo show, Gallery EIGEN & Art Berlin, Germany
1995 Mapping, Office in Tel Aviv, Tel Aviv, Israel
Solo exhibitions
2016 HAMAKOM / FILMS 2008 2015, GL STRAND Kunsthalle, Copenhagen, Denmark
1993 Robert Steinmann Prize for Sculpture, Herzliya Museum of Art, Herzliya, Israel Ehud Elhanani Prize, Fine Art Department, Bezalel Academy of Art and Design, Jerusalem, Israel
2011 Films, Gallery Eigen + Art Leipzig, Germany
Rohkunstbau 25. Tenderness, Schloss Lieberose, Spreewald, Germany.
2009 The Israeli Ministry of Culture award, Israel 2003 2005 The chosen Artist of the Israel Cultural Excellence Foundation (I Excellence), Israel 2004 International studio program of Künstlerhaus Bethanien, Berlin, Germany
The women Spirit of NARIS, Contemporary Art Center NAIRS, Scuol, Switzerland
1993 Academy of Art and Science, Cooper Union Academy of Art, New York, USA
2019 Liquid Desert, Gallery EIGEN & Art Berlin, Germany
1994 1998 Israel America Fund for Culture, Helena Rubinstein Award for Sculpture Gotsy Reder Prize for Sculpture, Israel
Illuminations, Stroganov Palace of Russian Museum, St Petersburg, Russia Illuminations, Smena Center Kazan, Russia.
2017 PRINT NOW FROM THE ATELIER FOR RADIATION LEIPZIG
2018 Illuminations, Triumph Gallery, Moscow, Russia. Ámbitus. Art and Music Today Kunstmuseum Kloster, Magdeburg
1989 93 B F A , Bezalel Academy of Art and Design, Jerusalem, Israel
2010 HASIPUR The Stor y, Herbert Gerisch Stiftung, Neuemunster, Germany
1999 The Israeli Art Prize, Nathan Gottesdiener Foundation, Tel Aviv Museum, Tel Aviv, Israel
The Carpenter and the Seamstress II, Deitch Projects, New York, USA
Medium Drawing Contemporar y Positions on the Art of Drawing, Kunstverein Gera e V , Gera,Germany.
2015 Harmony and Transition, Chinese Landscape in Contemporary art, Martha Herford Museum, Herford, Germany
2009 Cosmic Rifts, Sommer Contemporary Art Gallery, Tel Aviv, Israel
1996 Trash can Scale Work 1995 96, Janco Dada Museum, Ein Hod, Israel
Yehudit Sasportas - CV
2015 Vertical Swamp Raw Material, Gallery EIGEN & Art Berlin, Germany
2006 The Guardian of the Pearl’ Shadow, Sint Lukas Gallery Brussels, Brussels, Belgium
2023
The Pomegranate Orchard, Gallery EIGEN + ART, Berlin, Germany
2017 Dreams & Dramas, Sapņu Fabrika, Riga, Latvia
2000 The Carpenter and the Seamstress, Tel Aviv Museum of Art, Tel Aviv, Israel
2017 "Wären Fluss undMeere T inte …“, Christine König Galerie, Vienna, Austria
1999 PVC 1999, Noga Gallery, Tel Aviv, Israel
2005 The Cave Light, Leonhardi Museum, Dresden, Germany
2006 The Guardian of the Pearl’ Shadow, Sint Lukas Gallery Brussels, Brussels, Belgium
2001 How did it ever come so far..., Galerie EIGEN + ART, Berlin, Germany
2002
Rohkunstbau 25. Tenderness, Schloss Lieberose, Spreewald, Germany.
VLADO AND MARIA ONDREJ, Museum Angerlehner, Thalheim bei Wels, Austria
2004 Locher, Muellerhaus, Literatur und Sprache, Lenzburg, Switzerland
The Cave Light, Leonhardi Museum, Dresden, Germany
Artist Statement, Gallery EIGEN + ART, frieze art fair, London, UK
The Carpenter and the Seamstress II, Deitch Projects, New York, USA
2017 Drawings & Sculptures, Sommer gallery, Tel Aviv, Israel
2003
Selected group exhibitions
2008 The Laborator y, Kunstverein Braunschweig, Germany
The Swamp and the Magnetic Ants, Galerie EIGEN + ART, Leipzig, Germany
1996 Trash can Scale Work 1995 96, Janco Dada Museum, Ein Hod, Israel
1999 PVC 1999, Noga Gallery, Tel Aviv, Israel
Looking at her Reflection, On line exhibition
The Guardian of the Pearl’s Shadow 1, Sommer Contemporary Art, Tel Aviv, Israel
2000 The Carpenter and the Seamstress, Tel Aviv Museum of Art, Tel Aviv, Israel
2021 By The Sea, Kunsthalle Wilhelmshaven, Germany W ind Mind, Hansen House, Jerusalem, Israel
2020 Vessel, Sommer Contemporary Art, Tel Aviv, Israel. Tangle, Maya Gallery, Tel Aviv, Israel
The Guardian of the Pearl’s Shadow 2, Tilton Gallery, Los Angeles, USA
The women Spirit of NARIS, Contemporary Art Center NAIRS, Scuol, Switzerland
2017 Dreams & Dramas, Sapņu Fabrika, Riga, Latvia
1995 Mapping, Office in Tel Aviv, Tel Aviv, Israel
The Pomegranate Orchard, Gallery EIGEN + ART, Berlin, Germany
2017 "Wären Fluss undMeere T inte “, Christine König Galerie, Vienna, Austria
2016 Once in a Lifetime, the Oude Kerk, Amsterdam, Holland
2022 Locus Solus, No Man's Land - The T ime dwellers, Arter museum, Istanbul, Turkey
2019 Feldfantom, Galerie Nikolaus Ruzicska, Salzburg, Austria
Returning to Nature, The Jerusalem Botanic Garden, Jerusalem, Israel Sculpture & Nature, Schloss Schwante, Oberkrämer, Germany
20 Years, Sommer Contemporary Art Gallery, Tel Aviv, Israel
Body Talk, CIRCLE1 GALLERY, Mittenwalder Str. 47, Berlin. Germany
1994 Drawings, Jerusalem Artists’ House, Jerusalem, Israel
The Guardians of the Threshold, 52 Venice Biennale, Think with the Senses – Feel with the Mind Art in the present Tense, Israeli Pavilion, Venice, Italy
2015 Harmony and Transition, Chinese Landscape in Contemporary art, Martha Herford Museum, Herford, Germany
2007
Illuminations, Smena Center Kazan, Russia
2005
Medium Drawing Contemporar y Positions on the Art of Drawing, Kunstverein Gera e V , Gera,Germany.
2017 PRINT NOW FROM THE ATELIER FOR RADIATION LEIPZIG
Sehnsucht nach Landschaft, Kunsthalle Bahnitz, Bahnitz Germany
Illuminations, Yeltsin Center Yekaterinburg, Russia
The Archive, Artist`s Statement, Galerie EIGEN + ART, Art Cologne, Cologne, Germany
Illuminations, Stroganov Palace of Russian Museum, St Petersburg, Russia
The Mechanical Body, Bar David museum, Kibut Baram, Israel
2018 Illuminations, Triumph Gallery, Moscow, Russia. Ámbitus. Art and Music Today Kunstmuseum Kloster, Magdeburg
The Clearing of the Unseen, DA2 Domus Atrium, Salamanca, Spain
Sauvage, Shenkar, Ramat Gan, Israel
By the River, Matrix 200, the Berkley Museum Of Art, San Francisco, USA
Depletio,: Works from the Doron Sebbag Art Collection ORS Ltd., Tel Aviv Museum, Tel Aviv, Israel
On Paper, Galerie EIGEN+ART Berlin, Germany
2014 Confrontation, Galerie Alain Le Gaillard, French
Eventually we’ll Die, Young Art in Israel of the Nineties, Herzliya Museum of Contemporary Art, Herzliya, Israel
2014 Neighbors, Istanbul Museum of Modern Art, Istanbul, Turkey
Access to Israel & II, Jüdisches Museum Frankfurt/Main, Germany Back to Black, Kestner Gesellschaft, Hannover, Germany
2007 Dialogues Méditerranéens à Saint Tropez, France
2014 Shades of Black and White, Gallery Bo Bjerggaard, Copenhagen, Denmark
Digital Landscapes, The Genia Schreiber Universitiy Art gallery, Tel Aviv University, Tel Aviv, Israel Neue Heimat, Berlinische Galerie, Berlin, Germany
Temporar y Import, Art Forum Berlin, Berlin, Germany
Drawing today, CAC Màlaga, Spain
Sommer Show, Lehmann Maupin, New York, USA
Imagine, Umm el Fahem Art Gallery, Umm el Fahem, Israel
2008 Sommer bei EIGEN + ART, Galerie EIGEN + ART Berlin, Germany
Gegen den Strich, Bielefelder kunstverein, Germany
Ausgezeichnet!, Kunstverein Freiburg, Freiburg, Germany
2012 Material Spiritual World, Deweer Gallery, Brussels, Belgium
Real T ime: Art in Israel 1998 2008, The Israel Museum, Jerusalem, Israel
2005 The Phoenix Collection, Ashdod Museum, Ashdod, Israel
Portrait, Galerie EIGEN + ART, Berlin, Germany
Die Neuen Hebräer - 100 Jahre Kunst in Israel, Martin Gropius Bau, Berlin, Germany
Artist Statment, Galerie Eigen And Art, Frieze Art Fair, London, UK Site of Silence, Munster, Germany
Dreaming Art dreaming reality, Tel Aviv Museum of Art, Tel Aviv, Israel
Sommer Contemporar y Art at Kilchmann Plus, Galerie Peter Kilchmann, Zurich, Switzerland
2011 A rock and a hard Place , The 3rd Thessaloniki Biennale, Greece
Ornament, S M A K , Gent, Belgium
Unnatural, the BASS museum, Miami, USA
2003 Drawings,Binz 39, Nairs, Engiadina Bassa, Switzerland
2015 Walk The Line, New Paths in Drawing, Kunstmuseum Wolfsburg, Germany
25 Jahre Sammlung Deutsche Bank, Deutsche Guggenheim, Berlin, Germany
A European Portrait #2, Rohkunstbau, Groß Leuthen, Germany
Chopsticks, Hamidrasha Gallery, Tel Aviv, Israel
Kalte Rinden (landscape), City Gallery, Kiel, Germany
2004 Homage to Yona Fischer, Bezalel gallery, Tel Aviv, Israel
Inner Motion , Art Museum Magdeburg, Germany
2014 PAPERWORLDS, Me Collectors Room Berlin / Stiftung Olbricht, Berlin, Germany
2009 Wall Work, Yerba Buena Center for The Arts, San Francisco, USA
All the best The Deutsche Bank Collection and Zaha Hadid, Singapore Art Museum, Singapore Far and away: The Fantasy of Japan in Contemporar y Israeli Art, The Israel Museum, Jerusalem, Israel Mini Israel: 70 Models, 45 Artists, One Space, the Israel Museum of Art, Jerusalem, Israel
Point of View, Tel Aviv Museum of Art, Tel Aviv, Israel
Chilufim, Kunstmuseum Bonn; Kaiser Wilhelm Museum Krefeld; Museum Am Ostwall, Dortmund, Germany
2013 Caution! Things may appear different than they are, APT institute, Nuremberg, Germany
Gegen den Strich, Künstlerhaus Bethanien, Berlin, Germany
2015 Dark Side Of…, TS ART Projects, Berlin, Germany
Kunst Museum Wolfsburg, for contemporar y art, Wolfsburg, Germany
Romantica, Sommer Contemporary Art, Tel Aviv, Israel
Sommer bei EIGEN + ART, Galerie EIGEN + ART, Berlin, Germany
2006 Raft of the Medusa, National Museum Warschau & Krakow, Poland
2000 Ladies and Gentleman, Contemporary Israeli Art, Tel Aviv Museum of Art, Tel Aviv, Israel
1997 Biennale of the Mediterranean, Turin, Italy Home, Anadiel Gallery, New Gate, Jerusalem, Israel
Total Object Complete with Missing Parts, Tramway, Glasgow, Scotland Gallery Barbara Davis, Houston, USA
1999 The passion and The Wave, 6th International Istanbul Biennale, Istanbul, Turkey
2001 Works on Paper, Kerlin Gallery, Dublin, Ireland Liste 2001, Basel, Switzerland
2002 Chilufim, Herzliya Museum of Art, Herzliya; The Israel Museum of Art, Jerusalem, Israel
Michael Kasos, Yehudit Sasportas, Daphna Ron, The Tel Aviv Artists Studio, Tel Aviv, Israel
Kill me if you can, The Kalisher Art Gallery, Tel Aviv, Israel
1998 Four Israeli Women Artists, Art Triennale, New Delhi, India Women Artists in Israel, Haifa Museum of Art, Haifa, Israel
Recent Acquisitions, the Uzi Zucker Fund for Contemporary Art, Tel Aviv Museum of Art, Tel Aviv, Israel Sommer bei EIGEN + ART, Galerie EIGEN + ART, Leipzig, Germany Sadie Coles Gallery HQ, London, UK
Seperate World, Tel Aviv Museum of Art, Tel Aviv, Israel Back, Gimel Gallery, Jerusalem, Israel Labyrinth, Pat Studio, Jerusalem, Israel
Bad kids, good kids, The Israel Museum of Art, Jerusalem, Israel
1994 Home Works, Herzliya Museum of Art, Herzliya; Art Gallery, University of Haifa, Haifa; Yavneh Art Workshop, Yavneh; Arad Museum, Arad, Israel
Platforma, Sommer Contemporary Art, Tel Aviv, Israel Liste, the Young Art Fair, Basel, Switzerland
Bamot. The building, destruction and restoration of high places Israel `48 `98", Jewish Museum, Vienna, Austria
Las pasiones, Bienal de Valencia, Valencia, Spain
Walkabout, the Ramat Gan Museum, Ramat Gan, Israel; Galerie Kampnagel, Hambur, Germany
The Biennial of the Mediterranean, Rome, Italy
Personal Plans, Kunsthalle Basel, Basel, Switzerland
12 x 12, The Bezalel Graduant Program of Young Artists, The Maurice Louis Gallery, Bezalel Academy of Art and Design, Jerusalem, Israel
1995 L A Biennial Invitational, Posner Art Gallery, Santa Monica, California, USA Eight Artists, America Israel Cultural Foundation, Tally Hall, New York, USA Autumn Salon, Abandoned House Exhibition, Tel Aviv, Israel Drawing No. 1, Gimel Gallery, Jerusalem, Israel
90 Years of Israeli Art Works of the Joseph Hachmi Israel Phoenix Collection, Tel Aviv Museum of Art, Tel Aviv, Israel
Imagine, Um el Fachem Gallery, Tel Aviv, Israel
Young International Art, Galerie EIGEN + ART, Berlin, Germany Art Focus, Sultan’s Pool, Jerusalem, Israel
1996 Balanced, The Israeli Painters and Sculptors Foundation, Tel Aviv, Israel Yehudit Sasportas and Smadar Eliassaf Drawings, Noga Gallery, Tel Aviv, Israel
1997 Biennale of the Mediterranean , Turin, Italy Home, Anadiel Gallery, New Gate, Jerusalem , Israel
1994 Home Works , Herzliya Museum of Art, Herzliya; Art Gallery, University of Haifa, Haifa; Yavneh Art Workshop, Yavneh; Arad Museum, Arad, Israel Seperate World , Tel Aviv Museum of Art, Tel Aviv, Israel Back , Gimel Gallery, Jerusalem , Israel Labyrinth , Pat Studio, Jerusalem , Israel
2010 FILMS, Yehudit Sasportas, Editor and Curator: Martin Henatsch, 2010, Publisher: Herbert Gerisch Stiftung, 64 Pages
1996 Balanced , The Israeli Painters and Sculptors Foundation, Tel Aviv, Israel Yehudit Sasportas and Smadar Eliassaf Drawings, Noga Gallery, Tel Aviv, Israel
1998 Four Israeli Women Artists , Art Triennale, New Delhi, India Women Artists in Israel , Haifa Museum of Art, Haifa, Israel 90 Years of Israeli Art Works of the Joseph Hachmi Israel Phoenix Collection , Tel Aviv Museum of Art, Tel Aviv, Israel 12 x 12, The Bezalel Graduant Program of Young Artists, The Maurice Louis Gallery, Bezalel Academy of Art and Design, Jerusalem , Israel Bamot The building, destruction and restoration of high places. Israel `48 `98", Jewish Museum, Vienna, Austria
2013 Seven Winters, Yehudit Sasportas, Editor and Curator: Mira Lapidot, 2013, Publisher: Hatje Cantz, 160 Pages
2007 Guardians of the Threshold, Yehudit Sasportas, Editor and Curator: Suzanne Landau, 2007. Publisher: Dumont, 66 Pages
Copyright @ Yehudit Sasportas & VG Bild-Kunst. 2021 Yehudit Sasportas I E-mail: yehudit@yehuditsasportas
2002 Yehudit Sasportas By the River, Yehudit Sasportas, Editor and Curator: Heidi Zuckerman Jackobson,Publisher:University of California, Berkeley Art Museum
The Biennial of the Mediterranean , Rome, Italy
Selected catalogues
2008 The Laborator y, Yehudit Sasportas, Editor and Curator: Hilke Wagner, 2008, Publisher: Pretsel, 111 Pages
1995 L.A. Bien nial Invitational , Posner Art Gallery, Santa Monica, California, USA Eight Artists, America Israel Cultural Foundation, Tally Hall, New York, USA Autumn Salon , Abandoned House Exhibition, Tel Aviv, Israel Drawing No. 1, Gimel Gallery, Jerusalem , Israel Michael Kasos, Yehudit Sasportas, Daphna Ron , The Tel Aviv Artists Studio, Tel Aviv, Israel
2005 The Cave Light, Yehudit Sasportas, Editor and Curator: Christoph Tannert, 2005 Publisher: Leonhardi Museum, 88 Pages