A contemporary new play where the critical spectator have an option to be exposed to both sides’ points-of-view. Reflected through the eyes of both sides in a multi-dimensional picture through a relevant script who brings documentary testimonies combined with the evidences from the <italic>2021 Israel-Palestine crisis<italic>, this play is based on Hillel Cohen’s book <italic>1929: Year Zero of the Jewish-Arab Conflict<italic> [Brandeis University Press, 2015].

The visual concept brings the rawness of the <italic>element<italic>—of the paper, the nails on the wall and their presence in the process of hanging the various texts in the <italic>void<italic>. The typography is rough and bumpy in Latin, and on the other hand in Hebrew inspired by stone-carved letters.

This is a group exhibition with the curatorial advisory of Maya Dvash, chief curator of the Design Museum Holon; a conclusion of <italic>Curation<italic> course as past of a Master’s degree in History of the Arts and Curation, Department of the Arts—Ben-Gurion University of the Negev (Israel).

<italic>Installation photography by Sivan Abargil.<italic>

While the logotype has a heavy and coarse style, the photographed art-directional visualization is in a genre of refinement but in the same time has some boldness in it. This photoshoot created with a goal of a “white-on-white exercise” concept. Furthermore, the Dead Sea shore as the location for this brand-photographs’ series casted into it another tier of <italic>naughtiness<italic>, of “Hutzpa”, of <italic>nerve<italic>.

The co-creators designated it primarily for the Jewish national movement, which sought turning a praying language into a living one as part of the Zionist vision that developed during those years. The typeface first presented in the German <italic>H. Berthold<italic> Foundry’s catalogue [Berlin, 1924]. Over the years, it was adopted by all the Hebrew-language newspapers and most of the printed products of the modern Hebrew language.

Began as a personal-typographic archival research and transformed to be the studio’s <italic>number one<italic> “work-horse” face, this digitalization based on both 1924’s <italic>Berthold<italic> catalogue and on the Hebrew Cannon of typefaces ‘Hebrew Typography’ commonly known as “Bezalel Catalogue” [Jerusalem, 1981].

<italic>The reason and motivation for the studio’s revivals were the need to maintain classical and original design decisions made by the creators reliable as possible, without personal or design taste inputs influence the outcome and therefore preserve the high-quality characters; keeping legibility and easier readability, even in small sizes, distinct and suitable for wide uses.<italic>

The <italic>quasi<italic>-utopian hope resounding to the original creation, and inside the festival’s brochure, shows experimental musical instrument, a local one which is unconventional, an <italic>Opuntia<italic> or a “Prickly Pear Cactus”, what been used in <italic>one<italic> of the previous editions of this <italic>very<italic> festival. It’s coming in contrast to the sky imagery; and the relationship among them revolves around the <italic>thorny<italic> resilience and between the airiness, delicacy and tenderness of the sky—which symbolizes the Israeli national identity. The yellow colour in the poster, associated with the endeavour for releasing of all hostages held by <italic>Hamas<italic> terror organisation in Gaza, differs in the form of the purple colour—and <italic>these<italic> together continue to produce complementary contrasts in relation to the graphic language. In both <italic>two<italic> different brochure variations, the compositions are loose, lively and dynamic and perpetuate the desire for creation and expression in the midst of <italic>chaos<italic>.

<italic>Festival events’ photography by Michael Pavia.<italic>

Nathan Alterman lifetime was a milestone in the Israeli-Hebrew-Zionist cultural developing world, a pioneer in his field. So, following that, the design decision were interpreted its pioneering to a use of one of the most revolutionary typefaces in modern Hebrew typography—‘David’, designed by the late typographer Ismar David—which was the first face that a wide styles family (including italics) was included in its vision.

The version which the project was set with is ‘David Jerusalem’, the studio’s own digitalization, that originally created to this <italic>very<italic> book design practice.

A typeface, designed around the establishment year of this culinary institute by an unknown designer, has a modern sans-serif style, with a mono-line and geometric vibe. There were no digits of the typeface, so they were designed from scratch <italic>while<italic> expanding the entire glyph-set.

<italic>The reason and motivation for the studio’s revivals were the need to maintain classical and original design decisions made by the creators reliable as possible, without personal or design taste inputs influence the outcome and therefore preserve the high-quality characters; keeping legibility and easier readability, even in small sizes, distinct and suitable for wide uses.<italic>

The purpose of this project was to create an entire new identity for the winery bearing in mind Ovadia’s only request to keep the visual identity around the <italic>Veronica Syriaca<italic> flower. One is being entitled in Israel as ‘Zionist Veronica’, because of its natural habitat of the Northern Golan Heights and its blue-and-white colours. Hence, the identity aimed to be led by both locality and humaneness concepts.

<italic>Every<italic> variety of wine got its own <italic>Veronica<italic> sketch, which creates a series of three levels of wine-complexity and volume. Those sketches made by <italic>drawing from observation<italic> technique what created an intuitive line and yet academic-reliable to the flower’s silhouette as it possibly can, while connecting the viewer immediately to the natural object and the nature around it.

The logotype itself represents a moving-forward path and a <italic>contemporary<italic> winemaking way-of-thinking while using an <italic>archived<italic> style of a Hebrew classics, ‘Hadassah’, designed originally by Henri Friedlander. Likewise, the labels designed in order to keep them “airy” <italic>but<italic> for the must-included details, all combined with an entirely-new handmade flower sketch. What is more, the package objects, both box and the bag, are made from recycled cardboard, meant to be as close as can be to an organic material. A series of stamps (a flower stamp for every wine variety), form and create a field of flowers, all <italic>Veronica Syriaca<italic>.

<italic>Photography by Dor Kedmi and Yael Shelach.<italic>

These led to the development of a brand language including packaging development and design which underline agriculture as an upmost value—the fruits are packaged in recyclable cardboard trays—all derived from the well-known market tray for transporting fruits. The boxes have been adjusted and scaled in size and volume to contain quantities of fruit for home and non-commercial consumption, and as such—the “agricultural” feeling remains—<italic>but<italic> conveyed while <italic>they<italic> getting smaller and smaller in their dimensions according to the fruits: apples, nectarines, kiwis, blueberries and cherries. Whereas the farm’s packinghouse is pure <italic>manual labor<italic>, without industrialized sorting systems, there was a need and wiling to mark the manual and personal work invested in each package. The outside part of the packages is entirely painted in <italic>each<italic> fruit’s representative-colour what creates a <italic>poppy<italic> and <italic>basic<italic> experience.

One of the owner’s main goals which he keened to communicate puts the fruit in a naive status—in a place which a child will choose the just-picked fresh fruit over a snack or a candy, and <italic>its<italic> intense and high-quality flavours will <italic>not<italic> be a competition. Correspondingly, a fully-Hebrew brand typeface was exclusively developed, based on 70s-Israeli posters. The face extended into an entire alphabet set which includes as well all the punctuation, digits and Hebrew diacritics and became the solely face to distinguishes <italic>the<italic> identity. The typeface is a high-contrast-and-heavy in its style (weight), and cheeky. <italic>It<italic> expresses the childishness and the innocence, the simplicity.

The entire series of packages are text-only, thinking about the varieties of the fruit and educating the consumer about <italic>its<italic> types. All four of the blueberries types, for instance, with different textures and flavours, each one receives the respect deserves, emblazoned with the brand-typeface which describes the savours and characteristics of the fruit. Hence, the brand’s set of values are expressed in a few components that underscore the modesty, simplicity, but nevertheless the quality and the varietal prominence.

<italic>Photography by Yossi Haziza (the farm’s owner); Art-direction, colouring and re-touching by the studio.<italic>

Derrida discussed idea of birth inside his philosophy mass ‘Khõra’ by questioning the very life and existence of man already inside his mother’s womb. The connection and the disconnection to the outside world when in fact it functions as a bubble. When and what will be his [the man’s] first communication to the reality—during pregnancy or maybe once he is making his very basic-initial steps outside his mother body.

The Post-modernism phrased the concept of interpretations and thoughts—there is no just one absolute truth—<italic>thus<italic> the viewer is a fundamental part of the post-modern œuvré. A post-modern individual (the subject) is leading and influencing the piece by his own thinking and decisions, a critical person. Therefore, the design process led by a collaged visualization—of the pregnancy period and giving birth—which is a <italic>relationship<italic> the œuvré’s both theoretical and visual parts. The birth outcome was compared to the progress of a design lab, which is a school of design.

<italic>The ‘Abraham’ Arabic typeface was courtesy of Daniel Grumer, its designer.<italic>

The visual language built around the concept of bringing new light into those <italic>haunted<italic> spaces. The light is our initial existence essence and its lack or obstruction challenges our very being <italic>hence<italic> the visual decisions development came from those obstacles and the outcomes which accompany them.

The creation of the visual, done by handmade technique of letter stencils, and creating a prism with the help of water vessels and a beam of light passing through it, breaking into the letters.

This current proposal is based on <italic>two<italic> fundamental principles: First, a main academic but expressive sketch; and second, handwritten main type lead—what both creates a one-time experience that parallels the experience of watching theatre.

The process of design led into going down to the very small resolution of handling typographic details from the very tag-line of the logo to both creating a digitalisation to the leading subheading typeface (which is the Hebrew classic ‘Rectangular Haim’) and choosing a work-horse typeface. For this reason, the entire identity is <italic>reminiscent<italic> style of books covers, which fits to this very theatre nature.

The script runs through the story of the succession of a publishing house from father to the son with the last request of the dead mother, to publish a critical anthology—a semi-genuine request what reveals deep moral and ideological controversies. Further, it questions the function of literature in our lives, and <italic>its<italic> critical role in our development as a society. As the father says: ‘When literature sinks everything sinks with it.’

Both layout and typographic design concepts inspired by the differences between everyday-tabloids, news-broadcast-bulletin on current affairs and higher critique-literature.

Yerushalmi (b. 1955), Israeli based photographer who lived in a Kibbutz Lahav (a small one in the northern Negev district), creates his body of art work since graduated from <italic>Camera Obscura<italic> School in the mid 1980s. Likewise, the book collects within it a lifetime curated sequence of text and photographs.

There is an abstract relationship between the text and image which opens to the viewer an option of creating contexts and connections among himself as well as <italic>another<italic> story that does not exist in the pages of the book. Additionally, the page numbering supports a <italic>single spread<italic> as independent who communicates within itself, and as such—the numbering symbolizes a sequence of texts instead of the actual book’s page continuity.

Boy <italic>Max<italic>, the literary hero, is <italic>maximum<italic> feeling, one-hundred-percent emotion. Its character takes the readers into the story through first-person poetry which lead the book’s idea.

This abstract idea of <italic>the<italic> feelings presented inside this book’s story with a childish, humorist and simple way alongside colourful and personal imagery.

<italic>Book-binding by Ido Agassi.<italic>

The graphic language accompanied by a fully bi-lingual brand typeface made <italic>exclusively<italic> for this visual identity entitled ‘Concert’, based on the original metal lettering which appears on the Fredric Mann Auditorium (today named after Charles Bronfman), Tel-Aviv, Israel. Just as the building and its architecture influenced by both <italic>Bauhaus<italic> and <italic>De Stijl<italic> movements, so the style of the letters is functional and devoid of decoration.

This project has been shared in the popular Stefan Sagmeister <italic>Instagram<italic> profile who curates in it promising projects or designers from all over the globe (May 2021).

The book is an <italic>anthology<italic> that interlace Stephen Hawking (<italic>A Brief History of Time<italic>, 1988), Dror Burstein (<italic>Man in Space<italic>, 2018), parts of Nietzsche’s books were carefully selected and collected, written artificially in the book with the handwriting of Shlomo Shaharbani (great-grandfather of Enav, “Sofer Stam” and religious scholar of the ‘lights in the vault of the sky’) written in the <italic>Nutz-Elm<italic> style (common with the Iraqi Jews) and produce an encounter between Judaism and Western philosophy, through the letters and content.

This family gathering has been taking place in Enav’s family for more than three decades, every weekend in a cycle on Saturday night.

Presented at the Milano Design Week as part of the <italic>first-ever<italic> Israeli pavilion—‘The Impossible Story of the Israeli Design’ (curated by Dan Moukatel and Annamaria Salinari), April 2019.

Johnson, an influential voice in contemporary art, addresses the issue of African-American individual and collective identity in the twenty-first century. Three of his works, which presented in the exhibition, employ expressive body language to convey the physical and psychological experience of Black people in a racist, discriminatory environment.

The layers of paint on the wooden surface, the facial expressions and masks, and the skin protecting the body—all these depict the external covering and that which throbs beneath, the <italic>depths below the surface<italic> and the fear that’s been internalized.

<italic>Exhibition design by Lia Tomashof.<italic>

The experiment incorporates the technical-mathematical aspect, the humanist-philosophical-artistic aspect and the aspect of content, <italic>therefore<italic> the starting point was how the black ink is soaking on plain white paper.

In addition, the study’s outcome led to a formation of a two-styles abstract typeface based on mathematical equation that calculates the amount of letters in the text in relation to their area on the paper-format (A4) taking into account that the whole is 1 litter of ink. Both styles—<italic>Inkjeted<italic> and <italic>Flattened<italic>—titled after the action of making every one.

Presented at the Jerusalem Design Week—‘Future Rooms—The Silence of the Future’ (curated by Prof. Terry Schreuer and Michal Cederbaum), June 2018.

The cheering and playful visual elements emphasis the diversity of the multi-cultural society of Jaffa city, <italic>inter alia<italic>.

The basic series of letters appeared on the building expanded into a full series of characters in both Hebrew and Latin and became a digital typeface which can be used while creating an identity.

This project has been shared in the popular Stefan Sagmeister <italic>Instagram<italic> profile who curates in it promising projects or designers from all over the globe (May 2021).

Designed originally by a Latvian designer named Alexander Russota [according to a research by Philipp Messner] in the nineteen-twenties influenced by the European modern art movements (such as, <italic>inter alia<italic>, Bauhaus and De Stijl), and probably first poured and marketed through a type foundry in the city of Riga, and afterwards made his way to more countries in the continent and to Israel (<italic>then<italic>, Palestine).

<italic>The reason and motivation for the studio’s revivals were the need to maintain classical and original design decisions made by the creators reliable as possible, without personal or design taste inputs influence the outcome and therefore preserve the high-quality characters; keeping legibility and easier readability, even in small sizes, distinct and suitable for wide uses.<italic>

A book that questions the official story of the first battle on Mount “Hermon” during the third day of October 73’ war. For his part in this battle, in which he was killed, Gal’s uncle Effi was awarded the <italic>Medal of Courage<italic>. The textual content reveals and validates the various personal battle versions of the interviewers as apposed in contrast to the official narrative of the army, which concealed and minimized the heroism of Effi and his colleagues. In addition, the book is accompanied by contextual and visual narratives (love letters, abstract photography series etc.) that range from the personal to the national memory.

The imagery made for this book photographed and followed Effi’s battle path based on the evidences that the family confirmed inside this very book’s texts. It meant to create and bring a multi-sensory experience which the reader will have during the book leafing.

Presented at the Milano Design Week as part of the <italic>first-ever<italic> Israeli pavilion—‘The Impossible Story of the Israeli Design’ (curated by Dan Moukatel and Annamaria Salinari), April 2019.

Uncertainty future, apocalypse, lose of hope and <italic>the<italic> nation’s cleft—all these terrifying concepts led to a dark-black-environment created by using halftones crows’ images combined with a dramatic white typography.

The crows are <italic>soars above<italic> carcasses, linked to negative scenarios and having a shrilly voice. These characteristics connecting a string <italic>between<italic> the concept and the entire identity of this year’s experimental-musical event.

Referring to the chosen display typography, a typeface was developed based on metal roundabouts signage which creates a dramatically heavy-bold face related to a journalism environment and <italic>therefore<italic> to an ongoing dark possible future.

<italic>Festival events’ photography by Michael Pavia.<italic>

Lee-Ann got it as a birthday present when she celebrated her 3rd birthday party. The book was a self-publication that produced in 3 copies.

<italic>Book-binding by Ido Agassi.<italic>

The original idea of ​​the designer was to be innovative and to try to create a large typeface family consisting of nine styles, based on three <italic>basic<italic> versions—regular, italic and sans-serif—<italic>each<italic> with three styles. This concept <italic>did not<italic> exist until that time in Hebrew, which made the typeface <italic>revolutionary<italic> in its vision. In the end, <italic>only<italic> three styles of the entire family were officially published: light, heavy and italic.

The version based on printed specimens, sketches’ reproductions of the <italic>original<italic> design and a considered-as-a-“milestone” book of Hebrew typography that incorporates all the classic Hebrew typefaces (“Bezalel Catalogue” by Ilan Molcho, 1980).

<italic>The reason and motivation for the studio’s revivals were the need to maintain classical and original design decisions made by the creators reliable as possible, without personal or design taste inputs influence the outcome and therefore preserve the high-quality characters; keeping legibility and easier readability, even in small sizes, distinct and suitable for wide uses.<italic>

Like his younger brother, originally <italic>Haim<italic> designed and influenced by both art and architecture movements (developed in western Europe during the first three decades of the 20th century) Bauhaus and De Stijl’s principals, by the Polish-born (Częstochowa, 1907) designer.

A late-nowadays interpretation led to create the expanded style of this classics—an extreme display face found around the northern-<italic>bayed<italic> city of Haifa.

<italic>The reason and motivation for the studio’s revivals were the need to maintain classical and original design decisions made by the creators reliable as possible, without personal or design taste inputs influence the outcome and therefore preserve the high-quality characters; keeping legibility and easier readability, even in small sizes, distinct and suitable for wide uses.<italic>

After <italic>October 7th<italic>, we are destined to <italic>continue<italic> living. The hostages have not <italic>yet<italic> returned, boys and girls are fighting in both north and south, the reserve forces left their every-day lives and went to protect the homeland. We are left, on the home-front, to <italic>honour<italic> and continue routine, because that is what <italic>they<italic> fighting for.

Consequently, the representation of the festival plays are by piercing typographic sentences; humorous, satirical and painful. And those are quotations from the plays performed. The variety of quotes allows an identify with the range of emotions we are living these days. The <italic>written word<italic> represents the performances in a way that does not produce a “festive” celebration—one that is aware of and respects the current situation.

The letters, were <italic>expressively<italic> crafted and cut-out from a black-<italic>Bristol<italic>-board, and pasted on the white paper in changing-dynamic compositions. The broad-ranging line, continues to be represented by the typographic grid and layout in the festival’s programmes.

<italic>Actors’ portraits by Gerard Allon.<italic>

As a representative of the smooth and elegant women shape, the whale has become the brand’s lead symbol; known for his high intelligent level and mainly relating to his pack what is resembling to a surfing social group additionally to the fact that the <italic>Cetacea<italic> infraorder (family) consists inside almost 90 species what indicates a wide variety as the women body. The whale is also has a fluid movement which transformed to one with the sea waves.

<italic>Concept, art and photography [includes photo-editing] by the studio; Production assistant: Nevo Melnik; Hair and make-up: Hagar Melnik; Models: Miriam Melnik, Stefany Egozy, Yamit Magen, Yael Grader-Levinson, Nathalie Gal and Lee Mires<italic>.

The anthology, the textual content follows three stages’ narrative of the swimming sensation: <italic>Sensory<italic>—a stage that the swimmer experience a sensory flooding by first contacting with the water; <italic>physical<italic>—once the swimmer gaining focus in both his own body movements and how he is feeling under the water; and finally, the <italic>mental<italic> stage—the highest stage of the mind (which itself separated the sub-stages)—that allows a completely meditative situation, a time when [and where] inspiration and creativity exists.

By saying—‘War is beautiful because it enriches a flowering meadow with the fiery orchids of machine guns. War is beautiful because it combines the gunfire, the cannonades, the cease-fire, the scents, and the stench of putrefaction into a symphony’—Walter Benjamin challenges the war conception as a violent and terrifying event by descending it using poetical words; exactly like the edge between what is an art work discussing the phenomenon and what is a cheap produced copy which is the very concept itself challenges the conception of a valued-appreciated work of art.

Alongside the anthology-reference book comes an appendix in the form of separated small-format booklets which visualised the Kitsch concept but in a collection of low-res images collected from <italic>Pinterest<italic>. Although the hard-copy book is produced in black and white, the appendix presented in a vivid saturated colour production which immediately exaggerates the irony of collecting the references in the app.

The exhibition is interactive, allowing the visitor to become an editor and consider the connection of multiple images in their mind, similar to the <italic>Kuleshov effect<italic> (The ‘Kuleshov effect’ is a film editing effect demonstrated by Soviet filmmaker Lev Kuleshov; It is a mental phenomenon by which viewers derive more meaning from the interaction of two sequential shots than from a single shot in isolation)—a sequence of images bound in a book conveys more meaning than a single shot.

Visitors at the exhibition are invited to create their own limited-edition photobook, by selecting ten out of fifteen A3 pages that feature printed photographs by the artists. After the selection, they fill out an order form and hand it over to the <italic>‘Binding Room’<italic>, where it is bound and ready to take home.

<italic>Installation photography by Youval Hai.<italic>

In comparison with <italic>Haim<italic>’s immediate Latin predecessors, experienced a successful career as a display type, and so its younger brother, to <italic>this<italic> day. The typeface creation process inspired by the Bauhaus [and De Stijl] principals relating to modern design. And in such, ‘this type, which lacks any round forms or serifs and is put together by evenly thick bars, represents a break with all the rules of traditional design.’ [Messner, Philipp in Wardi, Ada (editor). ‘Hebrew Type Design in the Context of the Book Art Movement and New Typography’ in <italic>New Types: Three Pioneers of Hebrew Graphic Design<italic>. Jerusalem: The Israel Museum (2016). p. 30]

<italic>The reason and motivation for the studio’s revivals were the need to maintain classical and original design decisions made by the creators reliable as possible, without personal or design taste inputs influence the outcome and therefore preserve the high-quality characters; keeping legibility and easier readability, even in small sizes, distinct and suitable for wide uses.<italic>

A classics’ artistic present publication of a forgotten philosophical anti-war essay written by the famous children’s author, but this time—for adults—due to his PTSD experience as a soldier in the Queen’s army during the “Great War”. This text is a putting-a-mirror mass which ‘came to light’ in couple of editions in the nineteen-thirties, and stayed there.

The collaboration led to a creation of the book project which is an interpretation to this beautiful text both typographically and visually—an imagery series of ‘crops’ dealing with the male body Canonical idea of beauty and masculinity alongside a violent-pornographic visual appendix which includes 3 huge collages. Moreover, throughout the book there are interlaced quotes from Milne’s famous piece he wrote based on his only son Christopher Robin Milne, <italic>Winnie the Pooh<italic>, who participate as a volunteer soldier in <italic>WWII<italic>. The entire concept raises the distinction about if we (as human-beings) on the edge of a third world war. WAR IS OVER NOW?!

<italic>Supervised by Dr. Ruth Blacksell, Paul Luna and Michael Johnson.<italic>

Presented in <italic>The Holy Art<italic> gallery—<italic>Hackney Downs Studio<italic>, London. As part of ‘Facade’ group exhibition, April 2021.

The <italic>first chapter<italic> of this research, dealing with the deep-fundamental connection that where built during the progression of the <italic>Tanakh<italic>’s canonization as a book what became a fixed, sacred compilation of writings that completely interlaced the connection between body and spirit.

The current composition, presented in book form, runs like a <italic>thread of scarlet<italic> through the works of Michael Gordon, a contemporary Israeli book designer and typographer (with educational background in the fields of architecture and fine art), who has been working in his studio in Tel-Aviv since the 1980s. Gordon’s extensive body of work comprises <italic>hundreds<italic> of books he designed, envisioned and produced. Through his books he tests, and even challenges, the boundaries of book-making, while drawing on and conducting a dialogue with its traditions; he treats the page as a <italic>three-dimensional space<italic>, and attributes great importance to the connection between the content of the books he designs and the physical experience of the book as an object, as well as the sensory aspect of the reading experience. What’s more, Gordon’s books have been displayed in exhibitions throughout the world (the most comprehensive exhibition was Gordon’s solo-exhibition at the Tel-Aviv Museum of Art in 2003).

<italic>Supervised by Rick Poynor through the Summer of 2020; The images inside are courtesy of Michael Gordon; Book binding by Ido Agassi.<italic>

The core of <italic>Mary Poppins<italic>’ [original] story lies in its ‘hybrids’. The world-most-renowned nanny tells the story of the connection between the old-and-classic British traditions and a fresh new hybrid (a refreshing breeze or ‘East Wind’ as the first chapter named) that puts a different way of inspection and looking at the world into the specific family’s home that the story is about. On that basis lies this experimental project. The book combine the original text, with the three films made as an adaptation to P. L. Travers’ creation, websites, social networks and a same-design-as-the-interactive printed book as a fresh approach to this connection. Those extra raw materials enrich the original text and offers a new observation on the publishing world.

With Michal’s childhood home as a photoshoot location, margin a unique cast of models, this production seek to creates a nonchalant, natural and playful feeling and experience for the entire idea. The styling provide contrast to the elegance and colourless tailored jackets made by the designer, making the printed joyful and <italic>pop-art<italic> stylish inner side stand out.

The catalogue that accompanies the photoshoot produced in a simple and inexpensive production and preserves the authentic and personal values which led the conceptual decisions.

<italic>Concept, art and photography [as well as photo-editing] by the studio; Textile and fashion design: Michal Luria; Production assistant, costumes and styling consulting: Noy Lamberg; Make-up: Lilach Shifman; Hair: Hila Malasa; Models: Almitu Jember, Mishael Midovski, Lev Petrunin and Shimon (Shimi) Vasin.<italic>

This catalogue-newspaper curates part of the <italic>Satirist Supreme: Honoré Daumier and 19th-Century Paris<italic> exhibition in a thematic order. Every main Theme has image represents the topic which Daumier made a series of illustrations (or sculptures). This practice incorporates inside vignettes and separating lines hand-made exclusively for this project.

The brand’s unique fabrics’ designs lays beside eighties nostalgic-mass-production everyday items, what’re together creates festive scenes which take the viewers into an extravagant world and a <italic>feast to the eyes<italic>. This photoshoot combines digital and analogue visualization that taking place both on screen and on paper.

The archive is supposed to be located inside an abandoned high-celling one-floor with two gallery floor surrounded it cigarette factory building in the heart of the <italic>Halisa<italic> neighbourhood of Haifa.

The design concept was developed from the Zionist idea of optimism, spoon full of nostalgia which shows only the beautiful sides of the pioneering society lived and created from scratch the State of Israel despite everything; as well as a dynamic aspect which functions as an example of the ability of the builders of the land to be flexible and adapt to a reality that is constantly changing.

This interpretation for Zhàozhõu Cõngshen (a <italic>Chán<italic> Buddhist master, passed away in late 9th century) illustrates a random, unplanned and unexpected encounters what creates a foggy-enigmatic experience due to the blurred elements. Does the object remain the thing itself when it is placed in a non-related environment? Isn’t new content being poured into it by <italic>its<italic> very location and context?

The artist sees himself as both a pilgrim and a guerrilla fighter against a “cruel establishment.” Following his own personal artistic path, he analyses what he finds along that road. He creates his own imaginary world, a place that is simultaneously mystical, political, and confrontational. Every object draws him into its story, provides inspiration, and is transformed.

Inviting the visitors to join him on his journey of observation, interpretation, and nostalgia dealing with harsher messages about empires that rose and fell, corrupt institutions and occupied land, and disruptive, aggressive social phenomena; <italic>but<italic> with a sense of humour, alongside it all.

<italic>Exhibition design by Michal Aldor and Libat Eden; Installation photography by Elie Posner—The Israel Museum, Jerusalem.<italic>