Exhibitions

In the fashion arena, consumerism is most explicitly demonstrated as an accepted lifestyle. The contemporary fashion industry seems to be constantly reinventing itself, thereby perpetuating its systemic dependence on the desire to acquire items in different styles. This industry reflects the inherent traits of modern society, characterized by constant flux and the search for meaning in an unstable reality.

The bicycles around which this installation is built are associated with the inspiration Olaf Kuhnemann draws from the streets of Berlin – the city he is residing in recent years. As the seasons change, with winter's depression replaced by the mania of spring and summer, the city's boulevards fill with bicycles.

In her works, Addie Wagenknecht addresses the ethos of the hacker culture and the dark side of the data systems that construct contemporary reality. In the installation Shrine for iPhones (2018) the artist creates a kind of monument to outdated mobile phones that are discarded after each technological update.

Hannan Abu-Hussein's installation consists of used brassieres fixed in cast concrete. This technique is characteristic of her works, which often use unconventional raw materials. The artist employs these materials in order to express her personal-feminist voice on the issues of religion, capitalism, sexual exploitation, love, and personal freedom.

Eyal Assulin's visual language explores the culture of prosperity with reference to global socio-economic aspects. His works engage with Eastern culture, featuring a matrix of historical, gender, and artistic status symbols. These are presented in a forthright manner that parodies the bulimic impulse of contemporary consumerism.

Their works seek to comprehend the "mall" idea as it appears in the contemporary artistic discourse, with reference to the cultural assumptions and power relations it embodies.

The critical-ironic gaze appearing often in the exhibited works emphasizes the carnivorousness aspects of feminine shopping.The act of shopping itself is depicted as some sort of a subversive practice. The exhibition manifests the ways in which artists, particularly young female artists, use excess and radicalization as the means of artistic creation

The works in this show seek to indicate a hollow, consumer-oriented trans-cultural world created by the unchallenged dominance of globalization. These works examine the multiple meanings involved in the import of commodities, customs, cultures, and people, and the aggression involved in its implantation, as a reflection of contemporary cultural imperialism.