גלריות מוסררה, בית ספר מוסררה לאמנות וחברה ירושלים

:ęĕĚĘđĢĚĐ ęĕĜėĦĐ ĘĞ ĦđĘČĥ ĐĘĞĚĐ ĐģĕĔģĤĠė ęđĘĕĢč ĦģĝđĞ ĦĕĦĢđčģĐ ĐėđĤĞĦĐ ĦČĒđ ęėđĕĥ ĦđčģĞč ęĕČĥđĜ ęĐĥ ĦĕĔĕĘđĠĐđ ĦĕĦđčĤĦĐ ĦđĞĚĥĚĐđ ęĐĕĘĞ ĦđėĒĐ ,ęĤđģĚ ĕĜđĕĞĤ ģđĤĕĠč ģĝđĞ ĤĝđČĐ ĝČĚđĦ ěĚČĐ .ĤĚđēč ĐĕđĔĕčđ ĐĚĢĞ ĐģĕĔģĤĠĐ Ęĥ ĐĜĕēč ĖđĦ ĘėĕĚ Ęĥ ĐĕĦđďđčĞ .ěđĤėĕĒ Ęĥ ĐĕĎđĘđČĎĘ ęđĘĕĢĐ ĐĥĞĚ ĦČ ĖĠđĐđ ěđĕėĤČĐ ĕĤĚđē Ęĥ ĕĤĚđēđ Ęĥ ĦđģĕĦĞ ďđĥ ĦĞĕĜĚĘ ĐďĕēĕĐ Ęĥ ęĕĢĠēĐđ ęĕĚđĘĢĦĐ ěđĕėĤČ ĦĤĕģē ĘĞ ĦđĝĝđčĚ ĤđČĤč ďĢĘ ěĕĔĝĘĠ/ĘČĤĥĕč ĥđčĕėđ ĞĒĎ ,ďĚĞĚ ĘĞ ĦđĘČĥ ĦđĘđĞ ĐĒ ĕďđēĕĕ čĢĕĚč .ĦđģĕĦĞĐ ĦđĥĤ ĕďĤ ĕĤĚđēč ĥđĚĕĥĐđ ĐčĕĜĎĐ ĎĤčĜĒĕĕČ ĕģĕĢ ĘĢČ .ĐĕĤđĔĝĕĐđ ĦđĘĞč ,ĕđģĕēđ ĤđģĚ ĘĞ ĦđĘČĥ .ĝđČėč Ĥďĝđ ĥďē ĤĕčēĦ ĤĢĕĕĘ ěđĕĝĜĐđ ęĘđĞč ĦđĚģĚĦĐĘ ČĢđĚ ĦďđģĜ ČĕĐ ďĕĕĚ The group exhibition focuses on photography as a practice that introduces questions about the photographed subjects: their origin, who has the right to them, and the cultural and political significance they hold as a result of their affiliation, while simultaneously looking at the practice itself and its material expression. Thomas Hauser engages in a conceptual and material deconstruction of archival materials and turns the act of photography into a geology of memory. Michal Baror’s works are based on the examination of the photographs and artifacts archive of the IAA's Antiquities Theft Prevention Unit. This unique installation poses questions about status, race and occupation in Israel/Palestine alongside questions about origin and imitation, ownership and history. In Tziky Eisenberg’s works, theft and the use of ready made materials serve as the starting point for positioning oneself in the world and trying to create order in the chaos. Thomas Hauser ĻħæƣĬò ƓĬðŌá ĤĝđČĐ ĝČĚđĦ