On the joyous occasion of hosting the cooperative galleries at Beit HaOmanim in Tel Aviv, and through a democratic brainstorming process, it was decided that the exhibition would focus on the themes of collectivity, collaboration, and the relationship between the individual and the group. This exploration of the individual-group dynamic is reflected on two parallel levels: one being the central theme of the exhibition, and the other the process of its creation.

On a processual level, the gallery members have designed a collaborative approach that seeks to transcend the conventional boundaries of a group exhibition. They strive for maximum collectivity within a framework that still preserves the personal expression and autonomy of each participant. Benyamin Gallery is composed of members who, despite their commitment to their individual artistic language and personal artistic “temperature,” maintain a deep curiosity and a willingness for self-challenge and boundary expansion. The exhibition was meticulously planned through a series of continuous meetings aimed at fostering dialogue, encouraging cross-media connections, forming collaborations between works, and ultimately shaping unified formal concepts. This experimental and collective process is designed so that the exhibition space will be experienced as a coherent environment rather than a mere collection of independent works.

“Low Skies” - The Courtyard as a Social and Political Concept

In the exhibition “Low Skies”, the concept of the courtyard is examined in its social and political aspects. For the members of Binyamin Gallery, the courtyard represents the place of the cooperative gallery within the broader art field, dominated by art institutions and commercial galleries. The courtyard, in general, serves as a focal point of power relations, occurrences, conflicts, and coalitions—a space where individuals define themselves in relation to others and to the groups that form within it.

The courtyard is an external space, yet it is always enclosed and governed by explicit rules. It is a place of play, discovery, and obscurity—a space where one can encounter the unfamiliar, move between groups, or choose solitude. The courtyard is also a site of hospitality, and accordingly, the exhibition will feature performances, discussion sessions, musical ensembles in collaboration with the Sardines School of Music, and more. It is a space that can be open and democratic or a hierarchical domain where each individual has a defined role.

Selected Works from the Exhibition

Jonathan Levy’s work challenges perspectives and the boundary between public and private space. His piece creates a view from inside a house outward to the courtyard, while within the exhibition space, the gaze is reversed—from the courtyard inward.

Shlomit Liver’s works are ambiguous, resembling both earthly creatures and deranged letters—a threatening swarm emerging from underground, spreading throughout the space. The only figure seemingly capable of confronting this swarm is a ridiculous scarecrow card displayed on a small screen in the corner, standing guard over the courtyard against external intruders.

The swarm interacts symbiotically with the installation of Nava Joy Ozen, even making an appearance in her video work. Amid a pile of construction debris—some of it sourced from the demolished exhibition space—there lies an inner realm inhabited by imagined creatures endlessly scurrying in a looping animation. This piece was created as a collage of photographs taken at construction sites, suggesting a hidden world beneath the surface, waiting for discovery.

Hannah Anoushik Manheimer’s monolithic installation, resembling an alien object straight out of Kubrick’s “2001: A Space Odyssey,” raises questions about the fundamental forces shaping human society. Engraved on the monolith is the motto of the secret Illuminati order: “To control without dominating.” A spectrum of light refracting from a crystal symbolizes the path of the individual within the group, referencing Pink Floyd’s iconic album cover, which suggests that although we are born as whole individuals, societal dynamics restrict absolute freedom and loyalty to our original identity.

Playground (Hatzar Mishakim) by Tamar Shefer and Niv Bronstein explores the presence of marginalized figures within the courtyard. On one side of a partition, Niv Bronstein’s animation depicts children playing basketball, floating disconnected from the ground, appearing as hollow human shells devoid of identity. On the other side, Tamar Shefer’s sculptural figure leans head-first against the partition—flattened, with drooping, short wings, unable to stand independently or move. Her stagnant fragility serves as an antithesis to the dynamic game beyond the partition, yet conceptually, these figures represent two sides of the same existential struggle.

Iris Hassid’s wall photograph is part of her series “As You See Us” (2014-2019), soon to be published as a photography book. A quote from one of her subjects, Samar (2018), encapsulates a story of displacement:

“We live at the edge of a Jewish settlement in the Western Galilee, in Peki’in HaHadasha. The land belongs to my mother—she inherited it from my grandmother, who lived in the village of Mahoul. The authorities in Israel refuse to recognize our land for construction… even though it is adjacent to the settlement. A dirt road separates us from the community, and we fear that one day they will decide to expand the settlement and build on our land. There is no electricity or water connection to our plot, so in the summer, we come to water our olive trees with jerrycans.”

Sarit Achtenberg engages in Body Suspension—a practice involving the suspension of the body using hooks inserted into the skin. Her piece explores the conquest of fear, the attempt to control the spirit through bodily pain, and a symbolic detachment from place and social conventions. Though unsettling, the act offers a glimpse into an unfamiliar, darker realm.

Suha Froja depicts her home’s courtyard as a cabinet—a gathering space for advice, decision-making, and family problem-solving. In her video work, the courtyard emerges as the central space in her family’s life, both strengthening familial bonds and simultaneously serving as an open gateway to the outside world.

Dina Levy’s work suggests a protective shelter, attempting to create a sense of intimacy and security, while also evoking a deep-seated anxiety about the unknown—a fear of voyeurs, spies, and attackers lurking above the metaphorical and literal courtyard.

Guerrilla Cams: The Parallel Project at Benyamin Gallery

Simultaneously, at Benyamin Gallery, the Guerrilla Cams project is taking place. The gallery members are broadcasting a live feed of the creation and operation of a multi-channel control room installation, set up in their space at Kiryat HaMelacha, paralleling the “Low Skies” exhibition.

This project, led by artists Hannah Anoushik Manheimer, Mor Peled, and Sharon Azgi, examines the status and regulation of the image. Publicly accessible images and data are scrutinized through a critical lens, presented via a sculptural multi-channel control room installation. The viewer is invited to an experience that challenges the perception of technology as a neutral mediator of information.

The project emerged as a satellite endeavor of the exhibition, stemming from a reflection on the gallery as a potential platform for experimental, controversial projects that push boundaries.

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