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Framed Expanse - Ezra Orion
Closing - April 2nd, 2022
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Primavera 2022
April 7th-8th, 2022
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Play- Family Festival 2022
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Jerusalem Design Week 2022 | FOR NOW
23-30 June 2022
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What's More, Yellow or an Elephant?
29.7-9.7.2022
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Resting Bitch | Sharon Balaban
Curators: Sala-Manca
Mamuta Art and Research Center and Hansen House
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The Sad Locust Hunters | Yifeat Ziv
4.11.2022 - 26.12.2022
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Acoustic Signature
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In Print Art Book Fair 2023
Thursday, January 12, 15:00-23:00
Friday, January 13, 10:00-14:30
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Hansen_10
19.1.23-16.3.23
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פרימוורה #10 יריד המעצבים של בית הנסן
23-23.3.2023
Free Entrance
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CQ
20.06.2023 – 16.04.2023
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Total Care
Shir Senior and Keren Kuenberg
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Memories of Others: Irit Batsry
A new exhibition at Mamuta Art Research Center
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Facing Reality
20.7.23-28.7.23
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Drama Storytelling - Media Conference- DIGITAL // TV // AI
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The Voyage to Nowhere
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Records: Ayala Shamir
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Up Top: Manofim Festival X Hansen House
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The Mixer: Musical Performance Series
Thursday, 26.10.2023
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The 8th Jerusalem Art Conference
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Exhibition: The Private Press in the Small Room
Mamuta Art and Research Center
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Smart Home in a Dumb Body
Closing: 17 February 2024
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Print Shop X Wrapping Memory
"Wrapping Memory"
Direct donation to Gaza envelope residents
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Open Call for Designers - Primavera Fair
Application Deadline: 01.03.2024
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Open Call - Jerusalem Design Week 2024
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In-attention
Opening: Friday, 23.5.2024, 11:00
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With Blind Steps
Curator: Judith Lenglart
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The Ark - Jerusalem Design Week 2024
Jerusalem Design Week, September 19-26.2024
Design Exhibitions, Installations, and Events
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The Ark - Receding Waters
14.10-13.12.2024
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Rejoicer Presents: Leper's Delight
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Rejoicer Presents: Leper's Delight
by Rejoicer and Yosef Mashiach
Tea House Gallery
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In Print | Holiday Edition
25-27.12.2024
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Guided tour: from a leprous house to a creator's house Advance reservation
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The Historical Exhibition
Due to the current security situation, the exhibition has been postponed until further notice.
Over the past three decades, Ariel Wardi has been working in the “small room”– that serves as a studio and tiny private press where he prints and binds books, stacked in a tower rising as high as the ceiling. In his private press, he uses traditional printing techniques long abandoned by the commercial printing industry. Wardi developed unique methods to cut and create his own type, printing on a Vandercook Letterpress, sewing and binding the books by hand. Every one of the hundreds of books has a unique binding, some made of sand and earth. Each book is distinct, each copy essentially an original. Wardi, born in 1929, is one of the last people in Israel to work in traditional printing press methods. In contrast to the act of printing inherently meant for mass reproduction and distribution, Wardi’s stacked books constitute a fundamentally private body of work, much like drawings placed in a file cabinet.
Artist Hadassa Goldvicht (b. 1981) as initially trained as a printmaker. Her works explore the relationship between language as raw material and the body, engaging in the visual and sensory deconstruction of language and letters, and investigating different forms of reading and writing. Throughout the encounter with Wardi and his oeuvre, the two found they shared a common language. Goldvicht began to document Wardi’s work based on a shared fascination with language and methods Wardi has been exploring over the past decades.
Wardi was a wireless operator on ships carrying illegal immigrants and arms in the 1940s, and is still fluent in Morse code – a language which transforms the sound of the letters into a system of dots and dashes. In Goldvicht’s multi-channel video and sound installation, Wardi reads from his books “Ashrei Ha’ish” (Psalm 1:1-4)”, “ Jonah”, and “Psalm 104” in Morse code. This joint exhibition connects the disciplines of art and craft, technology and the handmade, and invites viewers to experience a profound encounter with typography and the deconstruction of reading: the letters themselves have become raw material, and with their transformation into binary forms, have turned into sound.
Wardi’s tireless search for the “original” in the art of printing, the quintessential act of creating a replica, becomes a manual “hack” and a subversive pursuit of beauty. Goldvicht, whose early work in printmaking evolved into the material abstraction of video and sound, continues her in-depth research on the sensory and material meanings of letters and words, reflected in her current collaboration with Wardi.
Thanks to the Israel Ministry of Culture and Sport and to the Jerusalem Municipality for their generous support for this exhibition.
Mamuta Opening Hours:
Tue-Thu 12:00-16:00
Fri 10:00-14:00