{"id":24908,"date":"2026-03-15T21:49:13","date_gmt":"2026-03-15T19:49:13","guid":{"rendered":"https:\/\/www.smadarsheffi.com\/?p=24908"},"modified":"2026-03-16T13:23:06","modified_gmt":"2026-03-16T11:23:06","slug":"amir-yatziv-a-report-absalon-solutions-and-problems-%d7%90%d7%9e%d7%99%d7%a8-%d7%99%d7%a6%d7%99%d7%91-%d7%93%d7%99%d7%9f-%d7%95%d7%97%d7%a9%d7%91%d7%95%d7%9f-%d7%90%d7%91%d7%a9%d7%9c%d7%95","status":"publish","type":"post","link":"https:\/\/www.smadarsheffi.com\/?p=24908","title":{"rendered":"Amir Yatziv: A Report | Absalon: Solutions and Problems | \u05d0\u05de\u05d9\u05e8 \u05d9\u05e6\u05d9\u05d1: \u05d3\u05d9\u05df \u05d5\u05d7\u05e9\u05d1\u05d5\u05df | \u05d0\u05d1\u05e9\u05dc\u05d5\u05dd: \u05e4\u05ea\u05e8\u05d5\u05e0\u05d5\u05ea \u05d5\u05d1\u05e2\u05d9\u05d5\u05ea"},"content":{"rendered":"\t\t
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\u05dc\u05e6\u05d3 \u05d4\u05d7\u05dc\u05dc \u05d4\u05de\u05e8\u05db\u05d6\u05d9 \u05d5\u05d1\u05d5 \u05e4\u05e2\u05d5\u05dc\u05d5\u05ea \u05d1\u05d7\u05dc\u05dc \u05d4\u05ea\u05d0, \u05de\u05d5\u05e7\u05e8\u05e0\u05d5\u05ea \u05e9\u05ea\u05d9 \u05e2\u05d1\u05d5\u05d3\u05d5\u05ea \u05e0\u05d5\u05e1\u05e4\u05d5\u05ea. \u05d1 \u05e8\u05e2\u05e9\u05d9\u05dd<\/strong> (2:30 \u05d3\u05e7\u05d5\u05ea) \u05d0\u05d1\u05e9\u05dc\u05d5\u05dd \u05e6\u05d5\u05e8\u05d7 \u05e2\u05d3 \u05e9\u05db\u05d5\u05d7\u05d5 \u05ea\u05e9, \u05db\u05dc\u05d5\u05de\u05e8 \u05d4\u05e2\u05d1\u05d5\u05d3\u05d4 \u05e9\u05d9\u05d9\u05db\u05ea \u05dc\u05de\u05e1\u05d5\u05e8\u05ea \u05e9\u05dc \u05e2\u05d1\u05d5\u05d3\u05d5\u05ea \u05de\u05d9\u05e6\u05d2 \u05e9\u05e1\u05d9\u05d1\u05d5\u05dc\u05ea \u05de\u05d2\u05d3\u05d9\u05e8\u05d4 \u05d0\u05ea \u05d0\u05d5\u05e8\u05db\u05df, \u05de\u05e1\u05d5\u05e8\u05ea \u05e9\u05de\u05e8\u05d9\u05e0\u05d4 \u05d0\u05d1\u05e8\u05de\u05d5\u05d1\u05d9\u05e5 \u05de\u05d6\u05d5\u05d4\u05d4 \u05d0\u05d9\u05ea\u05d4 \u00a0\u05e2\u05dd \u05e2\u05d1\u05d5\u05d3\u05d5\u05ea \u05db\u05de\u05d5 Rhythm 4 (1974) \u05d1\u05d5 \u05d9\u05e6\u05e8\u05d4 \u05d4\u05d9\u05e4\u05e8 \u05d5\u05e0\u05d8\u05d9\u05dc\u05e6\u05d9\u05d4, \u05d0\u05d5 \u05d0\u05de\u05df Bas Jan Ader \u05e9\u05d1\u05d9\u05e7\u05e9 \u05dc\u05d7\u05e6\u05d5\u05ea \u05d0\u05ea \u05d4\u05d0\u05d5\u05e7\u05d9\u05d0\u05e0\u05d5\u05e1 \u05d1\u05e1\u05d9\u05e8\u05d4 \u05e7\u05d8\u05e0\u05d8\u05e0\u05d4 \u05d1\u05de\u05e1\u05d2\u05e8\u05ea \u05d4\u05e2\u05d1\u05d5\u05d3\u05d4In Search of the Miraculous (1975) – \u05d4\u05d9\u05e2\u05dc\u05de\u05d5\u05ea\u05d5 \u05d4\u05d1\u05d9\u05d0\u05d4\u00a0 \u05d0\u05ea \u05d4\u05e2\u05d1\u05d5\u05d3\u05d4 \u05dc\u05db\u05d3\u05d9 \u05e1\u05d9\u05d5\u05dd. \u05d4\u05e6\u05e2\u05e7\u05d4 \u05de\u05ea\u05d9\u05d9\u05d7\u05e1\u05ea \u05d9\u05e9\u05d9\u05e8\u05d5\u05ea \u05dc\u05e6\u05d9\u05d5\u05e8 \u05d4\u05e6\u05e2\u05e7\u05d4 \u05e9\u05dc \u05de\u05d5\u05e0\u05e7 \u05de 1893 \u05d0\u05da \u05d1\u05d4\u05e7\u05e9\u05e8 \u05d4\u05d4\u05d5\u05d5\u05d4, \u05e6\u05e4\u05d9\u05d9\u05d4 \u05d1\u05d6\u05de\u05df \u05d4\u05de\u05dc\u05d7\u05de\u05d4, \u05d4\u05d9\u05d0 \u05de\u05d6\u05db\u05d9\u05e8\u05d4 \u05d2\u05dd \u05d0\u05ea \u05d4\u05e6\u05e2\u05e7\u05d4 \u05d4\u05d0\u05d9\u05e0\u05d3\u05d9\u05d1\u05d9\u05d3\u05d5\u05d0\u05dc\u05d9\u05ea- \u05e7\u05d5\u05dc\u05e7\u05d8\u05d9\u05d1\u05d9\u05ea \u05d1\u05e1\u05e8\u05d8 \u05e8\u05e9\u05ea \u05e9\u05d9\u05d3\u05d5\u05e8<\/strong> \u05e9\u05dc \u05e1\u05d9\u05d3\u05e0\u05d9 \u05dc\u05d5\u05de\u05d8 \u05db\u05e9\u05d4\u05de\u05d5\u05e0\u05d9\u05dd \u05d9\u05d5\u05e6\u05d0\u05d9\u05dd \u05dc\u05d7\u05dc\u05d5\u05e0\u05d5\u05ea \u05dc\u05e6\u05e2\u05d5\u05e7 \u05d0\u05ea \u05ea\u05e1\u05db\u05d5\u05dc\u05dd. \u05de\u05d0\u05d1\u05e7<\/strong> (0:45 \u05d3\u05e7\u05d5\u05ea) \u05e0\u05e7\u05e8\u05d0\u05ea \u05db\u05de\u05d9\u05df \u05e1\u05d9\u05db\u05d5\u05dd \u00a0\u05dc\u05ea\u05e2\u05e8\u05d5\u05db\u05d4 \u05db\u05d5\u05dc\u05d4 \u2013 \u05de\u05d4\u05e6\u05e2\u05e7\u05d4, \u05d3\u05e8\u05da \u05d4\u05e4\u05e2\u05d5\u05dc\u05d5\u05ea \u05d1\u05d7\u05dc\u05dc \u05d5\u05e2\u05d3 \u05dc\u05de\u05d9\u05e4\u05d5\u05d9 \u2013 \u05d2\u05d9\u05dc\u05d5\u05d9 \u05d2\u05d5\u05e4\u05e0\u05d9 \u05e9\u05dc \u05d4\u05d7\u05dc\u05dc, \u05d1\u05ea\u05e0\u05d5\u05e2\u05d5\u05ea \u05e0\u05e8\u05d7\u05d1\u05d5\u05ea \u05d5\u05e7\u05e6\u05d5\u05d1\u05d5\u05ea \u05db\u05e8\u05d9\u05e7\u05d5\u05d3 \u05d8\u05e7\u05e1\u05d9 \u05e9\u05e0\u05e7\u05d8\u05e2. \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/p>

\u05d4\u05ea\u05e2\u05e8\u05d5\u05db\u05d5\u05ea \u05e0\u05d5\u05d2\u05e2\u05d5\u05ea \u05d1\u05ea\u05d7\u05d5\u05e9\u05d4 \u05e9\u05dc \u05d0\u05d1\u05e1\u05d5\u05e8\u05d3 \u2013 \u05d4\u05e0\u05d9\u05e1\u05d9\u05d5\u05df \u05dc\u05d4\u05e2\u05e0\u05d9\u05e7 \u05de\u05e9\u05de\u05e2\u05d5\u05ea \u05dc\u05d4\u05ea\u05e8\u05d7\u05e9\u05d5\u05d9\u05d5\u05ea \u05d4\u05db\u05d0\u05d5\u05d8\u05d9\u05d5\u05ea \u05e9\u05e1\u05d1\u05d9\u05d1\u05e0\u05d5. \u05e9\u05ea\u05d9\u05d4\u05df \u05d9\u05d5\u05e6\u05e8\u05d5\u05ea \u05d0\u05e4\u05e9\u05e8\u05d5\u05ea \u05dc\u05d4\u05ea\u05d1\u05d5\u05e0\u05df \u05d1\u05d0\u05d1\u05e1\u05d5\u05e8\u05d3, \u05d5\u05d1\u05e8\u05e6\u05d5\u05df \u05e9\u05dc\u05e0\u05d5 \u05dc\u05d4\u05d1\u05d9\u05df, \u00a0\u05d1\u05e8\u05d9\u05d7\u05d5\u05e7 \u05d4\u05e0\u05d3\u05e8\u05e9 \u05dc\u05e8\u05d0\u05d5\u05ea \u05d0\u05d5\u05ea\u05d5 \u05d1\u05d1\u05d4\u05d9\u05e8\u05d5\u05ea.<\/p>

\u00a0<\/p>

\u05d0\u05d1\u05e9\u05dc\u05d5\u05dd: \u05e4\u05ea\u05e8\u05d5\u05e0\u05d5\u05ea \u05d5\u05d1\u05e2\u05d9\u05d5\u05ea<\/strong> \u05d0\u05d5\u05e6\u05e8\u05ea \u05d4\u05d9\u05dc\u05d4 \u05db\u05d4\u05df-\u05e9\u05e0\u05d9\u05d9\u05d3\u05e8\u05de\u05df.\u00a0
CCA \u05ea\u05dc \u05d0\u05d1\u05d9\u05d1-\u05d9\u05e4\u05d5\u00a0\u05e6\u05d3\u05d5\u05e7 \u05d4\u05db\u05d4\u05df 2\u05d0’, \u05ea\u05dc \u05d0\u05d1\u05d9\u05d1-\u05d9\u05e4<\/strong>\u05d5<\/p>

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<\/a>The quality of the two exhibitions currently on view at the CCA Tel Aviv\u2013Yafo is exceptional\u2014and so, too, is the dialogue between them. Amir Yatziv\u2019s exhibition \u201cReport\u201d<\/strong> examines the question of what constitutes the human, situating it within a conceptual field stretched between the animalistic and artificial intelligence. Its point of departure is Franz Kafka\u2019s short story \u201dA Report to an Academy,\u201d, published in 1917 at the height of the First World War. \u201dAbsalon: Solutions and Problems<\/strong>\u201d by contrast, addresses loneliness and existential anxiety (angst) with striking directness and exposure. Viewed together, the two exhibitions form a meditation on existentialism whose resonance is sharpened by the experience of viewing them during wartime.<\/p>

On the ground floor, the exhibition space is transformed into a kind of auditorium or lecture hall, where the visitor is invited to observe and interact with Peter, a virtual character animated by AI. The work belongs to the relatively small group of contemporary artworks in which AI does not serve as spectacle or playful gimmickry but rather opens a genuinely new artistic trajectory.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Amir Yatziv: A Report\n2026<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Click Here<\/div><\/div><\/a><\/div>
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\u05d4\u05d1\u05d9\u05d0\u05e0\u05dc\u05d4 \u05d1\u05d5\u05d5\u05e0\u05e6\u05d9\u05d4 - 2000 - 2025 <\/div>
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Kafka\u2019s Peter is an ape captured in Africa who, during the harrowing journey to Europe, discovers that mimicking human behaviour\u2014especially its more debased forms, such as spitting or drinking alcohol\u2014grants him a measure of mobility (freedom in the broader sense remains entirely beyond reach). In Europe he becomes, in Kafka\u2019s narrative, a highly sought-after performer. His impresario secures him a comfortable existence, and Peter suppresses as much as possible any full awareness of the bleakness of his situation. Kafka\u2019s brilliant story addresses not only the inherent tensions within Charles Darwin\u2019s evolutionary theory and the notion of humanity as the \u201ccrown of creation,\u201d but also racist discourses that compared Jews to apes in caricatures, pseudo-scientific publications, political propaganda, and later in Nazi visual culture. The story was first published in the journal Der Jude<\/em>, founded by Martin Buber during the First World War.<\/p>

\u00a0<\/p>

An image of the page from the journal in which Kafka\u2019s story appears embedded in the video installation, placed upon the piano played by Peter. Above the instrument hangs a portrait of a an ape-woman, alluding to the female ape mentioned at the end of Kafka\u2019s story, described as a \u201csmall chimpanzee\u201d with whom Peter \u201cenjoys himself in the manner of apes,\u201d yet whose gaze he cannot bear, for in her eyes he perceives \u201cthe madness of a trained animal gone astray.\u201d She thus reflects his own condition back to him. In the video, Peter addresses the viewer directly, referring to his creator, Amir Yatziv, and the instructions he has been given. He converses with two mannequin heads\u2014one human, one ape\u2014sleeps, or watches television. All this unfolds within a small, dark, carefully furnished interior that nevertheless resembles a prison cell. In almost every shot a large Roman-numeral clock is visible: time inexorably passing. Peter thus becomes a confined artist whose existence is converted\u2014by our gaze\u2014into an involuntary performance. The avatar cannot leave the room or evade our gaze, a fact that separates the work from the fairly long tradition of performances in which artists voluntarily confined themselves in restricted spaces\u2014from Chris Burden\u2019s \u201dFive Day Locker Piece\u201c (1971), through Joseph Beuys\u2019s *I Like America and America Likes Me* (1974), to Marina Abramovi\u0107\u2019s *The House with the Ocean View* (2002).<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Amir Yatziv: A Report\n2026<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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The exhibition continues the live performance \u201dPeter Is Back.\u201d a staged encounter between Yatziv and the AI character he created, which has already been presented numerous times and is scheduled to appear again at the CCA. The most compelling moments in the exhibition involve audience participation: a telephone number affixed to the gallery wall (and appearing repeatedly within the video) invites viewers to call from their own mobile phones. Dialling it connects them directly with Peter. These conversations are often unexpectedly captivating. The dialogue oscillates between what resembles interactions with AI-operated service centres\u2014characterized by excessive politeness and a persistent desire to please\u2014and moments that appear disarmingly sincere, na\u00efve, and profoundly vulnerable.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Amir Yatziv: A Report\n2026<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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On the upper floor, functioning almost like another layer of consciousness for the visitor, is the exhibition \u201dAbsalon: Solutions and Problems.\u201d. The blinding whiteness of the space strikes the viewer immediately after the dark installation below, producing an acute awareness of one\u2019s own bodily presence. Absalon (born Meir Eshel) died in 1993 at the age of 29 after a short yet dazzling career. He is best known for the six prototypes of living cells he designed to install in Paris, Zurich, New York, Tel Aviv, Frankfurt, and possibly also Tokyo. These entirely white units were conceived for a single inhabitant and calibrated precisely to the dimensions of the body. Their architecture evokes monastic cells but also funerary structures\u2014architectures that look simultaneously backward (to catacombs or burial chambers within pyramids) and forward, bringing to mind phenomena such as capsule hotels, while retaining a distinctly futuristic quality reminiscent of the Suprematist architectural vision of Kazimir Malevich in the 1920s.<\/p>

\u00a0<\/p>

Absalon intended to install these cells in several major cities around the world and to inhabit them himself. The video \u201dSolutions\u201c (7:34 minutes) demonstrates life within such a cell, offering an almost anthropological voyeurism into its routines: sleeping, washing, eating, masturbation, and what might be described as moments of reflection or prayer. Absalon performs these actions dressed in a white shirt and black trousers\u2014a generic attire associated with various religious communities. The sequence of activities originally formed a daily routine; in \u201dSolutions and Problems.\u201d however, curator Hila Cohen-Schneiderman has dismantled this continuity so that each action appears on a separate screen, repeating endlessly. Absalon\u2019s figure is not life-size but remains fairly large; the enlargement of the 1993 video footage blurs its details. This blur, together with the repetitions, produces a sensation akin to a nightmarish dream, an errant ritual or disrupted ritual that unexpectedly becomes intimate. Absalon appears to demonstrate a system of rules, a practice almost religious in its austerity: solitary, ascetic, directed toward an unknown sublime, and framed within a distinctly romantic register.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Two additional works are projected adjacent to the central gallery, where the actions within the cell are shown In \u201dNoises\u201c (2:30 minutes), Absalon screams until he is exhausted, placing the work in the tradition of endurance-based performance in which physical stamina determines duration\u2014a tradition closely associated with Marina Abramovi\u0107 in works such as \u201dRhythm 4\u201c (1974), as well as with artists like Bas Jan Ader, whose attempt to cross the Atlantic in a tiny boat in \u201dIn Search of the Miraculous\u201c (1975) ended with his disappearance, bringing the work itself to its conclusion. The scream directly references The Scream<\/em> (1893) by Edvard Munch, yet in the present context\u2014viewed during wartime\u2014it also recalls the individual and collective outcry depicted in Sidney Lumet\u2019s film Network<\/em> (1976) \u00a0where masses lean from their windows to shout their frustration. The short video *Combat* (0:45 minutes) reads almost as a summation of the exhibition as a whole: from the scream, through the actions within the cell, to the bodily mapping of space through expansive, rhythmic movements resembling a ritual dance abruptly interrupted.<\/p>

Both exhibitions touch upon a sense of absurdity\u2014the attempt to imbue meaning to the chaotic events unfolding around us. Together they offer a space in which to observe that absurdity, and our persistent desire to understand it, from the distance required to perceive it with clarity.<\/p>

Absalon: Solutions and Problems. <\/strong>Curator: Hila Cohen-Schneiderman<\/p>

CCA Tel Aviv-Yafo, Tzadok Hacohen 2A, Tel Aviv-Yafo<\/strong><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

For English please press here\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 […]<\/p>\n","protected":false},"author":1,"featured_media":24915,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[112],"tags":[],"acf":[],"yoast_head":"\nAmir Yatziv: A Report | Absalon: Solutions and Problems | \u05d0\u05de\u05d9\u05e8 \u05d9\u05e6\u05d9\u05d1: \u05d3\u05d9\u05df \u05d5\u05d7\u05e9\u05d1\u05d5\u05df | \u05d0\u05d1\u05e9\u05dc\u05d5\u05dd: \u05e4\u05ea\u05e8\u05d5\u05e0\u05d5\u05ea \u05d5\u05d1\u05e2\u05d9\u05d5\u05ea - \u05d3"\u05e8 \u05e1\u05de\u05d3\u05e8 \u05e9\u05e4\u05d9<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.smadarsheffi.com\/?p=24908\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Amir Yatziv: A Report | Absalon: Solutions and Problems | \u05d0\u05de\u05d9\u05e8 \u05d9\u05e6\u05d9\u05d1: \u05d3\u05d9\u05df \u05d5\u05d7\u05e9\u05d1\u05d5\u05df | \u05d0\u05d1\u05e9\u05dc\u05d5\u05dd: \u05e4\u05ea\u05e8\u05d5\u05e0\u05d5\u05ea \u05d5\u05d1\u05e2\u05d9\u05d5\u05ea - 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