Till February 26. As one enters this museum, a circular two-story building with a large central well, the first exhibits one sees are by Ofra Zimbalista and Tamar Dubrovsky. For her version of Scales of Justice, Zimbalista has ingeniously appropriated this traditional figure into her own lexicon of images by balancing the lady, scales and all, on a tightrope, one of her favourite motifs. Dubrovsky's offering is a dense and complex branch-like structure constructed from glued twists of silk paper. Like Inga Fona Cocas's installation of wires nailed into or bursting out of metal frames, it effectively illustrates the fine divide between order and chaos.
Several works emphasize the effects of the passage of time on hopes and dreams.
In Stern's mixed-media compositions, layers of wax are laid over texts and photographs of Yishuv leaders and other historically loaded images related to the building of the state by the pioneer generation. Also incorporated are outlines of houses, ships and planes built from decapitated matchsticks, all suggesting the impermanence of man's endeavours. Some works like those devised by Dvora Messag and Reuven Cohen capture one's attention through their stillness, as if a moment in some unpleasant narrative has been frozen in time. Messag's still-life shows a dining table split in two on which tiny flags, each bearing a miniature portrait, are resting. Floating above the table are objects shaped like boomerangs.