On view:

Jun 30th – Aug 13th, 2022

Tel Aviv



Yossi Breger


Dvir Gallery is delighted to announce the representation of the estate of  Yossi Breger.


On this occasion, we are happy to present


Yossi Breger




Dvir Gallery Tel Aviv


June 30 – August 13, 2022

Yossi Breger (1960-2016) born in Montreuil sous Bois, France moved with his family to Tel Aviv when he was two years old. He graduated in Economics from the Hebrew University and the Bezalel Academy of Art and Design where he later became a senior lecturer at the MFA and head of the Department of Photography. His works were featured in numerous solo and group shows both in Israel and abroad; the Tel Aviv Museum of Art, the Israel Museum, the Forum des Images Paris and more. In 1996, he won The Nathan Gottesdiener Art Prize and represented Israel at the Venice Biennale in 1997. He was awarded the Prize for Artists in the Visual Arts in 2010 by the Minister of Culture and Sport.


For the full biography, click here.


Yossi Breger’s standpoint, including his bodily stance, is eminently evident in each and every image he chooses to photograph, manifesting a combination of passion and reflection. In a formal language that is wonderfully precise, Breger composes a comprehensive, profonde model of the world and a story of life out of the elementary components of human environment and culture. Landscape, spaces, structures, objects and people that he photographed in different places around the world – Tel Aviv, Berlin, Cologne, Havana, Paris, Brussels, Rome, Beijing, Stockholm – join together to produce a clear, lucid image of the world, combining measured enthusiasm for zeniths of beauty with melancholy and awareness of the fragility and finality they entail. Breger’s gaze harmoniously embraces the personal and the public, life and death; it generates a pictorial and cinematic drama that is a superb depiction of a foundational moment in which, by standing in front of a thing, one captures the conceptual, personal, social and political aspects it embodies.

– Mordechai Omer, chief curator and director of TAMA (1995-2011)

For Breger, the medium of photography inherently contains a dimension of abstraction.  Both the act of photography and the viewing of the photograph create a “space-time point of dissociation on the continuum that exists outside of it,’ isolating the photographed object from its immediate context and creating a certain abstraction. The point of dissociation in the production of the photograph enables an examination of both the detail and the continuum from which it has been taken. That is to say, exposing the details tells us about our perception of reality, but also highlights the photographer’s specific point of view.


– Hagai Ulrich

Breger used to exhibit photographs of objects or sites that were often dissociated from their local, temporal, and cultural contexts – contexts that he called “folklore.” In this way, he emphasized the structural and disrupted the textual continuity that enfolded the construction. He did this to achieve something that was beyond “the drama of ‘the person in the space of things’. Breger was interested in the mode and the structure of the thing, its abstract whole, which is invisible within the quotidian and the continuity.


– Hagai Ulrich

Yossi Breger
Yossi Breger, ficus trees, chen boulevard, tl aviv, 2009
Yossi Breger
Yossi Breger, flute player, havana, 2007
Yossi Breger, aviva, mother, ariella and yossi, keren keyemet, TA, 1963, gordon street, TA, 2010
Yossi Breger, Audrey Hepburn Angel on Earth, Beijing, 2009
Yossi Breger, playground, paris, 2008
Yossi Breger, Street Light, Stockholm, 2010, 48x70 cm, unique
Yossi Breger, Wine Glass, Cologne, 2007, 20x30 cm, Edition of 5
Yossi Breger, Woman (Nymph), The Neptune Fountain, Alexanderplatz, Berlin, 2007, 54x79 cm, unique
Yossi Breger, flowers in a vase, kassel, 2007
Yossi Breger, Girl (detail from A Shepherdess, Paulus Moreelse, 1630), Stedelijk Museum
Yossi Breger, woman on a sarcophagus, piazza dei miracoli, pisa, 2010
Yossi Breger
Yossi Breger
Yossi Breger
Yossi Breger


[…] Breger brings writing, divested of its calligraphic unity, unto a state of disunity with itself. In his pieces, the letters, words, and sentences should be read as signs; at the same time they become massive, autonomous, and obtrusive entities which obstruct recognizability by means of visibility. The writing is alienated from itself, a reflection of the object’s persistent evading of any representation and a means of their – non-similar – reconstruction..

– Ulrich Loock, director of Kunsthalle Bern (1985-2010)

I like to see writing as an object in the air, as something that’s different from writing in a book. Looking at a written text you don’t see the writing itself. The only thing you see is the meaning. You aren’t looking for the words themselves, the existence of the real thing. I like to use painting as well as photography for words, which are considered as non-objects. This layer which is paint makes writing feel like a still-life. I want to look at it this way. I want the work to disturb. And I want you to ask yourself the question you already asked: why?

Selected Exhibitions

Over the years, Breger had many solo exhibitions and his works were widely exhibited in group shows as well. He was featured in exhibitions at the Tel Aviv Museum of Art; the Israel Museum; the Venice Biennale of Art; Forum des Images, Paris; Haifa Museum of Art; Umm al-Fahm Gallery of Art; Ackland Art Museum, North Carolina; and the Herzliya Museum of Contemporary Art, among others. 

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A Guide for the Perplexed, Homonyms

Solo exhibition in Dvir Gallery, 2016

In this exhibition, Breger continued to explore the concept of “storyboarding” through language and image, examining sets of layouts that manifest the hidden formula of a whole through the sequencing of individual parts. Breger seeks to uncover the covert skeletal infrastructure that underlies each of the parts while governing their combination together.


The Jewish philosopher Maimonides (Córdoba, Spain, 1135 or 1138 – Cairo, 1204), in the first part of his Guide to the Perplexed (Cairo, 1191), discusses a limited group of words with multiple meanings (homonyms). The words he discusses, while rudimentary and trivial seeming, are supposed to hold clues for a deeper understanding of the parables recounted in the biblical Book of Prophets, an understanding that can reconcile the apparent contradiction between scholarly knowledge as held by the believer and the non-believer.


Breger’s installation features 18 words selected from the first part of the Maimonides’s book, all taken from the 43 chapters (out of 76 in total) where he discusses at length either a single word or several of them. Each word appears on a paper, defined by a square of black ink – a shape that is both elemental and sophisticated and carries major cultural and scientific significances – with the whole sequence following the ordering of the words in Maimonides’s book. The whole that emerges uncovers an underlying structure that sheds light on several fundamental contours of human existence, drawing the outlines of an abstract body while touching on elements of life and culture, truth and proportion.

Five out of the 18 words are highlighted, forming something of a “shortlist” that reformulates the underlying structure on an even higher, more succinct level than the one articulated by the larger group. (Yossi Breger: “face is the body, the physical; full is the thing we want, the passion; sadness is emotion, an exemplar of the feelings and the mind; chair is culture; and wind is nature”).


According to Maimonides, the abstract concept of the whole constitutes a step in the way towards a higher understanding of the concept of deity. For Maimonides, this insight into the whole – a hidden formula underlying all things – is comparable to a lightning stroke or to momentary flashes that spark light in the great and inherent darkness.


“Because there is a close affinity between these subjects [the natural elements] and metaphysics, and indeed they form part of its mysteries. Do not imagine that these most difficult problems can be thoroughly understood by any one of us. This is not the case. At times the truth shines so brilliantly that we perceive it as clear as day. Our nature and habit then draw a veil over our perception, and we return to a darkness almost as dense as before. We are like those who, though beholding frequent flashes of lightning, still find themselves in the thickest darkness of the night.” (Maimonides, from the introduction to Guide to the Perplexed; translated by Michael Friedländer, 1881)

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Group exhibition in Dvir Gallery, 2015

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Time is not money

Solo exhibition in Dvir Gallery, 2014

The exhibition presented 130 photographs, mostly taken in the last three years, from various places around the world Paris, Tel Aviv, Tokyo, Shanghai, Berlin, Frankfurt, Athens, Amsterdam, Cologne, Brussels, Madrid among others.


The photographs were taken in the course of everyday life and depict landscapes, buildings, spaces, objects and people; the foundations of any human system. Each image thoughtfully and harmoniously describes a chosen thing in its specific time and place, and yet includes within it the further, ideal and conceptual dimension, in which each object represents a fundamental cultural category: the Book, the Window, the Picture, the Landscape, and so on. The exhibition attempts to make what may be photography’s strongest quality — its ability to create consciousness — ever more present. During the years, this quality developed greatly and its use has become ever more sophisticated.

The photographic installation creates a story-like reading environment with a circular and hierarchical structure, which advances from each photograph’s story to the subnarratives of each photo group and finally joins into the sphere of the basic, whole narrative. The various hierarchical story-lines examine the status of the single, independent photograph in itself, as a concept and as a life event, while also examining its place in relation to the other images, and in relation to a general human cultural system.

The installation and combinations of images aims to follow the process in which pictures accumulate into content, or into abstract yet simple, coherent system that articulates a surrealist and yet understandable story, which exceeds any specific thing, time, or place. All together, it creates a whole that defines a procedure, that becomes a model for a world in human proportion, which communicates an outline of the being, movement and thought of as if “everyone” in relation to the world and its “things”, culture and nature, to the general human system.

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And there was evening And there was morning, One day

Solo exhibition at the Tel Aviv Museum of Art, 2011 

The exhibition presented 159 photos, all new, in various formats, taken since 2007 in various places around the world—Tel Aviv, Berlin, Cologne, Havana, Paris, Brussels, Rome, Beijing, Stockholm—in the course of daily life. The photos—of landscapes, buildings, spaces, objects, people—tell a story of being in front of a thing, the fundamental things that form the infrastructure of human environment.


They are precise and thoughtful, articulated in pictorial, emotional and classical formal language; their accumulation creates a general conceptual model of a life story and a world, time–space relations constructed by light and revealing a personal and sensual touch with elements of nature and culture. 

I am interested in the environments and systems people set up for themselves, their flow and function. And when I see, I usually also photograph, mostly without any local elements. Much like Beckett’s stories: there’s a man, there’s a woman, there’s a hill, there’s a house, there’s a hat, there’s a walking cane—all of which are generic and skeletal, without any identificatory properties, and yet there is a statement in the compilation of all these places. All of them, from various aspects, have things I think about positively—again, in a general way. It is in no way an attempt to present a heaven on earth.

Repetitions… That is the underlying basis of everything. It starts with day and night, with the movements of the planets one around the other and the cycles of nature: they are repetitive. There is not even one distinguishable thing in culture or nature that does not repeat itself. We need things to be like other things. Hence the human obsession for mapping and categorization. For a thing to get our attention it needs to be part of a defined group; only then can we recognize it, only then does it become something we can think about, only then does it gain significance.  It must be of a type, similar to something you have seen before, which is only natural: one couldn’t digest the endless singular details in nature […]. Variants enrich the world. I seem to repeat scenes, objects, positions—but in fact it’s the world that’s repeating itself in front of my eyes.

Yossi Breger in conversation with Gilit Fischer and Eitan Boganim (Part 1, in Hebrew)

[…] I look for a well-constructed, even seemingly staged image, in real life—an image that has a pictorial quality and meaning. Things need to be composed in a precise manner, so that everything may have a distinct place in the frame’s order of things, and thus also in our mind and memory. When you see this image I would like you, the viewer, to think of all these classical categories, so that you may, through them, see a whole, a general model. Through the basic things you experience in daily life, I would like these categories to lead you to general, skeletal, somewhat abstract story, perhaps a surreal one, and construct everybody’s story of life—the “big picture.” What turns these things into a story is the feeling of the passage of time as you watch familiar places and objects. This generates a sense of observing the system, or human culture, through very specific representative details.

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The Nathan Gottesdiener Foundation Israeli Art Prize

Solo exhibition at the Tel Aviv Museum of Art, 1996 

In this exhibition, Yossi Breger presented painterly series of textual works in which Breger, like the tailor-artisan, works with fabric and tailor’s scissors, by means of which, using words and numbers, he creates a narrative structure that has been completely divested of its narrative content and remains like an abstract skeleton, a congealed mold engraved on the memory which, by constantly duplicating itself, thwarts any possibility of divulging its truth. The letter and numbers refer us back to a fabric of recollections as impenetrable as the black fabric from which they were cut out. 

The major works of the exhibition are that of the series Etude pour un Premier amour. The appropriation and quotation from Beckett and his work Premier amour introduces writing into the painterly field that becomes a matter of displacement. […] Writing appears in two modes in these six works, differentiated by the size and placing of the lines: once in the form of a caption, as in an illustrated publication, giving the title, year, technique, and measurements; and once in the form of a substitute for the missing representation, a writing-image (rendered as mirror writing) in the center of the picture.

Yossi Breger




Dvir Gallery Tel Aviv


June 30 – August 13, 2022


Tuesday – Thursday: 10:00 – 17:00

Friday, Saturday: 11:00 – 14:00

For more information, please contact

59th Venice Biennale


In collaboration with Alexandre Babel and Francesco Stocchi
April 23–November 27, 2022
Swiss Pavilion, Giardini
To download PDF, click here.
In the beginning was the end: Latifa Echakhch’s cycle of life
The exhibition titled The Concert, is conceived by Latifa Echakhch, in collaboration with percussionist and composer Alexandre Babel and curator Francesco Stocchi.
Gloomy remnants of art fill the first space, where visitors set out on a counterclockwise journey through time. In each room, the atmosphere changes – time runs backwards, from broad daylight to the evening before. Ever more recognizably inspired by folk sculpture and customs, the sculptures, filling the whole space, are increasingly veiled by a spreading darkness.
These are scenes of impermanence, of catharsis, with which installation artist Latifa Echakhch captivates visitors of the Pavilion of Switzerland at this year’s Biennale Arte, scenes that bring to the fore the cycle of life in a multi-layered and complex way. Most of the material used for the exhibition is itself part of a transformation, recycled from previous biennales.
Between ritual and rhythm
The artist Latifa Echakhch, who lives in Switzerland, evokes the ritual fires that are common in many cultures. They include the lighting of straw dolls for the St. John’s fire, which is supposed to protect against demons and diseases around the solstice at the end of June or, in Switzerland, the burning of the “Böögg” on Zurich’s Sechseläutenplatz to bid farewell to the winter season. Fire is always both the end and the beginning on a constantly turning wheel of time.
Latifa Echakhch also enters into a dialogue with the building designed by Bruno Giacometti in 1951. The artist revisits its architectural program and appropriates the entirety of its spaces, exploring their relationship to light and the different sounds that emerge from them.
The exhibition plays with harmonies and dissonances, with the mixed feelings of expectation, fulfilment and disappearance. The sculptures are part of an orchestrated and enveloping experience, a rhythmic and spatial proposal that allows viewers to experience a fuller perception of time and of their own body.
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When I began working on the pavilion, I started by anticipating the route a visitor might take. I wanted the entry to immediately impart the feeling of arriving at the end of something. This procedure turns us around because it goes against our expectations: we arrive at the back of the set as if we had already missed something. And this kind of let-down, the feeling of having missed out on something already in the past, plunges us into a state of light melancholy.
As we proceed, trying to understand what happened in this place, we slowly realize that we are already walking through the installation. Then, in the courtyard, we are able to identify rem- nants of sculptural works: we see they’ve been burned, and the farther we go the more we realize they are less and less burned. As we continue on our path, bigger and more complete sculptures emerge, giving us the impression of seeing them born from their own ashes in the big exhibition room; and as we continue on, they become bigger and bigger, they are immense. I wanted the sculptures to be almost as big as the space, as if this place was too small to accommodate the event planned for it. […]
– Latifa Echakhch
The longest, hardest part really was choosing the sculptures. I wanted something very accessible, and at one point it seemed that the representation of human figures was perhaps the closest and most interesting way of addressing the project. We had just come out of several months of lockdown during the pandemic. We had been looking at the bodies of others from afar, on video screens, all of it created a physical wanting. The lack of simple, daily, friendly interactions had made these all the more powerful: previously we shook hands, kissed cheeks, now we let ourselves go in great big hugs when we meet one another.
I wanted something that would reflect humanity and its very representations, like carnival giants, or those great wooden sculptures that are set atop bonfires. These are strange figures, figures of strangers; imbued with the sense that what I would really have liked to represent was the human being in general. And the construction process is collective, requiring many hands, as when similar events are prepared in villages. To burn human figures allows us to exorcise humanity and allow it to be reborn from the fecund ashes.
– Latifa Echakhch
I want people to exit the exhibition as they would a concert, with accelerated heart rates, and their heads full of fragments that re- constitute themselves in the form of variations.
– Latifa Echakhch
For more information, please contact

All images are courtesy of the artist. Photo: Annik Wetter & Samuele Cherubini

Dvir Gallery Paris

We are delighted to announce the opening of Dvir Gallery Paris, April 7th, 13 Rue des Arquebusiers, 75003.

Our new location, in the heart of the historical Marais District is a natural extension of the gallery’s activities and promotion of our artists.

This third location will join the Tel Aviv and Brussels venues and will emphasize the special ties and connection the gallery has had, since its beginnings, with the French cultural milieu, collaborating with artists, artistic institutions as well as private collections.

Gallery opening hours:
Tuesday – Saturday: 12:00 – 19:00

Tel Aviv, Bruxelles et aujourd’hui Paris.

La galerie Dvir est heureuse de vous annoncer l’ouverture de son nouvel espace à Paris, 13 Rue des Arquebusiers, 75003.

Situé en plein cœur du Marais historique, ce lieu constitue la suite naturelle de notre engagement avec les artistes, le troisième dédié à la mise en valeur de leur travail.

Cette troisième galerie dédiée à la mise en valeur de leur travail incarne les relations étroites que nous avons tissées avec le monde culturel français par notre implication dans de nombreux projets ainsi que par nos différentes collaborations avec les artistes, les collections particulières ou les institutions publiques et privées.

Heures d’ouverture de la galerie:
Mardi – Samedi : 12:00 – 19:00

Adi Fluman in Negev Museum of Art

Adi Fluman’s solo exhibition ‘Pandora’s Box’ is on view now in the Negev Museum of Art. The exhibition was curated by Nicola Trezzi.

Simon Fujiwara at Fondazione Prada – Milan

Dvir Gallery is pleased to announce the opening of ‘Who The Bær‘, Simon Fujiwara‘s solo exhibition at Fondazione Prada, Milan on March 2, 2021. For this new site-specific project conceived for the ground floor of the Podium in the Milan premises of Fondazione Prada, Simon Fujiwara introduces audiences to the fairytale world of Who the Bær, an original cartoon character that inhabits a fantasy universe created by the artist. Who the Bær is a cartoon bear without a clear character – “Who” as they are known, seems to have not yet developed a strong personality or instincts, they have no history, defined gender or even sexuality. Who the Bær only knows that they are an image, and they seek to define themselves in a world of other images. The world of Who the Bær is a flat, online world of pictures, yet one full of endless possibilities. Who the Bær can transform or adapt into any image they encounter, taking on the attributes and identities of those depicted within the image – human, animal or even object. In this sense the fantastical world of Who the Bær is a world of freedom: Who can be whoever they wish to be, Who can transcend time and place, Who can be both subject and object. Yet Who the Bær may never be able to overcome their one true challenge – to become anything more than just an image.  

אתגרי הדמוקרטיה בישראל

ביום שישי,9 בפברואר בשעה 11 בבוקר נקיים מפגש עם פרופ’ מרדכי קרמניצר על אתגרי הדמוקרטיה בישראל

המפגש יתקיים בגלריה דביר, ראשית חוכמה 14, טל:03-6043003

מרדכי קרמניצר  פרופסור (אמריטוס) בפקולטה למשפטים באוניברסיטה העברית בירושלים לשעבר דיקן הפקולטה ונשיא מועצת העיתונות.

סגן נשיא המכון הישראלי לדמוקרטיה

תחומי מומחיותו: משפט פלילי, משפט ציבורי (חוקתי ומנהלי) ומשפט צבאי