• Lisseta Carmi

    Lisseta Carmi

    Lisetta Carmi born 1924-2022, Genova, Italy, where she lived and worked.
    Having initially studied music, Carmi became a fairly famous concert pianist, before turning to photography in the 1960s. Although her career as a photographer lasted only eighteen years, it resulted in a major body of work. Carmi saw photography as an important tool for ‘understanding’ reality. The sole purpose of her gaze was to give a voice to the voiceless, highlighting social injustices. Her images remain an indispensable tool for the historical knowledge of these places, people and realities. 
     
  • Lisetta Carmi, I travestiti, 1965-1970

    I travestiti, Renée

    1965-1970

    Lisetta Carmi’s photographic investigation is also to some degree a path of introspection and personal discovery, linked to the experience of being a woman in a deeply sexist culture. As she herself wrote in regard to I Travestiti: “The trans community taught me to accept myself. When I was little, I would look at my brothers Eugenio and Marcello and long to be a boy like them. I knew I would never marry, and couldn’t accept the role that was expected of women. These transvestites helped me understand that we all have the right to decide who we are.”

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    • Lisetta Carmi, I travestiti, Renée, 1965-1970
      Lisetta Carmi, I travestiti, Renée, 1965-1970
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    • Lisetta Carmi, I travestiti, Renée, 1965-1970
      Lisetta Carmi, I travestiti, Renée, 1965-1970
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    • Lisetta Carmi, I travestiti, 1965-1970
      Lisetta Carmi, I travestiti, 1965-1970
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    • Lisetta Carmi, I travestiti, Renée, 1965-1970
      Lisetta Carmi, I travestiti, Renée, 1965-1970
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    • Lisetta Carmi, I travestiti, 1965-1970
      Lisetta Carmi, I travestiti, 1965-1970
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    • Lisetta Carmi, i travestiti, 1965-1970
      Lisetta Carmi, i travestiti, 1965-1970
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  • 'Identities', solo exhibition, 2023, Estorick Collection, London (Larger version of this image opens in a popup).
    'Identities', solo exhibition, 2023, Estorick Collection, London (Larger version of this image opens in a popup).
    'and on the eyes/ black sleep of night', 2021, exhibition view, Dvir Gallery / Brussels (Larger version of this image opens in a popup).
    'and on the eyes/ black sleep of night', 2021, exhibition view, Dvir Gallery / Brussels (Larger version of this image opens in a popup).

    'Identities', solo exhibition, 2023,  Estorick Collection, London 

  • Mircea Cantor

    Mircea Cantor

    Mircea Cantor born 1977, Oradea, Romania. Lives and works on Earth.

    Cantor makes films and sculptural installations that often elaborate on uncertainty, countering prevailing notions that everything can be known or predicted. His work, which regularly offers subtle critiques on the architecture of power, is equally centered on unveiling methods of empirical engagement with objects and images through a sustained long-term examination. More recently Cantor has taken up the question craftsmanship and tradition to relating the “intuitive” energy that tests how different fields of knowledge might make sense of human creation and the multiplicity of perspectives that inform our understanding of our relationship to time, consciousness, and experience.

  • Mircea Cantor, Epic Fountain, 2012

    Epic Fountain, 2012

    Mircea Cantor
    Mircea Cantor’s “Epic Fountain” was unveiled for the first time during his exhibition as the winner of the Marcel Duchamp Prize at the Centre Pompidou in 2012. It is composed of gold safety pins forming a DNA column representing the Fountain of Life, with the molecules being the source of all living organisms. In the era of genetic research, the artist, through this delicate sculpture, questions the dangers of DNA alteration, suggesting the fragility of life that here depends solely on a safety pin. Suspended from ceiling to floor, “Epic Fountain” forms an impressive yet delicate tower – an epic, but vulnerable, monument to existence.
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  • 'Espèces d'espaces', group show, 2022, Dvir Gallery Paris (Larger version of this image opens in a popup).
    Prix Marcel Duchamp, 2011, Exhibition view, Centre Pompidou (Larger version of this image opens in a popup).
    'Espèces d'espaces', group show, 2022, Dvir Gallery Paris (Larger version of this image opens in a popup).
    Prix Marcel Duchamp, 2011, Exhibition view, Centre Pompidou (Larger version of this image opens in a popup).

    'Espèces d'espaces', group show, 2022, Dvir Gallery Paris 

  • Mircea Cantor | Prix Marcel Duchamp 2011

    Mircea Cantor | Prix Marcel Duchamp 2011

    Winner of the 2011 Marcel Duchamp Prize, Mircea Cantor is invited to exhibit at the Center Pompidou in 2012. He chooses to present four works: Sic Transit Gloria Mundi; Epic Fountain; Don't judge, Filter, shoot and Wind orchestra. Figure of the new geography of contemporary art, nomadic, claiming to be without anchor, Mircea Cantor creates works - videos, photographs, drawings, sculptures and installations - that are at once minimal, poetic and metaphysical. Fine, vigilant, made of a sensitive material that is both radical and subtle, they impose Cantor on the contemporary scene.

    Watch video interview: here

    from 01:46’ until 3:50’

    • Mircea Cantor, Rosace, 2018
      Mircea Cantor, Rosace, 2018
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    • Mircea Cantor, Don't Judge Filter Shoot, 2012
      Mircea Cantor, Don't Judge Filter Shoot, 2012
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    • Mircea Cantor, Rosace, 2018
      Mircea Cantor, Rosace, 2018
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  • Naama Tsabar

    Naama Tsabar

    Naama Tsabar born 1982, Israel. Lives and works in New York, USA.
    Tsabar’s practice fuses elements from sculpture, music, performance and architecture. Collaborating with local communities of female identifying and gender non-conforming performers, Tsabar writes a new feminist and queer history of mastery. Her interactive works expose hidden spaces and systems, reconceive gendered narratives, and shift the passive viewing experience to one of active participation. The artist draws attention to the muted and unseen by propagating sound through space and sculptural form. Resting someplace between sculpture and instrument, form and sound, Tsabar’s work lingers on the intimate, sensual and corporeal potentials within these transitional states.
     
  • The New Yorker magazines

    The New Yorker magazines

    Tsabar’s ‘reversed collages’ are made with The New Yorker magazines. These works were conceived on the heels of the pandemic lockdown in NYC, spring 2020. The artist cuts into the iconic cover pages of the publication to unearth images and words embedded inside. In Tsabar’s words it was a process of “digging and removing as a means of searching and reflecting, poems for a changing world.”
    • Naama Tsabar, Eye U, 2021
      Naama Tsabar, Eye U, 2021
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    • Naama Tsabar, Untitled, 2021
      Naama Tsabar, Untitled, 2021
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    • Naama Tsabar, I, 2021
      Naama Tsabar, I<3NY, 2021
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  • 'Dreams Are Like Water', exhibtion view, 2021, Dvir Gallery Tel Aviv (Larger version of this image opens in a popup).
    'Dreams Are Like Water', exhibtion view, 2021, Dvir Gallery Tel Aviv (Larger version of this image opens in a popup).
    'Dreams Are Like Water', exhibtion view, 2021, Dvir Gallery Tel Aviv (Larger version of this image opens in a popup).
    'Dreams Are Like Water', exhibtion view, 2021, Dvir Gallery Tel Aviv (Larger version of this image opens in a popup).
    'Dreams Are Like Water', exhibtion view, 2021, Dvir Gallery Tel Aviv (Larger version of this image opens in a popup).

    'Dreams Are Like Water', exhibtion view, 2021,  Dvir Gallery Tel Aviv

    • Naama Tsabar, Work on Paper #36, 2023
      Naama Tsabar, Work on Paper #36, 2023
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    • Naama Tsabar, Work on Paper #37, 2023
      Naama Tsabar, Work on Paper #37, 2023
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    • Naama Tsabar, Work on Paper #38, 2023
      Naama Tsabar, Work on Paper #38, 2023
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    • Naama Tsabar, Suspension (Bows #1), 2023
      Naama Tsabar, Suspension (Bows #1), 2023
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    • Naama Tsabar, Suspension (Circle #1), 2023
      Naama Tsabar, Suspension (Circle #1), 2023
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    • Naama Tsabar, Suspension (Flows #1), 2023
      Naama Tsabar, Suspension (Flows #1), 2023
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  • 'Layers and Formations', exhibition view, 2023, Dvir Gallery Paris (Larger version of this image opens in a popup).
    'Layers and Formations', exhibition view, 2023, Dvir Gallery Paris (Larger version of this image opens in a popup).
    'Layers and Formations', exhibition view, 2023, Dvir Gallery Paris (Larger version of this image opens in a popup).
    'Layers and Formations', exhibition view, 2023, Dvir Gallery Paris (Larger version of this image opens in a popup).

    'Layers and Formations', exhibition view, 2023, Dvir Gallery Paris

  • (Larger version of this image opens in a popup).
    (Larger version of this image opens in a popup).
    (Larger version of this image opens in a popup).
  • Simon Fujiwara

    Simon Fujiwara

    Simon Fujiwara born 1982, London, England. Lives and works in Berlin, Germany. 
    Fujiwara’s work takes multiple forms including wax figures, robotic cameras, ‘make-up’ paintings and short films that address the complexity and contradictions of identity in a post-internet, hyper-capitalist world. The artist often investigates themes of popular interest such as tourist attractions, famous icons, historic narratives and mass media imagery and has collaborated with the advertising and entertainment industries to produce his work in a process he describes as ‘hyper-engagement’ with dominant forms of cultural production. Fujiwara’s work can be seen as a complex response to the human effects of image fetish, technology and social media on his generation. 
  • Simon Fujiwara, Ambassadors, 2023

    Simon Fujiwara

    Ambassadors, 2023
    Simon Fujiwara's reinterpretation of Hans Holbein the Younger's "The Ambassadors" offers a contemporary critique of societal anxieties, drawing parallels between the 16th-century political and religious turmoil and modern-day concerns. While Holbein's original work celebrated power and wealth, Fujiwara introduces his character, Who the Bær, to reflect on identity and image culture in today's mediated world. Through multimedia installations and satire, Fujiwara challenges viewers to confront the absurdity of consumerism and the inevitability of mortality. Both artists explore themes of mortality through the symbolic use of the anamorphic skull, inviting reflection on the enduring relevance of Holbein's themes in our contemporary context. In Fujiwara's reinterpretation, viewers are prompted to consider their complicity in systems of power and privilege, and to envision alternative futures rooted in empathy and solidarity.
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  •

    HELLO WHO?, 2022

    video animation

    2:29 min

    Who the Baer

    2020 - ongoing

    Through Who the Bær, Fujiwara explores complex topics using the reductive logic of the cartoon universe to expose the normalizing power of the capitalist image culture we inhabit. Fujiwara’s existential cartoon character oscillates between subject and symbol, being and thing and is a tool for the artist to investigate cultural anxieties around identity and its relationship to the performativity of image culture. Made with an instinctive and responsive hand, this exhibition focuses largely on collaged works that introduce us to the basic principles of his character through a meme-like, cut and paste aesthetic. Housed within a fragmented, themed environment of oversize bear cut-outs, we discover the pleasures and traumas, violence and joys of life in the mediated modern world through the absurd adventures of a cartoon bear.

     

    Who the Bær can also be followed via their official Instagram account: @whothebaer.

    • Simon Fujiwara, Who's Mirror? (Identity Shadow), 2021
      Simon Fujiwara, Who's Mirror? (Identity Shadow), 2021
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    • Simon Fujiwara, Who Porn? (Sexy Selfie), 2023
      Simon Fujiwara, Who Porn? (Sexy Selfie), 2023
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    • Simon Fujiwara, Who's transforming Who? (Pants down, pencils out), 2021
      Simon Fujiwara, Who's transforming Who? (Pants down, pencils out), 2021
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  • Yudith Levin

    Yudith Levin

    Yudith Levin born 1949, Ein Vered, Israel, where she lives and works.

    Levin is considered one of the key figures in Israeli art. Over an artistic career spanning over more than four decades, she has been creating paintings on both traditional and nontraditional supports, covering canvases as well as scraps of discarded plywood found on the streets of Tel Aviv with expressive, gestural brushstrokes and semi-abstract figures and landscapes. By combining abstraction and figuration and using deliberately vague titles, Levin makes evocative works that are open to varied readings. The artist confronts the viewer with a borderline painting – in-between nothingness and a whole universe, between chaos and diamond, between a dump and flight. One of the places where Levin’s work deviates from the rational is the lack of distinction between figurative and abstract. Her figurative paintings are created like abstract paintings, from gestures which are not underlain by any figurative plan or intention.

     

  • Yudith Levin, Browns, 1999

    Browns, 1999

    Yudith Levin

    In a phone interview, Yudith Levin was asked about her recent paintings featuring a near-abstract woman in a large red dress. When questioned about the sudden appearance of two such figures, Levin's response hinted at a deeper sentiment beyond painting itself. She quoted a friend's suggestion that the additional figure might be a "clone" of herself, implying a metaphorical interpretation. Levin expressed reluctance to inquire further about the second woman, finding solace in the presence of others in her life. This exchange revealed Levin's perception of her artwork as reflecting reality rather than mere paintings. The ambiguity surrounding the identity of the figures suggests they transcend literal representation, embodying broader existential themes. Levin's remarks underscored the notion that her paintings exist as living entities, with vitality beyond the art world's confines. Levin's concluding remarks emphasized the profound impact of art on her sense of existence, describing it as a source of "bliss, understanding, and closeness." Through her art, Levin finds affirmation of her own existence and a profound connection to the world, culminating in a celebration of life's vitality.

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    • Yudith Levin, Untitled , 1998
      Yudith Levin, Untitled , 1998
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    • Yudith Levin, Untitled, 1998
      Yudith Levin, Untitled, 1998
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    • Yudith Levin, Untitled, 1998
      Yudith Levin, Untitled, 1998
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    • Yudith Levin, In Bed, 2006
      Yudith Levin, In Bed, 2006
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    • Yudith Levin, Hawara Checkpoint 5, 2007
      Yudith Levin, Hawara Checkpoint 5, 2007
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    • Yudith Levin, 7.10.2023 - שור מועד, 2023
      Yudith Levin, 7.10.2023 - שור מועד, 2023
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  • Art Biesenthal, group exhibition, 2023, Wehrmuehle (Larger version of this image opens in a popup).
    Second part, Sigalit Landau and Yudith Levine, 2023, exhibition view, Dvir Gallery Paris (Larger version of this image opens in a popup).
    Carmel, Yudith Levin, 2021, group exhibtion, Dvir Gallery Tel Aviv (Larger version of this image opens in a popup).
    First part, Sigalit Landau and Yudith Levine, 2023, exhibition view, Dvir Gallery Paris (Larger version of this image opens in a popup).
    Yudith Levin, Really and Truly, 2021, exhibtion view, Dvir Gallery Tel Aviv (Larger version of this image opens in a popup).
    Yudith Levin, Really and Truly, 2021, exhibtion view, Dvir Gallery Tel Aviv (Larger version of this image opens in a popup).

    Art Biesenthal, group exhibition, 2023, Wehrmuehle

  • arco 2023

    Booth 7B04

    Chaya Hazan

    +972 58-7419969

    international@dvirgallery.com