8 July - 15 October 2021
  • Curator: Ami Barak
    Curator: Ami Barak





















    2018-2021 | 4 MIN 42 SEC. | EDITION OF 7+2AP | Synchronized video diptych | LOCATION: Bar ilan& 100 gates junctions, Jerusalem
  • The title THEOS & KRATEO comes from the etymology of the word theocracy originating from ancient Greek — θεός (theos),...

    The title THEOS & KRATEO comes from the etymology of the word theocracy originating from ancient Greek — θεός (theos), meaning God and κρατέω (krateo), meaning ״ruler״ The video diptych THEOS & KRATEO revisits the scenes of SABBATH 2008, a decade after it was filmed. Constituting the second chapter of the artist's ongoing research into the ways in which public spaces in Jerusalem are denoted and restricted in time and space, due to ideology. The two videos juxtapose two intersections in Jerusalem and focus on two events of closure of the Jewish neighborhoods on the eve of the Jewish Sabbath amere 1.5 km apart. The barricade, shown in THEOS, is enacted by orthodox jews at Bucharim, neighborhood adjacent to Hundred gates neighborhood; while the other, in KRATEO, represents state rule and is executed by police p in uniforms, by a state protocol at the prominent Bar Ilan Junction.

    In accordance, THEOS & KRATEO are scored with a composition constructed with instruments of traditional Jewish music: clarinet, violin, and an addition of the Vuvuzelas (an instrument which originated in football games and migrated to political demonstrations). This musical composition may seem desynchronised, but it uses an articulated folie technique used often in Peregs work. The result is a hybrid of ultra modern music and the ultra–orthodox Jewish music tradition, juxtaposed with documented portrayal of events.


    Link to view Dyptich demo the work

    Password: nira


    Link to view THEOS

    Password: nira


    Link to view KRATEO

    Password: nira





  • NADAMAR was shot on the last friday of the Ramaḍān 2018. The artist hightenes the political choreography implied by the...

    NADAMAR was shot on the last friday of the Ramaḍān 2018. The artist hightenes the political choreography implied by the restriction of movement surrounding damascus gate, pilgrim’s root to Al-Aqsa Mosque. Echoing the diptych of theos and krateo, NADAMAR ( the reverse of Ramadan) is a makeshift duet edited in a parallel order, between Israeli authoritie’s blockage of the square and palestinian civilians removale the baricades once the police has left. The title is inspired by "Nacirema" the original 1965 anthropological paper by Mitchell Mines, describing Nacirema, an esoteric tribe living in North America. By way of satire, the title is the reversal of America in order to distance readers from the fact that the North American group described actually corresponds to modern-day Americans of the mid-1950s. 


    Link to view NADAMAR

    Password: nira






    2021 | 01:30 min. | NFT One channel video, 3D animation
  • OPTIMUS a, depicts the various virtual possible configurations of the ready–made sculpture OPTIMUS, and this marks the sculpture as origin...

    OPTIMUS a, depicts the various virtual possible configurations of the ready–made sculpture OPTIMUS, and this marks the sculpture as origin and its self an active replica. The a in the title alludes to Jacques Lacan’s objet petit a — the unattainable object of desire. For Lacan the objet petit a was such an absolute concept, that it exceeded language and translation, and acquired the unequivocal status of an algebraic sign.


    Link to view OPTIMUS a

    Password: nira





    Two identical metal barriers; split apart, magnetised and deconstructed, so that these objects of closure allow for options of openness.


  • Link to short segment

    2021 | 7 min. | Edition of 7+2AP | One channel Video | Location: Braverman Gallery, Tel-Aviv
  • In the video work GUARDIANESS OF THE WALLS dancer and choreographer Iris Erez, improvises possible assemblies of OPTIMUS. The work...

    In the video work GUARDIANESS OF THE WALLS dancer and choreographer Iris Erez, improvises possible assemblies of OPTIMUS. The work was filmed at Braverman Gallery on May 18th, 2021, during the Israel Gaza confrontion in operation "Guardian of the walls".



    Password: nira





  • ornament and crime

    2021 | 270x160cm | Polyester mold of a barricade, red and white hazard tape, and a mold of a bronze replica of the Jewish Menorah sign as it appears in the official logo of the State of Israel

    ORNAMENT AND CRIME explores the visual relation between two types of barriers often found together. The red and white tape, usually wrapped around metal barricades in synergy, becomes an ornament, while the polyester mold of a barricade acts as its surface, hanging on the wall, unable to accomplish its original function.

  • goldy

    2021 | 136x198cm | Latex mold of a police barricade, fabric, gold spray, and a readymade metal fence | Piece Unique
  • SWEET STONES الحجر الحلو

    2018—2021 | Five lime stones and their five brass replicas | Piece Unique

    *Sweet Stones, الحجر الحل derives from the Palestinian given name to the commonly referred to Jerusalem Stone. The sweetness is believed to come from the soft nature of the material—making it easy, and sweet—to work with. 



  • DIY

    2021 | Model to scale of a police barricade | Scale 1:66cm | Signed and numbered addition — in 14 karat gold and silver

    The scaled prescuis model of a  barricade sits inside abrass stone packaging — an exact [replica of a common small stone, found around Jerusalem streets. The heavy golden stone offers a way for the owner to DIY the Piece and customise and damage the model by using the stone as an apparatus for expressing their own relation to perfection, beauty, and authority.



    2020 | 171x10cm | Epoxy mold, red and white tape

    A self–portrait in warning tape, cut at the artist’s height. This post–minimalist sculpture instead of reducing its subjective hold only reinforces it. IT'S PERSONAL comes in Unlimited edition to allow each collector the option of choosing their own height, thus personalizing the work once more.


    2020 | 300cm | Sand Blasted Ready–made Aluminum signpost

    The gesture of accident as it relates to the particularity of the documentary concept is a key motif in Pereg’s work. A sign post, abandoned by the side of the street, can be a testimony to a vehicular collision. Pereg changes and sterilizes its facade by sandblasting all traces of its origin and creates a hybrid of fiction and real.



    2020—2021 | Seven translucent polyester traffic cones, replicas of ready–made safety cones, and hazard warning lights

    A common–place traffic cone becomes the source for seven polyester replicas, in a homage to artist Eva Hesse’s 1968 work Repetition Nineteen III, and to her exploration of seriality and repetition. Pereg’s REPETITION IIV lies within the tradition of Hesse’s unconventional use of industrial materials — by individualizing the replicas, the work gives a new status.


    2020—2021 | 156x90cm | Neon light

    All it takes is a typo in the spelling of a word for its meaning to change dramatically: from a much looked forward to end–of–the–week we find ourselves weak and facing the end.




    2021 | scale model bronze skeleton

    ELEANOR references the moment in September 1948 when Eleanor Roosevelt first presented the Universal Declaration of Human Rights (UDHR) at the United Nation’s temporary home in Long Island. In that now iconic photo, the former First Lady displays a poster-sized copy of the signed and certified Declaration. One can almost hear the photographer shout “hold it” to freeze and capture the historic moment. This scale model bronze skeleton is positioned to reenact that scene as an indoor monument fit for time in which we are often called upon to enclose and isolate ourselves. The sculpture ELEANOR draws attention to our common inner humanity to underscore the impulse of the UDHR, while dispensing with the arbitraryand ephemeral—including the fragile materiality of the UDHR and the international consensus that framed itsadoption. An ironic memento mori, ELEANOR challenges the very notion of that which endures.

  • Statement —Curated by Ami Barak

    This third solo exhibition of Nira Pereg’s work at the gallery was initially thought as scoring the opportunity to celebrate Sabbath, the mythical 2008 video. Nira Pereg documented then the installation of temporary barriers to prohibit all vehicular traffic on the eve of Shabbat in the ultra–Orthodox Jewish neighborhood in Jerusalem, establishing a boundary between the sacred and the profane. In recent years, as a real obsession, the artist has taken the habit of returning to the scene of the ״crime״ to capture the changes on the spot. De facto these back and forth movements have become a sequel and is supposed to take stock every 10 years and reassess the changes. In the ten years’ anniversary version it looks that the barriers, paradoxically, have become rickety and the attitude of the observant casual, but on the other hand the authorities have institutionalized the separation and the police in turn relays the very principle of prohibition of mechanized traffic. The ban has become eminently political, meaning that there is no longer any de facto separation between the religious and the secular. Retelling a story is always a new story, the video diptych shown, titled Theos & Krateo1 juxtapose two intersections that are being closed in anticipation of the Sabbath. A mere 1.5 km from each other, both locations differ in that the closures are performed by the two prevailing jurisdictions. In THEOS, the barricade is erected by civilian Orthodox Jews, while in KRATEO the barricading is executed by police officers in uniforms, which represents the state rule.
    This key work becomes in the same time the occasion of a series of variations around the advanced notion of sculpture to the widened sense of the term as a form of resistance by reaffirming itself in the most diverse materials, while passing by all the ranges, which go of the neon, mineral, plastic, metal, maintaining at the same time links of fertile crossing with the video–sculpture, the installation, the performance, the ready–made hybrid objects. The title Tosefet Shabbat in Hebrew (meaning ״Sabbath Supplement״) is literally the idea of an extension of the video’s title but it also acts as a diversion to the halachic concept of ״adding the profane to the holy״ which means that the celebration of Shabbat lasts a little longer than the prescribed time, while the meaning of the title departs from the literal and means that it happens after the time is up, indicating disarray or urgency. The twilight zones, a free translation into English, can also characterize areas where two different ways of life or states of existence meet.

    The leitmotif of the exhibition is the barrier, an increasingly common accessory, which is now blending into popular culture. Crowd control barriers act as a physical and psychological barrier, to demarcate ״no access״ zones. In the meantime, the pandemic arrived and we all found ourselves locked up. In the emptied public space, remained only the artifacts that serve to prevent us from moving freely. It seemed the more our public space was emptied of its inhabitants, the more artifacts were placed there to block us, like an empty stage, full of metal barriers, large stones, stop signs, some no longer in use, and red and white warning ribbons. These props, have become the new ornaments of our cities, an inflation of signs. Everyone has around him a symbolic barrier which keeps others at a distance, and which protects his integrity, his privacy. Humanity has been built by establishing thresholds. The idea is to refuse the importunate. There are the limits of the body, which we have no right to override without consent. There is the public and the private, the sacred and the profane. Nowadays, we set up barriers, we saturate the public space with removable metal barriers and in return we neglect all symbolic thresholds. The artist says in her own way that we cannot live with this generalized, encouraged, instituted dissociation. 

    1. Etymology of the word theocracy originating from ancient Greek θεός (theos), meaning ״god״, and κρατέω (krateo), meaning ״to rule״.

  • about the show

    Braverman Gallery is pleased to present Nira Pereg’s new solo exhibition Twilight Zones, on view from July 8 through October 15. Over the past two decades Nira Pereg’s work has explored the various systems and structures that shape our daily lives. Her renowned multi–channel video installations question the authority of the ‘real’, conceptually echoing the very essence of the medium she uses. Through an ingenious use of sound and spatial manipulations, Pereg disrupts the conventional perception of space and time, to challenge the reign of dominant, yet often veiled, ideologies.
    In Twilight Zones, Pereg continues her investigation of borders and barriers, both as material objects and as social constructs. Including video and sculpture, the exhibition mines the complexities of physical restraint mechanisms enacted within a highly charged socio–political landscape; ones further exaggerated by the movement restrictions following the 2020 pandemic. Reflecting on the increasingly growing use of barriers in public spaces, this new body of work evokes the various manifestations of and possible alternatives to the politics of separation.
    Through the exploration of small–scale—official and makeshift—means of restriction, Twilight Zones probes concepts of proximity and distance, the public and the private, sacred and profane, power and ideology. In her practice, Pereg works within a set of pre–established rules and conditions which she creates for herself. While her work is rooted in documentary practice, Pereg developed what she calls her own ״play of resolutions״. The sanctions on movement during the Covid–19 lockdowns had driven Pereg to predominantly work in the studio — with the new public health regulations eerily mimicking the artist’s practice of working under a set of controlled provisions.
    During the past year Pereg restricted herself to a very concise vocabulary using fencing artifacts such as red and white caution tape, safety cones, metal barricades and rocks, thus locking herself indoors with the very objects used to block the spaces outdoors. In turning the seemingly mundane objects into sculptures with ornamental qualities, Pereg stripps them from their functionality and ascribes them with a political meaning. Curator Ami Barak writes of the exhibition: ״The title Tosefet Shabbat in Hebrew (meaning ״Sabbath Supplement״) is the term used for ״adding the profane to the holy״.״ This term allows observance of the sabbath to last slightly longer than the prescribed time, extending it from 24–hours into 25–hours. Accordingly, the title of this show refers to the extension of time and holiness as leeway for urgency. Twilight Zones, says Barak, ״in a free–form translation into English, refers to that 25th hour, characterizing an area wherein two different ways of life, or states of existence, meet.״

    The works in Twilight Zones stem from Pereg’s seminal 2008 video work SABBATH 2008, and can be read as a sequel and a direct development of the core issues posed by the work. However, as the retelling of a story always results in the emergence of a new story, the video diptych titled THEOS & KRATEO juxtaposes two intersections that are closed in anticipation of the Sabbath. In observing the particularities of these two locations, the body of work in twilight zones presents a nuanced duet of order and spontaneity through video, performance and sculpture. The gestalt of this exhibition points to the core question engraved at the mere existence of the state of Israel — that of the full integration between religion and state, with its lingering effects.Pereg alludes to the semi–institutionalized separation in a place where makeshift borders and counterfeit barriers constantly morph in shape and meaning.
    As with much of Pereg’s work, the point of departure is the ready–made — whether in the form of a quote from reality or as a material object. Studying and replicating these objects of separation, creating variations and hybrids, Pereg rendered them into protocols, eventually constituting the artwork itself. The artist says: ״These artifacts play a crucial role in the ways we are warned, redirected, and blocked, all over the world. It seemed to me that the more our public spaces emptied out of people, the more artifacts were placed in them to block us away — like a stage void of actors, but full of props. These props, a result of governmental policy, became the new ornaments of our cities, an inflation of accumulated, reiterated signs, objects, and fencing techniques. They are often seen together, empowering each other, in a kind of bureaucratic hysteria.״ 

    Twilight Zones questions the constant merger of traditions, politics, and objects. It highlights how we overflow public space with barricades, and in return neglect all symbolic thresholds.

  • Nira Pereg BIO

    Nira Pereg was born in Israel in 1969. She received a BFA from the Cooper Union, New York (1993) and MFA from the Bezalel Academy of Art and Design, Jerusalem (2000). She has been working and teaching in Israel and abroad ever since.
    Selected solo exhibitions: DEPO, Istanbul, Turkey (forthcoming, 2021), Braverman Gallery (2021), LAX, Los Angeles (2018); Israel Museum, Jerusalm, Ticho House (2015); Prix Maratier –La Fondation promahj le musee d’art et d’histoire du Juda״sme, Paris2014) ); Center for Contemporary Art (CCA), Tel — Aviv (2013); The Cultura Judaica, Sao Paulo (2012); Kusntahlle DCsseldorf (2012); Hirshhorn Museum, Smithsonian Institution, Washington (2011); Tel — Aviv Museum of Art (2010); N.B.k, Berlin (2010).
    Selected group exhibitions: arc en rêve centre d’architecture, Bordeaux (2020), Blindspot Gallery, Hong Kong (2020);, ANNE+ ART CONTEMPORAIN, Paris (2019 ‘Videoland’, Kunsthal KAde, Amersfoot, The Netherlands (2019); DEPO Istanbul (2019); American University Museum at the Katzen Arts Center, USA (2019); Israel Pavilion, Venice architecture biennial, Venice (2018, 2015); National Gallery of Canada (2014); The Israel Museum, Jerusalem (2014); Musee National D’art Moderne Centre Pompidou, Paris (2014); Storefront for Art and Architecture, New York (2013); Neuberger Museum of Art, NY (2013);


    Tokyo Metropolitan Museum of Photography, Tokyo (2013); The 9th Shanghai Biennale, Shanghai (2012); Haus der Kunst, Munich (2012); KW Institute for Contemporary Art, Berlin (2010); Van Abbemuseum, Eindhoven, Netherlands (2010); ZKM, Karlsruhe (2009); Art Focus, Jerusalem (2008); PS1 Contemporary Art Center, NY(2006); The Israeli Center for Digital Art, Holon (2004).
    Selected publications and press: The Right to Clean, Exhibition catalogue, The Israel Museum, Jerusalem and The Rose Art Museum, Brandeis University. Contributing writers include Gannit Ankori, Timna Seligman, Boris Groys and Christopher Bedford (201s); Nicolas Bourriaud, Joseph Cohen, Raphael Zagury–Orly, ״Abraham Abraham, Sarah Sarah,״ Prix Maratier –La Fondation pro mahj le musee d’art et d’histoire du juda״sme, (October, 2014). Kept Alive, Kunsthalle Dusseldorf, Walter Koenig (2012). Mignon Nixon ,״The undiscovered country,״ ARTFORUM (October 2010); Leah Ollman, Art in America, June–July (2010); Boris Groys, ״The Hard Pulse of Regularity,״ Programma Magazine (May 2010);
    Selected Public collection: Tate collection, London; Center Pompidou collection, Paris; Israel Museum Collection, Jerusalem; Princeton University Collection; Tel–Aviv Museum of Art collection, Tel Aviv; Goetz collection, Munich, GAM collection, Torino; SIP collection, Tel–Aviv; National Gallery of Canada, Ottawa, Ontario.