Following and supplementing the exhibition Concrete Dreams we are presenting two artworks that conduct a dialogue with the tradition of Israeli construction and the associations it evokes - the daring and power embodied in construction with concrete.

Although concrete is an impenetrable rigid material, its vulnerability lies in its fragility. Like prefabricated construction, the works displayed here are modular, produced in different sized units, that join together as installations adapted for the specific space in the museum.

Concrete’s dry rigidity versus its risk of disintegration; memories of the historical vision of construction and development versus the reproduction and multiplicity of anonymous details; the regime of geometrical order that prevails in organising the works has the inherent risk of spreading uncontrollably – all these also impact on deep political strata of the Israeli experience.
Points of Separation – the work by David Goss – is composed of a series of abstract paintings that jointly construct a wall. The impenetrable appearance of the paintings, that reflect the designation of each wall, originates in technique. Goss paints with tempera, a mixture of pigment with egg yolk, a technique particularly prevalent in mediaeval Europe. Instead of pigment he mixes cement, and the different shades result from varying the proportions of egg, cement, water. The points are created free-hand and using differing rhythms, so each canvas has a slightly different appearance, returning it to the status of painting. If traditional painting represents reality outside the frame, and abstract art turns its back on reality to focus on the means of painting itself, then these works by David Goss are midway between the two. Both portray concrete walls and function as real ones, and are painted with material used to build walls.

Haimi Fenichel’s installation, Preparations for End of Year Party, represents a slightly futuristic world that perhaps actually found in modern cities world-wide, and signifies the direction that existing cities are already taking. With its scores of skyscrapers, the contemporary urban landscape is spectacular. The scale – a sort of model observed from on high – inspires a sense of confidence and admiration. But immediately the question arises whether these buildings will have the same fate as disposable dishes, and if the economic power that signifies upward growth is constantly threatened by erosion from below. Fenichel’s works are characterised by reference to local architecture and the use of construction materials and industrial products which in themselves are mundane and devoid of beauty. At the same time, they display a delicate handling of details, which reveals their fragility and offers a fresh perspective on the processes of construction and destruction.