Uri Weinstein

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	<title>Uri Weinstein</title>
	<link>https://uriweinstein.com</link>
	<description>Uri Weinstein</description>
	<pubDate>Tue, 30 Dec 2025 12:42:07 +0000</pubDate>
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		<title>Uri Weinstein אורי וויינשטיין</title>
				
		<link>https://uriweinstein.com/Uri-Weinstein</link>

		<pubDate>Sat, 06 May 2023 15:19:09 +0000</pubDate>

		<dc:creator>Uri Weinstein</dc:creator>

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	Uri Weinstein
ProjectsInformationContact&#38;nbsp;

 
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	<item>
		<title>Projects</title>
				
		<link>https://uriweinstein.com/Projects</link>

		<pubDate>Fri, 09 Jun 2023 17:06:29 +0000</pubDate>

		<dc:creator>Uri Weinstein</dc:creator>

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		<description>
Projects


Orpheus

NonFinito&#38;nbsp;Spectacular Failure
Hopes Return
Sunflowers


The Great Hoax
Houses in Tel Aviv

Rafi and Micha

The Happy Prince&#38;nbsp;

Organza
 

Survival Episode
Lullaby for Colors

When Spring Falls Asleep
 
Flowers for The Holiday

The Bride and the Butterfly Hunter 

Apple Flavor

2092

Take Out Your Phones


︎
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		<title>Information</title>
				
		<link>https://uriweinstein.com/Information-1</link>

		<pubDate>Sat, 06 May 2023 15:19:10 +0000</pubDate>

		<dc:creator>Uri Weinstein</dc:creator>

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		<description>

Information

[Uri Weinstein]

B. 1992, lives
and works in Tel Aviv


alefweinstein@gmail.com


+97254-2300577


[Education]


2021-2023 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 

MFA, Bezalel Academy of Art and Design, Tel Aviv


2020-2021&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 

Alma-Matanel Fellows Program&#38;nbsp;Alma House of
Hebrew Culture, Tel Aviv


2020&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;

Professional Development Program&#38;nbsp;Edmond de Rothschild Center, Tel
Aviv


2018 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 

Student exchange, Fine Arts Department&#38;nbsp;École des Beaux-Arts,
Paris


2015-2019&#38;nbsp; &#38;nbsp;
 &#38;nbsp; &#38;nbsp; &#38;nbsp; 

BFA, Bezalel Academy, Jerusalem


[Solo &#38;amp; duo exhibitions]


2025
“Orpheus”,&#38;nbsp;Nachum Gutman Museum of Art, Tel Aviv

2024&#38;nbsp;
“Sunflowers”, Duo exhibition with Karen Dolev, Parterre Project Space, Tel Aviv

 2023


“The
Happy Prince”, MFA final exhibition,&#38;nbsp;Bezalel Academy of Art and Design, Tel Aviv

2022

“Survival
Episode”&#38;nbsp;&#38;nbsp;Art Cube Artists'
Studios, Jerusalem

“When Spring Falls Asleep” Uri &#38;amp; Rami Nehoshtan
Museum, Ashdot&#38;nbsp;Ya'akov

 
[Group
exhibitions]

2025
“NonFinito“, Artport, Tel
Aviv

“Spectacular Failure“, CCA, Tel
Aviv
2024

“The World Is Big“,&#38;nbsp;The Lobby Art Space,&#38;nbsp;Tel
Aviv


“Evil Root”, Jerusalem Artists' House, Jerusalem&#38;nbsp;
 

2023&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 

“Labor and Idleness”,&#38;nbsp;Beit Ha'ir Museum, Tel
Aviv
 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
“Spring Water”,&#38;nbsp;Edmond de Rothschild Center, Tel
Aviv

“Fresh Paint 2023”,&#38;nbsp;annual art fair, Tel Aviv&#38;nbsp;

“Gentleman’s Gift Shop” Studio Aliya 31, Tel Aviv


2022&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 

“Lights Out”, Fine Art Department Gallery,&#38;nbsp;Bezalel Academy of Art and Design,
Jerusalem


 “Organza”, collaboration with
Karen Dolev,&#38;nbsp;As part of the “Loving Art, Making Art” festival, Tel Aviv

“Meshalya”,&#38;nbsp;Hansen House, Jerusalem

“Dictionary of Departure”,&#38;nbsp;Shalma road 48, Tel
Aviv


2021&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 

“The Bride and the Butterfly Hunter”, “Loving Art, Making Art” festival,&#38;nbsp;The
Botanical Gardens, Tel Aviv
 

“The Age of Aquarius”, Halal Bastudio,&#38;nbsp;Tel
Aviv


 “Apple Flavor”, Binyamin
Gallery, Tel Aviv


2020&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 

“2092”,&#38;nbsp;Alfred Institute for Art &#38;amp; Culture, Tel Aviv


2019&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;
“Take Out Your Phones”, BFA final
exhibition, , Jerusalem&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 


“Long Table”, listening performance,&#38;nbsp;&#38;nbsp;Factory #5, Haifa Museum of Art, Haifa 

“Self-ish”, Photography Department,&#38;nbsp;Bezalel
Academy of Art and Design, 
Jerusalem

“My life goes where... #5”, HaMiffal gallery, Jerusalem


2018&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
 
“Grounds Mutual Grounds”, Fine
Arts Department, École des
Beaux-Arts, Paris


2017

“Rock Paper Scissors”, HaMiffal gallery,

Jerusalem


 “Ingredients”,&#38;nbsp;The New Gallery Artists'
Studios Teddy, &#38;nbsp;Jerusalem


[Awards and
Scholarships]

2025Artport residency programme, Tel Aviv


2024
Young Artist Award, The Israeli Ministry of CultureThe Yehoshua Rabinovich Foundation for the Arts


2023 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 

Michael &#38;amp; Pauline Lockman Scholarship, Tel Aviv
2022&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;

Graduate degree prize for academic excellence,
 Bezalel Academy 


2020 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;
 
Visual Arts Grant,&#38;nbsp;Yehoshua Rabinovich Foundation, Tel
Aviv

2019 &#38;nbsp;
 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
Artist Gyula Zilzer Prize,&#38;nbsp;The
American Friends of Bezalel


Creative Excellence Grant,&#38;nbsp;America-Israel Cultural Foundation


︎


 </description>
		
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	<item>
		<title>Contact</title>
				
		<link>https://uriweinstein.com/Contact</link>

		<pubDate>Sat, 20 May 2023 11:12:34 +0000</pubDate>

		<dc:creator>Uri Weinstein</dc:creator>

		<guid isPermaLink="true">https://uriweinstein.com/Contact</guid>

		<description>
Contact&#38;nbsp;

e-mail ︎︎︎ alefweinstein@gmail.com

︎︎︎ Instagram︎


</description>
		
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	<item>
		<title>Orpheus</title>
				
		<link>https://uriweinstein.com/Orpheus</link>

		<pubDate>Sun, 17 Aug 2025 11:56:01 +0000</pubDate>

		<dc:creator>Uri Weinstein</dc:creator>

		<guid isPermaLink="true">https://uriweinstein.com/Orpheus</guid>

		<description>
OrpheusOrpheus (2025)
Nachum Gutman Museum of Art, Tel Aviv

Curator:&#38;nbsp;Monica LaviOriginal Music: Avshalom Hasfari

&#38;nbsp;
&#60;img width="4177" height="2984" width_o="4177" height_o="2984" data-src="https://freight.cargo.site/t/original/i/0609728b983fc8ca8162c71af40dbf57c9b01529a3c09b15c72b71f699d13382/-1.jpg" data-mid="244686362" border="0"  src="https://freight.cargo.site/w/1000/i/0609728b983fc8ca8162c71af40dbf57c9b01529a3c09b15c72b71f699d13382/-1.jpg" /&#62;
At the heart of the exhibition, the sculptural installation unfolds through five sound pieces, each composed from sampled and processed human voices. These sonic fragments trace the five stages of grief articulated by Elisabeth Kübler-Ross: denial, anger, bargaining, depression, and acceptance. Rather than forming a linear or narrative progression, the sounds emerge as states of affect: shards of denial surface as fractured, hesitant beats, resisting acknowledgment of death; they give way to sharp bursts of anger; then to cyclical patterns of bargaining, echoing a plea that returns obsessively; followed by a slow descent into the weighted resonance of depression.
The final stage, acceptance, assumes a pivotal role. Here it is not rendered as dissolution or passive resignation, but as a charged moment of active recognition: the instant in which Orpheus, having traversed all stages of grief, turns to look back at Eurydice despite the fatal condition placed upon him. That glance becomes at once rupture and reconciliation an unflinching recognition that the beloved cannot return, coupled with a profound embrace of finitude. In this gesture, grief does not vanish but integrates into the very fabric of identity and memory.
In this way, sculptural sonic environment transcends the mere delineation of psychological stages. It offers a journey toward the threshold where death ceases to appear as an adversary to resist and instead becomes a presence one must learn to carry. Acceptance emerges not as an end but as a passage, akin to the myth itself: an opening into another dimension of existence memory.Installation views by Tomer Fruchter︎︎︎ Video documentation


&#60;img width="6984" height="3928" width_o="6984" height_o="3928" data-src="https://freight.cargo.site/t/original/i/82f38646a91aedd73ea28de918756a8cc127a9655bbac109896102751ee52551/ORPHEUS_-9-copy.jpg" data-mid="238602854" border="0" data-scale="73" src="https://freight.cargo.site/w/1000/i/82f38646a91aedd73ea28de918756a8cc127a9655bbac109896102751ee52551/ORPHEUS_-9-copy.jpg" /&#62;&#60;img width="13528" height="16910" width_o="13528" height_o="16910" data-src="https://freight.cargo.site/t/original/i/d5704137c3b069891d80223840f3bfe1578284f1d27e84aaca33f8b57aea2645/11-copy-2.jpg" data-mid="238602897" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/d5704137c3b069891d80223840f3bfe1578284f1d27e84aaca33f8b57aea2645/11-copy-2.jpg" /&#62;
Yoslberus (2025)
wallpaper print, 290 x 150 cmCerberus, the three headed dog whose job was to prevent the living from entering and the dead from leaving. Orpheus played a tune so beautiful and sad that it managed to soften even the heart of the guard. The sounds of the music moved Cerberus so much that he let Orpheus pass without resistance.
&#60;img width="6749" height="3796" width_o="6749" height_o="3796" data-src="https://freight.cargo.site/t/original/i/6f6becb09d5c65b7de8c25a6e210f64af5d3d482a15896b195015cdda9d328db/ORPHEUS_-3-copy.jpg" data-mid="238602850" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/6f6becb09d5c65b7de8c25a6e210f64af5d3d482a15896b195015cdda9d328db/ORPHEUS_-3-copy.jpg" /&#62;&#60;img width="5078" height="4062" width_o="5078" height_o="4062" data-src="https://freight.cargo.site/t/original/i/96121ad339dcfbe14403c49fe8097ba12ff9e9cf829a567b45d0fa0b03b7461c/ORPHEUS_-10-copy.jpg" data-mid="238603439" border="0"  src="https://freight.cargo.site/w/1000/i/96121ad339dcfbe14403c49fe8097ba12ff9e9cf829a567b45d0fa0b03b7461c/ORPHEUS_-10-copy.jpg" /&#62;
&#60;img width="4411" height="3529" width_o="4411" height_o="3529" data-src="https://freight.cargo.site/t/original/i/6bf73092f1fe9df77002b686a213eaf46995f287deec4aaeeb6ccd4ebfa963fb/ORPHEUS_-5-copy.jpg" data-mid="238603621" border="0"  src="https://freight.cargo.site/w/1000/i/6bf73092f1fe9df77002b686a213eaf46995f287deec4aaeeb6ccd4ebfa963fb/ORPHEUS_-5-copy.jpg" /&#62;&#60;img width="1892" height="1513" width_o="1892" height_o="1513" data-src="https://freight.cargo.site/t/original/i/30e556cdbeb249b45fbb085d7ec9c8e8e77dc5ef96690cb54eb3753a4970499f/Uri_Weinstein_Orpheus_-3-copy.jpg" data-mid="238606164" border="0"  src="https://freight.cargo.site/w/1000/i/30e556cdbeb249b45fbb085d7ec9c8e8e77dc5ef96690cb54eb3753a4970499f/Uri_Weinstein_Orpheus_-3-copy.jpg" /&#62;&#60;img width="2360" height="1888" width_o="2360" height_o="1888" data-src="https://freight.cargo.site/t/original/i/925cfd385be30c9aa9b6d13c7c98e1362dd717962dc1011671c8ba739ae0c6d0/Uri_Weinstein_Orpheus_-4-copy.jpg" data-mid="238606165" border="0"  src="https://freight.cargo.site/w/1000/i/925cfd385be30c9aa9b6d13c7c98e1362dd717962dc1011671c8ba739ae0c6d0/Uri_Weinstein_Orpheus_-4-copy.jpg" /&#62;The condition (2025)
digital printing, 25x41 cm
When Orpheus descended into the underworld, he convinced Hades to bring Eurydice back. The condition was that Orpheus had to walk ahead of her and couldn't look back until they were outside. This condition represents the limits of human ability and the impossibility of returning to the past.
&#60;img width="967" height="1209" width_o="967" height_o="1209" data-src="https://freight.cargo.site/t/original/i/cde2783f20d4f34358b0cb49344dee80a4544d00332b41ac9d3081f53fd6e147/Orpheus--2025--sound-installation--Nahum-Gutman-Museum-of-Art--Tel-Aviv-Recovered.jpg" data-mid="238604430" border="0"  src="https://freight.cargo.site/w/967/i/cde2783f20d4f34358b0cb49344dee80a4544d00332b41ac9d3081f53fd6e147/Orpheus--2025--sound-installation--Nahum-Gutman-Museum-of-Art--Tel-Aviv-Recovered.jpg" /&#62;
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&#60;img width="3501" height="4376" width_o="3501" height_o="4376" data-src="https://freight.cargo.site/t/original/i/7204edc32467fac4f85f3cfd1fa0216e291283dfd79d413b3c625c9720d1eed0/ORPHEUS_-8-copy.jpg" data-mid="238604432" border="0"  src="https://freight.cargo.site/w/1000/i/7204edc32467fac4f85f3cfd1fa0216e291283dfd79d413b3c625c9720d1eed0/ORPHEUS_-8-copy.jpg" /&#62;
&#60;img width="3490" height="4364" width_o="3490" height_o="4364" data-src="https://freight.cargo.site/t/original/i/8d4f51468b93478c93827eba2e5bc67c0c85df59bfa07a7db944d0499b7fc446/DSC05873-copy.jpg" data-mid="238604434" border="0"  src="https://freight.cargo.site/w/1000/i/8d4f51468b93478c93827eba2e5bc67c0c85df59bfa07a7db944d0499b7fc446/DSC05873-copy.jpg" /&#62;Shekel (2025)
two silver plated half shekel coins
The Israeli half-shekel coin, though seemingly mundane, resonates with the myth of Orpheus&#38;nbsp;and the ancient tradition of placing a coin in the mouth of the dead as payment to Charon for passage across the Styx. In this light, the half-shekel echoes Orpheus’s own negotiation at the threshold of death, where his music becomes a kind of currency—immaterial yet powerful enough to move the gods. The everyday coin thus acquires a mythological dimension, symbolizing not only economic value but also the possibility of crossing boundaries and confronting the ineffable.

&#60;img width="4931" height="6164" width_o="4931" height_o="6164" data-src="https://freight.cargo.site/t/original/i/8d33899b3eeb3e12d607692ea80005a5effd172a3bbf4db20fa40c8f44a69643/DSC05943-copy.jpg" data-mid="238604750" border="0"  src="https://freight.cargo.site/w/1000/i/8d33899b3eeb3e12d607692ea80005a5effd172a3bbf4db20fa40c8f44a69643/DSC05943-copy.jpg" /&#62;&#60;img width="3558" height="4448" width_o="3558" height_o="4448" data-src="https://freight.cargo.site/t/original/i/172fcbdaadcdc6f972da6fe893a3b14d805def7cf2d87fd0df0d7f81ff6c7e35/DSC05933-Enhanced-NR-copy.jpg" data-mid="238604752" border="0"  src="https://freight.cargo.site/w/1000/i/172fcbdaadcdc6f972da6fe893a3b14d805def7cf2d87fd0df0d7f81ff6c7e35/DSC05933-Enhanced-NR-copy.jpg" /&#62;
&#60;img width="3328" height="4160" width_o="3328" height_o="4160" data-src="https://freight.cargo.site/t/original/i/b99830830f88323dc1aff727386e503210f2734b7c18dfe19f56954a786cf75b/DSC05819-Enhanced-NR-copy.jpg" data-mid="238604761" border="0"  src="https://freight.cargo.site/w/1000/i/b99830830f88323dc1aff727386e503210f2734b7c18dfe19f56954a786cf75b/DSC05819-Enhanced-NR-copy.jpg" /&#62;&#60;img width="4575" height="5719" width_o="4575" height_o="5719" data-src="https://freight.cargo.site/t/original/i/fcf67e17c9c3ebdeb3a1f486c837f1a5e11e16be7fd2350e1fb2458453debe90/DSC05822-copy.jpg" data-mid="238604762" border="0"  src="https://freight.cargo.site/w/1000/i/fcf67e17c9c3ebdeb3a1f486c837f1a5e11e16be7fd2350e1fb2458453debe90/DSC05822-copy.jpg" /&#62;
Hug (2025)
printed on paper, 100 x 70 cm
The work presents a negative photograph of Nahum Gutman’s sculpture of an embracing couple, from which light emerges. The photographic inversion transforms a gesture of intimacy into a charged scene of memory and loss. The light breaking through the figures recalls the myth of Orpheus, where music and radiance serve as forces that traverse boundaries between life and death, love and loss. The familiar image thus becomes a symbol of the human longing for union, marked by an irreparable fracture within its very illumination.&#60;img width="4343" height="5429" width_o="4343" height_o="5429" data-src="https://freight.cargo.site/t/original/i/004c4c56c25be5e9e45d85dc30992b355b06a933827beb73070bdf046ca7eb2b/DSC05839-copy.jpg" data-mid="238605687" border="0"  src="https://freight.cargo.site/w/1000/i/004c4c56c25be5e9e45d85dc30992b355b06a933827beb73070bdf046ca7eb2b/DSC05839-copy.jpg" /&#62;&#60;img width="4082" height="5103" width_o="4082" height_o="5103" data-src="https://freight.cargo.site/t/original/i/256034c41bf12d89aeb2aa7613b0f28ff5009b67e34a882108d556e0a1ae046a/DSC05842-copy.jpg" data-mid="238605688" border="0"  src="https://freight.cargo.site/w/1000/i/256034c41bf12d89aeb2aa7613b0f28ff5009b67e34a882108d556e0a1ae046a/DSC05842-copy.jpg" /&#62;A&#38;amp;B (2025)
printing on silver paper, 42 x 30 cm
The two photographs capture the sunset over the Dead Sea, printed on silver paper that reflects and amplifies the natural glow. The metallic surface enhances the fleeting quality of light, transforming the images as the viewer moves.


&#60;img width="5288" height="4231" width_o="5288" height_o="4231" data-src="https://freight.cargo.site/t/original/i/08517e4a50bb511a8143b800275dc6baa52cd0976caf3bb568dd4eb3ecb846ef/ORPHEUS_-4-copy.jpg" data-mid="238605815" border="0"  src="https://freight.cargo.site/w/1000/i/08517e4a50bb511a8143b800275dc6baa52cd0976caf3bb568dd4eb3ecb846ef/ORPHEUS_-4-copy.jpg" /&#62;&#60;img width="4633" height="3707" width_o="4633" height_o="3707" data-src="https://freight.cargo.site/t/original/i/d96098b30fb885cd6acdf6642e659e8a5406a323ed48343434a64b803d1661d9/ORPHEUS_-2-copy.jpg" data-mid="238605788" border="0"  src="https://freight.cargo.site/w/1000/i/d96098b30fb885cd6acdf6642e659e8a5406a323ed48343434a64b803d1661d9/ORPHEUS_-2-copy.jpg" /&#62;&#60;img width="4289" height="3432" width_o="4289" height_o="3432" data-src="https://freight.cargo.site/t/original/i/ec17365cece38736b954cde1a53ecadf27a0d4a200650ca90a3bdb0fe74cb73b/DSC05889-c1opy.jpg" data-mid="238605893" border="0"  src="https://freight.cargo.site/w/1000/i/ec17365cece38736b954cde1a53ecadf27a0d4a200650ca90a3bdb0fe74cb73b/DSC05889-c1opy.jpg" /&#62;&#60;img width="1076" height="860" width_o="1076" height_o="860" data-src="https://freight.cargo.site/t/original/i/7108a114cf7aec81ad11333bb69f2e2658bd30088ac8683496700678d70bf4e1/DSC05890-c11opy.jpg" data-mid="238605894" border="0"  src="https://freight.cargo.site/w/1000/i/7108a114cf7aec81ad11333bb69f2e2658bd30088ac8683496700678d70bf4e1/DSC05890-c11opy.jpg" /&#62;
Because of the Wind (2025)
video loop, 2:23 minutes

The song “Because of the Wind” by Micha Shitrit, written in the early 1990s, expresses a persistent movement forward in the face of obstacles and uncertainty. The lyrical voice surrenders to an external internal force “the wind” which simultaneously embodies an uncontrollable element of nature and a metaphor for the muse, for faith, and for the power of creation.
In comparison with the myth of Orpheus, a fundamental parallel emerges: through his song, Orpheus penetrates the underworld and convinces the gods to return his beloved Eurydice. Yet his journey collapses in a moment of doubt, when he turns back to look at her. In the song, as in the myth, there is a tension between unwavering determination and the temptation of failure, between moving forward and the impulse to look back.

︎︎︎ Video documentation
&#60;img width="4471" height="3577" width_o="4471" height_o="3577" data-src="https://freight.cargo.site/t/original/i/f1bfa5045a23769671aa3bfd7fcfe7923be20cfa35a5ca9ac8452d2a96937cf8/DSC05850-copy.jpg" data-mid="238607988" border="0"  src="https://freight.cargo.site/w/1000/i/f1bfa5045a23769671aa3bfd7fcfe7923be20cfa35a5ca9ac8452d2a96937cf8/DSC05850-copy.jpg" /&#62;
&#60;img width="7008" height="4672" width_o="7008" height_o="4672" data-src="https://freight.cargo.site/t/original/i/aa29a9d16b862b7e7e3d4ba6014ebbf80799f16ccb2cef0c29752cc5837de8b1/DSC04682.jpg" data-mid="238606389" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/aa29a9d16b862b7e7e3d4ba6014ebbf80799f16ccb2cef0c29752cc5837de8b1/DSC04682.jpg" /&#62;︎ ︎︎︎
</description>
		
	</item>
		
		
	<item>
		<title>NonFinito</title>
				
		<link>https://uriweinstein.com/NonFinito</link>

		<pubDate>Tue, 30 Dec 2025 12:42:07 +0000</pubDate>

		<dc:creator>Uri Weinstein</dc:creator>

		<guid isPermaLink="true">https://uriweinstein.com/NonFinito</guid>

		<description>
NonFinitoNonfinito&#38;nbsp;(2025)
Artport, Tel Aviv
artists-in-residence group exhibition

Curator:&#38;nbsp;Vardit Gross
 
&#60;img width="7564" height="4255" width_o="7564" height_o="4255" data-src="https://freight.cargo.site/t/original/i/5d08775b8c5801d732f6e925bdb16c69618a222bd827810aa7d51f9ab3548623/artport160.jpg" data-mid="242283509" border="0"  src="https://freight.cargo.site/w/1000/i/5d08775b8c5801d732f6e925bdb16c69618a222bd827810aa7d51f9ab3548623/artport160.jpg" /&#62;In the body of work I presented in the exhibition, I focused on materials collected in south Tel Aviv, in the immediate surroundings of Artport. Daily walks through the neighborhood became a ritual of collecting, editing, and marking. Along the way, fragments of economy, culture, and urban routine accumulated objects charged with human gestures and traces of repeated use.

Near a food distribution point for people experiencing homelessness, disposable “Alaska Vodka” cups were gathered and stacked into a tower of promises. Combined with “Master Coffee” cans, they formed an “Espresso Martini” a south Tel Aviv version of a familiar cocktail. A child’s lion costume, found discarded on the street, was mounted on two microphone stands, emphasizing the fragility of the figure, the body, and the position of the artist. In The Politician, an oversized suit sewn from blue linoleum a material commonly associated with industrial and public flooring appears to have lost its strength and collapsed onto the floor.

These remnants of consumption do not enter the exhibition space as waste, but as active collaborators in the work. They carry traces of use, exhaustion, and promise, becoming an echo of the urban environment and of everyday human actions.Installation views by Tal Nisim


&#60;img width="5179" height="6474" width_o="5179" height_o="6474" data-src="https://freight.cargo.site/t/original/i/c9be7ac8ca5227d18b4d7ec3c309621c6906b19a155db9b5f28e68c14367091b/artport311-copy.jpg" data-mid="242283511" border="0"  src="https://freight.cargo.site/w/1000/i/c9be7ac8ca5227d18b4d7ec3c309621c6906b19a155db9b5f28e68c14367091b/artport311-copy.jpg" /&#62;&#60;img width="5869" height="7337" width_o="5869" height_o="7337" data-src="https://freight.cargo.site/t/original/i/c25217b2afa5a9cbaf5593370a65729e12a771e520e37af8142290b6e78bf531/weinstein03-copy.jpg" data-mid="242283517" border="0"  src="https://freight.cargo.site/w/1000/i/c25217b2afa5a9cbaf5593370a65729e12a771e520e37af8142290b6e78bf531/weinstein03-copy.jpg" /&#62;&#60;img width="3117" height="3896" width_o="3117" height_o="3896" data-src="https://freight.cargo.site/t/original/i/6ba557085180150645fb1a86434764d965278aa7dd6b16c3a1e6547c16d5bef5/artport1771.jpg" data-mid="242294478" border="0"  src="https://freight.cargo.site/w/1000/i/6ba557085180150645fb1a86434764d965278aa7dd6b16c3a1e6547c16d5bef5/artport1771.jpg" /&#62;&#60;img width="8404" height="6724" width_o="8404" height_o="6724" data-src="https://freight.cargo.site/t/original/i/ce37e0c2a7a1664f3c8ea70cdceaf448a3a82030cfee0b0acca85878d092e8da/artport140-copy.jpg" data-mid="242294524" border="0"  src="https://freight.cargo.site/w/1000/i/ce37e0c2a7a1664f3c8ea70cdceaf448a3a82030cfee0b0acca85878d092e8da/artport140-copy.jpg" /&#62;
Politician, 2025Linoleum, plywood
Politician is an oversized suit made of dark blue linoleum. The garment is sewn from a material familiar from floor tiles and public spaces: industrial, durable, inexpensive, and never meant to touch the body. Its use replaces the softness and flexibility of fabric with a rigid, glossy surface that simulates presence while simultaneously erasing it.

&#60;img width="6511" height="8138" width_o="6511" height_o="8138" data-src="https://freight.cargo.site/t/original/i/2b2ad874d7cbe4ca69483e03336b3be5cff421169369580d4aa0acc35ed46be1/weinstein01-copy.jpg" data-mid="242283527" border="0"  src="https://freight.cargo.site/w/1000/i/2b2ad874d7cbe4ca69483e03336b3be5cff421169369580d4aa0acc35ed46be1/weinstein01-copy.jpg" /&#62;&#60;img width="1993" height="2491" width_o="1993" height_o="2491" data-src="https://freight.cargo.site/t/original/i/05e5df7abeab167fbc12b3c1b7fb70df699137f0d08633711bbfd5bb5a207e2a/2.jpg" data-mid="242283528" border="0"  src="https://freight.cargo.site/w/1000/i/05e5df7abeab167fbc12b3c1b7fb70df699137f0d08633711bbfd5bb5a207e2a/2.jpg" /&#62;&#60;img width="5570" height="6962" width_o="5570" height_o="6962" data-src="https://freight.cargo.site/t/original/i/d67dbf56fb10dc88869958307adecb8c63dde27317e02cadc4edf11098d66f5b/weinstein02-copy.jpg" data-mid="242283529" border="0"  src="https://freight.cargo.site/w/1000/i/d67dbf56fb10dc88869958307adecb8c63dde27317e02cadc4edf11098d66f5b/weinstein02-copy.jpg" /&#62;&#60;img width="6627" height="5302" width_o="6627" height_o="5302" data-src="https://freight.cargo.site/t/original/i/7a66455f444aa35231dc7f48f077a20457d1ba2c4d6c9d76c4a034d6db2b4f41/weinstein00-copy.jpg" data-mid="242294546" border="0"  src="https://freight.cargo.site/w/1000/i/7a66455f444aa35231dc7f48f077a20457d1ba2c4d6c9d76c4a034d6db2b4f41/weinstein00-copy.jpg" /&#62;Esau, 2025Child’s lion costume, microphone stands, steel wire
Esau presents an empty lion costume, standing o the floor like an abandoned body. The garment remains as a shell only. The lion, a symbol of courage and confidence, is rendered immaterial, shedding its meaning the moment the child is absent. The missing human body becomes the work’s focal point: the costume holds a memory of warmth and movement, yet stands as a silent witness to an identity that has slipped away. Like the biblical Esau, a figure wrapped in skin whose outward appearance becomes a site of impersonation, the work exposes the tension between inside and outside, between what is worn and what is left behind.

&#60;img width="6009" height="7511" width_o="6009" height_o="7511" data-src="https://freight.cargo.site/t/original/i/5e354e8d8d3106adc0dbb03d5236a4e9384bf337d2dad72e0941577b4eb228a4/artport122.jpg" data-mid="242283629" border="0"  src="https://freight.cargo.site/w/1000/i/5e354e8d8d3106adc0dbb03d5236a4e9384bf337d2dad72e0941577b4eb228a4/artport122.jpg" /&#62;
&#60;img width="5464" height="6830" width_o="5464" height_o="6830" data-src="https://freight.cargo.site/t/original/i/f95a02fc9e1764b171b83086395e01e8b639e23b90e13cfc5821fbaf5050cd5b/weinstein04-copy.jpg" data-mid="242283630" border="0"  src="https://freight.cargo.site/w/1000/i/f95a02fc9e1764b171b83086395e01e8b639e23b90e13cfc5821fbaf5050cd5b/weinstein04-copy.jpg" /&#62;
Alaska, 2025Alaska vodka cups, wooden shelfForty five plastic cups of “Alaska” vodka are stacked into a stable yet fragile pyramidal structure, a kind of temporary monument to the cheapest and most accessible substance on the margins. The vodka, produced in Mishor Adumim and sold in corner shops, marks a charged encounter between local economy, low-cost production, and the appearance of luxury.The work examines the gap between the name “Alaska,” an image of distance, purity, and escapism, and a reality of poverty, dependence, and everyday consumption. The stack, echoing towers, temples, or pyramids of success, functions as an inverted symbol: a precarious structure built from a temporary material that stands only as long as no one touches it.


&#60;img width="6553" height="8192" width_o="6553" height_o="8192" data-src="https://freight.cargo.site/t/original/i/48d6ff041421b20d2a5f773a1567795f7177a56129b9de1c77ffb351d32e5cde/weinstein05-copy.jpg" data-mid="242283631" border="0"  src="https://freight.cargo.site/w/1000/i/48d6ff041421b20d2a5f773a1567795f7177a56129b9de1c77ffb351d32e5cde/weinstein05-copy.jpg" /&#62;&#60;img width="3087" height="3860" width_o="3087" height_o="3860" data-src="https://freight.cargo.site/t/original/i/7ab3035626cfa96660542d234247913b340ab9d1bbdf2b0e40aa012ef7dd9666/weinstein05-copy.jpg" data-mid="242283633" border="0"  src="https://freight.cargo.site/w/1000/i/7ab3035626cfa96660542d234247913b340ab9d1bbdf2b0e40aa012ef7dd9666/weinstein05-copy.jpg" /&#62;
Museum, 2025Digital print on silver paper, 70 × 40 cm“Museum” is a photograph of gas stations located near the Israel Museum, printed on reflective silver paper. The choice of the shimmering material gives the image an almost collectible appearance, like a rare parchment, and shifts attention away from the everyday landscape toward the ways in which images &#60;img width="6554" height="8192" width_o="6554" height_o="8192" data-src="https://freight.cargo.site/t/original/i/1eec6853091d209ba0086cf6ef27c3612951e2fde8d8747a76283aef7070c809/artport2115.jpg" data-mid="242283636" border="0"  src="https://freight.cargo.site/w/1000/i/1eec6853091d209ba0086cf6ef27c3612951e2fde8d8747a76283aef7070c809/artport2115.jpg" /&#62;&#60;img width="4371" height="5464" width_o="4371" height_o="5464" data-src="https://freight.cargo.site/t/original/i/26c889c3ca6c89fcf1995b595c48a5e58689eb9595f515897439a163cb02f35e/artport123.jpg" data-mid="242283638" border="0"  src="https://freight.cargo.site/w/1000/i/26c889c3ca6c89fcf1995b595c48a5e58689eb9595f515897439a163cb02f35e/artport123.jpg" /&#62;&#60;img width="4371" height="5464" width_o="4371" height_o="5464" data-src="https://freight.cargo.site/t/original/i/80b8b6b6814b58d41510908e82ae436552baa5af84e528d246353c1533089636/artport113.jpg" data-mid="242283637" border="0"  src="https://freight.cargo.site/w/1000/i/80b8b6b6814b58d41510908e82ae436552baa5af84e528d246353c1533089636/artport113.jpg" /&#62;&#60;img width="3314" height="4144" width_o="3314" height_o="4144" data-src="https://freight.cargo.site/t/original/i/aa1f880276621fff9a9c58f5f29689f602240c48a20048e27cf0a2da0e6a302b/artport11123.jpg" data-mid="242283640" border="0"  src="https://freight.cargo.site/w/1000/i/aa1f880276621fff9a9c58f5f29689f602240c48a20048e27cf0a2da0e6a302b/artport11123.jpg" /&#62;&#60;img width="8192" height="6553" width_o="8192" height_o="6553" data-src="https://freight.cargo.site/t/original/i/f52b2775ada1f398219b38f3cd8513dbd754cc7ce5692451a7ed0d234d4781f7/artport13-copy.jpg" data-mid="242294532" border="0"  src="https://freight.cargo.site/w/1000/i/f52b2775ada1f398219b38f3cd8513dbd754cc7ce5692451a7ed0d234d4781f7/artport13-copy.jpg" /&#62;Espresso Martini, 2025Alaska vodka cups, Master Café cans, plastic cups, linoleumPlastic cups of “Alaska” vodka and “Master Café” cans scattered across a blue linoleum floor a reflection on the gap between image and reality, between fantasy and the urban everyday of exhaustion, survival, and an imagined sense of style.
︎︎︎ ︎ ︎︎︎
</description>
		
	</item>
		
		
	<item>
		<title>Spectacular Failure</title>
				
		<link>https://uriweinstein.com/Spectacular-Failure</link>

		<pubDate>Wed, 11 Jun 2025 16:59:36 +0000</pubDate>

		<dc:creator>Uri Weinstein</dc:creator>

		<guid isPermaLink="true">https://uriweinstein.com/Spectacular-Failure</guid>

		<description>
Spectacular Failure
Spectacular Failure (2025)
CCA, Tel Aviv

Curator: Tamar Margalit
&#38;nbsp;&#60;img width="2125" height="1417" width_o="2125" height_o="1417" data-src="https://freight.cargo.site/t/original/i/4e443e6dd654998053005bc8ae6ef905c84c88da10e8590b04ddc8bafe90de66/Spectacular_Failure_018.jpg" data-mid="234474736" border="0"  src="https://freight.cargo.site/w/1000/i/4e443e6dd654998053005bc8ae6ef905c84c88da10e8590b04ddc8bafe90de66/Spectacular_Failure_018.jpg" /&#62;

“Spectacular Failure,” CCA Tel Aviv-Yafo’s annual group exhibition, examines the significant role that failure – losing, coming up short – has played in Israeli art over the past fifty years. At a time when we are bombarded with slogans of 'Total Victory’ and ‘Together We Will Win,’ this preoccupation has become especially poignant. The participating artists don’t abandon the playground-like dichotomy of winning and losing, but rather undermine it from within, by identifying with the losing side.spells "SOS".Text by&#38;nbsp;Tamar Margalit
Installation views by Elad Sarig


&#60;img width="1063" height="1417" width_o="1063" height_o="1417" data-src="https://freight.cargo.site/t/original/i/6fea451a95fb185955b02b63a21f0d5877acb2d3c8597537c3230cb3caa63380/Spectacular_Failure_020.jpg" data-mid="234474739" border="0"  src="https://freight.cargo.site/w/1000/i/6fea451a95fb185955b02b63a21f0d5877acb2d3c8597537c3230cb3caa63380/Spectacular_Failure_020.jpg" /&#62;
&#60;img width="1063" height="1417" width_o="1063" height_o="1417" data-src="https://freight.cargo.site/t/original/i/62595d8e8dba276cb4ff72102653cb1693071e161b7b970009f263f5ec2c76d4/Spectacular_Failure_021.jpg" data-mid="234474740" border="0"  src="https://freight.cargo.site/w/1000/i/62595d8e8dba276cb4ff72102653cb1693071e161b7b970009f263f5ec2c76d4/Spectacular_Failure_021.jpg" /&#62;
Promise (2017)Digital print on a puffer jacket, metal clothes rack.This item of clothing, identified with the security officer, is found in Israel at the entrance to every shopping mall, cinema, school or other large complex. In the work "Promise" it is placed in a slight and ironic disruption: instead of the word "Security" – in Hebrew: AVTAHA – that normally appears on it, the word "Promise" appears – in Herew: HAVTAHA.

&#60;img width="1905" height="2380" width_o="1905" height_o="2380" data-src="https://freight.cargo.site/t/original/i/9a55506f2d588c8d2a6addb3601b8da0078d850fc5a351ac8d4d286852fd9fe8/Spectacular_Failure_0232.jpg" data-mid="234474807" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/9a55506f2d588c8d2a6addb3601b8da0078d850fc5a351ac8d4d286852fd9fe8/Spectacular_Failure_0232.jpg" /&#62;
&#60;img width="5118" height="6397" width_o="5118" height_o="6397" data-src="https://freight.cargo.site/t/original/i/541dbf2da6ad5993a683ff4c80bebe098a8efb3772e351a0a30adc088bca7009/Spectacular_Failure_0233.jpg" data-mid="234474822" border="0"  src="https://freight.cargo.site/w/1000/i/541dbf2da6ad5993a683ff4c80bebe098a8efb3772e351a0a30adc088bca7009/Spectacular_Failure_0233.jpg" /&#62;Incoming Call from Dad (2021)Video, mobile phone and charger, variable dimensions

A mobile phone is connected to a charger, that is connected to the wall. The word “Dad” appears on the screen. The phone rings non-stop, shining like a vertical light fixture on the floor of the space, stuck in a loop: an incoming, continuous, never-ending call.&#38;nbsp;
︎︎︎&#38;nbsp;︎&#38;nbsp;︎︎︎
</description>
		
	</item>
		
		
	<item>
		<title>Hopes Return</title>
				
		<link>https://uriweinstein.com/Hopes-Return</link>

		<pubDate>Thu, 26 Dec 2024 13:37:40 +0000</pubDate>

		<dc:creator>Uri Weinstein</dc:creator>

		<guid isPermaLink="true">https://uriweinstein.com/Hopes-Return</guid>

		<description>
Hopes Return
The World Is Big (2024)
The Lobby Art Space, Tel Aviv

Curator: Orit Mor
&#38;nbsp;&#60;img width="7008" height="4672" width_o="7008" height_o="4672" data-src="https://freight.cargo.site/t/original/i/306a16f3f69c17c3f87dfef50e888d04e13da9b482bdef60596369140ffc7cba/DSC02607.jpg" data-mid="226867488" border="0"  src="https://freight.cargo.site/w/1000/i/306a16f3f69c17c3f87dfef50e888d04e13da9b482bdef60596369140ffc7cba/DSC02607.jpg" /&#62;

At the gallery's entrance, a massive reception desk greets visitors. Behind it is a slender, scarecrow-like figure named "Artzi." His head is an inflatable globe, and his body is clad in an old-fashioned suit. Artzi stares at an old computer screen, looping episodes of the Israeli ‘90s television show Masa Olami (World’s Journey), hosted by Eyal Peled. The program features Peled’s visits to famous cities around the globe, exploring their diverse tourist attractions.
To the right is a panoramic photograph of a Tel Aviv sunset, the kind you will typically find in waiting rooms. To the left is a retro waiting sofa, on which large silver balloons form the sequence “2025”. These balloons, which celebrate the arrival of the new year, are filled with air rather than helium, causing them to sag onto the sofa. A closer look reveals that the number 5 is an inverted 2, and the reflection of numbers on the building’s glass at night creates a mirror image that spells "SOS".Installation views by Tomer Fruchter &#38;amp;&#38;nbsp;Ben Alon︎︎︎ Video documentation


&#60;img width="4672" height="5840" width_o="4672" height_o="5840" data-src="https://freight.cargo.site/t/original/i/e936bc30698265aa8494077e320c6e2daa7eb7dd2cc8b14c16acfa4234f5a187/DSC02624-Edit.jpg" data-mid="226872300" border="0"  src="https://freight.cargo.site/w/1000/i/e936bc30698265aa8494077e320c6e2daa7eb7dd2cc8b14c16acfa4234f5a187/DSC02624-Edit.jpg" /&#62;
&#60;img width="4208" height="5260" width_o="4208" height_o="5260" data-src="https://freight.cargo.site/t/original/i/f30c54127daa58f22b637197307bbc37a6ba0b2ea0da1b26d31889b4b66fef60/DSC02688.jpg" data-mid="226872317" border="0"  src="https://freight.cargo.site/w/1000/i/f30c54127daa58f22b637197307bbc37a6ba0b2ea0da1b26d31889b4b66fef60/DSC02688.jpg" /&#62;
&#60;img width="3652" height="4565" width_o="3652" height_o="4565" data-src="https://freight.cargo.site/t/original/i/8f2c11e3e8ef233e0683674b16b8a70fa0c3891d6f3579c85193989b092ca51d/DSC02731.jpg" data-mid="226872305" border="0"  src="https://freight.cargo.site/w/1000/i/8f2c11e3e8ef233e0683674b16b8a70fa0c3891d6f3579c85193989b092ca51d/DSC02731.jpg" /&#62;
&#60;img width="4672" height="5840" width_o="4672" height_o="5840" data-src="https://freight.cargo.site/t/original/i/2052360118240bc8a16396779a6aeba7e67ab21843e1900840f79ded18328839/DSC02673.jpg" data-mid="226872326" border="0"  src="https://freight.cargo.site/w/1000/i/2052360118240bc8a16396779a6aeba7e67ab21843e1900840f79ded18328839/DSC02673.jpg" /&#62;
&#60;img width="2239" height="2799" width_o="2239" height_o="2799" data-src="https://freight.cargo.site/t/original/i/b7a2dbf69931e655e68f808e4a8fcc5f5d3119c668296363905731d4f806c6c1/DSC02728.jpg" data-mid="226894613" border="0"  src="https://freight.cargo.site/w/1000/i/b7a2dbf69931e655e68f808e4a8fcc5f5d3119c668296363905731d4f806c6c1/DSC02728.jpg" /&#62;
Artzi (2024)mixed media&#60;img width="4617" height="3078" width_o="4617" height_o="3078" data-src="https://freight.cargo.site/t/original/i/8afcefe26740408af40673faed2b1d6b09ffdee4d2048fc0660de284b94742d0/B3N04357-copy-2.jpg" data-mid="226872416" border="0"  src="https://freight.cargo.site/w/1000/i/8afcefe26740408af40673faed2b1d6b09ffdee4d2048fc0660de284b94742d0/B3N04357-copy-2.jpg" /&#62;
The View (2024)Printed on Dibond, 150x60 cm
&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/941a5a5ca513110bc4f4aec91f43108e8c124e236a1eff1e62943b82ff9482fa/B3N04366-copy.jpg" data-mid="226872471" border="0"  src="https://freight.cargo.site/w/1000/i/941a5a5ca513110bc4f4aec91f43108e8c124e236a1eff1e62943b82ff9482fa/B3N04366-copy.jpg" /&#62;
2025 (2024)black leather couch, four silver balloons

&#38;nbsp;
︎︎︎ ︎&#38;nbsp;︎︎︎
</description>
		
	</item>
		
		
	<item>
		<title>Sunflowers</title>
				
		<link>https://uriweinstein.com/Sunflowers</link>

		<pubDate>Sun, 08 Sep 2024 11:47:42 +0000</pubDate>

		<dc:creator>Uri Weinstein</dc:creator>

		<guid isPermaLink="true">https://uriweinstein.com/Sunflowers</guid>

		<description>
Sunflowers
Duo exhibition with Karen Dolev (2024)
Parterre Projects, Tel Aviv

Curator: Roy Brand&#38;nbsp;
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"Sunflowers" is a duo exhibition featuring a selection of drawings, sculptures, and a video work created during the first half of 2024; in the midst of an ongoing disaster, on the brink of an abyss. Karen Dolev and Uri Weinstein, a couple who live together and share a studio, present works that evoke a nostalgic longing for an unfulfilled promise about the future. This longing carries a sense of disappointment, but also embraces the beauty and pleasure inherent in longing itself. Dolev's works are imbued with a nostalgic haze and youthful innocence, while Weinstein dramatizes scenes from popular culture, focusing on moments of magic and embarrassment, with theatrical tension—frozen in time. The exhibition takes its thematic cue from the sunflower, named for its unique heliotropic ability to track the sun’s trajectory across the sky. The works included in the exhibition capture moments in time and explore the passage of time itself. In Hebrew etymology, the term "Hamaniya" (sunflower) incorporates "Nehiya" (longing), suggesting a journey toward the sun, imbued with cyclic passion that fades and returns each day. The yellow, burnt, tanned flowers, adorned with their distinctive animal-like seed teeth, yearn for the sun every day anew. This longing metaphorically parallels the enduring struggle of Sisyphus, persistently rolling his boulder upward to the top of the mountain. Yet, the sun is different every day; and one might even envision Sisyphus as happy.Text by Roy BrandInstallation views by Daniel Hanoch


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Aharon (2024)
Video loop, 1:30 min

The video work “Aharon” presents a close-up of a dachshund dog face. His expressive eyes alternately blink and widen, moving between tiredness, curiosity and sadness. The work is displayed on a four-legged television, next to which rests a bowl made of stainless steel in which the drinking water has been replaced by wax casting.︎︎︎ Video documentation

&#60;img width="5000" height="5000" width_o="5000" height_o="5000" data-src="https://freight.cargo.site/t/original/i/25f1ed3faaf5e37b3fecf0a7f7fc03ba5e5e25c28daab73989f9139166e04aa8/-1.jpg" data-mid="217707577" border="0"  src="https://freight.cargo.site/w/1000/i/25f1ed3faaf5e37b3fecf0a7f7fc03ba5e5e25c28daab73989f9139166e04aa8/-1.jpg" /&#62;
&#60;img width="1316" height="1316" width_o="1316" height_o="1316" data-src="https://freight.cargo.site/t/original/i/05fcd0d454ad85fec49cad402ebacc1240644fb75d797ba10a52dea123aacb00/--2.jpg" data-mid="217707581" border="0"  src="https://freight.cargo.site/w/1000/i/05fcd0d454ad85fec49cad402ebacc1240644fb75d797ba10a52dea123aacb00/--2.jpg" /&#62;

The Thing in the Dark (2024)Oil on C-print, 38x55 cm
The work The Thing in the Dark is a digitally processed image, based on a character from the television series ‘Following the Magical Stories’ starring Itai Segev (2000). In this episode, broadcast every year on Israel’s National Remembrance Day, Segev plays The Thing in the Dark, an imaginary character who visits children’s bedrooms and helps them deal with complex emotional situations.This episode tells the story of Asaf, a young boy dealing with the death of his father in the war.

&#60;img width="1200" height="1500" width_o="1200" height_o="1500" data-src="https://freight.cargo.site/t/original/i/394fdfded434313e7fe88270692b45c831c4cc1d4209b88bf3a5a99626c6d1fb/2_Sunflowers_installation-view_Parterre_2024-DanielHanoch-copy.jpg" data-mid="217702570" border="0"  src="https://freight.cargo.site/w/1000/i/394fdfded434313e7fe88270692b45c831c4cc1d4209b88bf3a5a99626c6d1fb/2_Sunflowers_installation-view_Parterre_2024-DanielHanoch-copy.jpg" /&#62;He Walked Through the Fields, (2022)Papier-mâché, knitted kippah, button-up shirt
"He Walked Through the Fields" a head sculpture, made of yellowish-brown papier-mâché, is placed on top of a loudspeaker with a glass front. The paper is taken from the book "He Walked Through the Fields" by Moshe Shamir (in the first edition), whose hero is Uri Kahana, a patriotic soldier who sacrifices his life for the homeland.

&#60;img width="1200" height="1500" width_o="1200" height_o="1500" data-src="https://freight.cargo.site/t/original/i/9e6d110a4ac9fbc66c1d351fd4b198cf9f201ad8868828645c5f4207cc509184/11_Sunflowers_installation-view_Parterre_2024-DanielHanoch-copy.jpg" data-mid="228625683" border="0"  src="https://freight.cargo.site/w/1000/i/9e6d110a4ac9fbc66c1d351fd4b198cf9f201ad8868828645c5f4207cc509184/11_Sunflowers_installation-view_Parterre_2024-DanielHanoch-copy.jpg" /&#62;
Flowers From Flowers for the Holiday (2024)

In 2021 I presented a space-based audio installation called Flowers for the Holiday in an abandoned furniture store at 48 Shalma St., Tel Aviv. As part of the installation, I have used the electrical cables sticking out of the bare walls, and turned them into sculpted flowers. When the exhibition ended, I "trimmed" these flowers thinking of another incarnation of them, as part of a new work. In this work, I used those flowers, gathered them into a wreath and placed them inside a ceramic vase created by my mother especially for this exhibition.
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Caps &#38;amp; Claps (2024)Papier-mâché and pigment&#38;nbsp;
︎︎︎ ︎&#38;nbsp;︎︎︎
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	<item>
		<title>The Great Hoax</title>
				
		<link>https://uriweinstein.com/The-Great-Hoax</link>

		<pubDate>Sun, 08 Sep 2024 11:25:31 +0000</pubDate>

		<dc:creator>Uri Weinstein</dc:creator>

		<guid isPermaLink="true">https://uriweinstein.com/The-Great-Hoax</guid>

		<description>
The Great Hoax
Evil Root&#38;nbsp;(2024)
Jerusalem Artists' House

Curator: Sally Haftel Naveh
&#38;nbsp;
&#60;img width="5132" height="3666" width_o="5132" height_o="3666" data-src="https://freight.cargo.site/t/original/i/d74104637eff5a6a9fdd176bfa06ce5ba271fbc1376a6407f3d45729c4ca69a1/EvilRoot_1-DanielHanochPhotographer-11-copy.jpg" data-mid="217693894" border="0"  src="https://freight.cargo.site/w/1000/i/d74104637eff5a6a9fdd176bfa06ce5ba271fbc1376a6407f3d45729c4ca69a1/EvilRoot_1-DanielHanochPhotographer-11-copy.jpg" /&#62;
Digital print on PVC, microphone stands, cigars, cigar ashes
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;The Great Hoax alludes to the character of Steve Frankel from the Israeli TV series The Steve Show (2003; produced and directed by Yigal Shilon). The series was inspired by the film The Truman Show, which traces the protagonist's life from infancy to adulthood, a life that is conducted in a cinematic set that simulates a town, populated by dozens of actors and extras, and many hidden cameras that follow and record his every move. While the film seeks to challenge its viewers with questions of ethics and morality, in Shilon's TV series the ethical codes are abandoned entirely. Over the course of three and a half weeks, Frankel, who is convinced that he is playing a leading role in the Israeli telenovela Love around the Corner, is tricked by the television crew and actors on air, becoming the subject of a vulgar prank. In the installation, a face was stretched and distorted almost unrecognizably. The concrete stretching of the face print on the floor is a perfect metaphor for Shilon's hoax, as the Hebrew word for hoax (metiha) also denotes an act of stretching. The facial distortion recalls the anamorphic skull in Hans Holbein the Younger's painting, The Ambassadors (1533), which at first glance seems to be a portrayal of an elliptical plate, and only on closer look and from a very specific angle, the skull is revealed, encrypted, as it were, within the painting, symbolizing life's transience (memento mori, "remember you must die"). Microphone stands are placed on the surface of the flat, distorted image, stretched across the floor of the space, holding cigars whose smoking was cut short, echoing Shilon's trademark. The cigar ash falls on Frankel's face, intensifying, alongside the act of trampling, the sense of humiliation and insult.︎︎︎ Video documentation


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︎︎︎&#38;nbsp;︎ ︎︎︎
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