born in South Africa, 1979
lives and works in Berlin and in Tel Aviv

The series of works by Ariel Reichman addresses the relations between an object and physical activity, and examines how the activity changes the essence of the object. What appears at first glance to be a minimalist statue turns out to be a military jumping wall. The red line is transformed from an aesthetic expression into a border marking, and the room instantly fills in the wake of the effort, the sweat and the pain that accompanies the act of jumping. Window blinds are installed in the rear wall of the room, and the viewer is invited to look through them into nowhere. Not only Duchamp's mythological work Given (1946-1966) (which is viewed via a peephole in a door) pervades this work. One also wonders whether what exists behind the wall is readymade in itself.

A tape recorder of an extinct type invites viewers to leave their responses to the exhibition and becomes the future archive of viewers' impressions. The work Dove, which hangs in the entrance to the museum, consists of a porcelain base on which soap is mounted. The soap has an image of a dove, which has faded after being used for washing hands. It raises questions regarding the relationship between the routine activity of washing hands and abstract ideals such as cleanliness or peace, and the connection between these ideals and brands of consumerism. And what about the fragrance? Is it also readymade?

The work Kicking Wall
is sponsored by Ytong Israel