though it cannot be seen|2021

hall of mirrors...|2019

standby painter|2018

another planet|2017

the fox and the crow|2017

man with two beards|2016

a journey...|2015

the national park|2015


we are attempting...|2014

the simultaniest|2014

paleosol 80 south|2013

superstition in the pigeon|2013


this is jerusalem, mr. pasolini|2012


hollywood strings|2012

the german village|2011


the inflatables|2009

 arbeit macht frei|2009



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Excerpts from text references:


Smadar Sheffi|The Window-Israeli Art|Israel 2014


The exceptionally broad interpretation given to the term “graduates” helped the success of this exhibit, allowing the inclusion of Amir Yatziv, who graduated from the Bezalel Academy of Art and Design, Jerusalem, six years ago. Yatziv, who works in Berlin, stands out as one of the most interesting Israeli video artists. He avoids clichés when engaging in national and political subjects, but his statements are far from subtle. His video art, “Superstition in the Pigeon” (2013), discusses the complex issue of Jerusalem, and of Jerusalem as home.

A miniature camera was attached to the back of a pigeon (with no harm done to the pigeon, as the Museum’s director told me). In this way, the pigeon, flying homeward, has become a documentarian of the lovely, scarred, burdened Jerusalem landscape, filming in an unusual pace and angle. From above, Jerusalem turns into a mixture of landscapes and layers, its political divisions erased. As a political metaphor, the work is explicit: a natural mechanism directs pigeons to make every effort to return home to their birthplace from wherever they are. Similar to all those who claim Jerusalem would willingly adopt this image of return of the symbol of peace for its home. It became more complex when it turned out that the name was taken from a 1947 study which found that pigeons can develop patterns of superstitious belief, an ironic comment on the entire issue of nationalism and cleaving to the place.


Pawel Sosnowski|Poland 2011


Arbeit Macht Frei sign is the single strongest emblem of Holocaust. There is no other sign or symbol that would represent the horror of genocide in such extent.

In 2006 the sign underwent conservation oversight. 13 spots of rust were identified. For two months of restoration process the sign was replaced with specially manufactured copy. At the very same moment second copy was manufactured in Israel for Israeli museum. Two teams of metal workers had no awareness of each others work and had no contact.

Israeli artist Amir Yatziv in short documentary compares statements of both groups. Dialogue created by artists shows that essential to the process was the case of inverted letter B. As a result emerges an intriguing story of people who never knew each other, and because of lack of pathos in narration the final effect enhances the horror of this sign.

Second part of the exhibition consist of several photographs. They are very large blow ups of microscopic photos of spots of rust on the sign. Photos were made during conservation process and now are enlarged by 1000 times they loose character of document. They become anonymous compositions of colour. Spectators at the beginning may have impression that they are facing innocent fantasy of the author. The content of the film breaks that impression and forces to focus on ones feelings towards both attractive image and its horrible context. Artist by breaking the stereotype in which topic of holocaust is pictured brings The Symbol form history into today reality, gives it contemporary life, inducts participation in viewer, expands the horror.

The ability of the artist to catch glimpses of simple and presumably banal events, analysing them and redefining in form of art is undoubtedly impressing. It appears that Amir Yatziv created one of the most important works about Holocaust that emerged recently.