It seems that one of the hands of the time machine we inhabit is stuck in the 1990s, as though some part of us still needs to be retrieved from that decade.

The artworks installed and activated throughout the CCA, along with the spatial design conceived by Eran Shanny, are caught in a palette of colors, objects, and gestures drawn from those years.

Oz Malul reinstalls, in the very same spot, a work he first presented at the CCA in 2011: a sputtering printer connected to a printhead wiper, a remnant of generations of electronic equipment and technologies turned obsolete. Naama Arad’s fax machine is entangled in a heap of communication cables and waste. Uri Katzenstein’s ski boots are perched on speakers. Dariusz Fodczuk writes a word on the wall in white paint. As it dries and disappears, he writes it again. Mila Levy, tethered to the wall, moves back and forth on rollerblades, listening to the same song on an endless loop.

At the center of the space is the mothership: “The Bartana.” Once a display table in a Yael Bartana exhibition, it was salvaged just before ending up in the Holon municipality dump by Kim Kertesz and Leila Rose Bari. Brought back through an act of imagination and rescue, and crafted by the skillful hands of Ayala Shamir, Michael Cidor and Yonatan Giron, it became the bar standing at the center of the display.

With the support of the Polish Institute and Outset Contemporary Art Fund

On display throughout opening hours. The Performances will take place in varying hours

Free admission, as part of the “To: The Field” festival.

Image: Uri Katzenstein, Remote Boots, 2005