Installation view of my exhibition No king No god No thanks.
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Shlomo Pozner’s exhibition takes this anecdote as an unlikely point of departure. Drawing on
both worldly and religious symbolism—much of it rooted in the culture of his Haredi upbringing in
Jerusalem and the Russian Yeshiva that shaped his early intellectual formation—Pozner develops
a pointed meditation on the visual languages through which authority attempts to manufacture
legitimacy.
His target is not only religious orthodoxy but also the persistent rhetoric of historical continuity
mobilized by many contemporary reactionary movements. These narratives invoke an imagined
past of coherence and grandeur in order to stabilize present political identities. Yet such pasts are
largely fictive: artificial narratives conjured to legitimize exclusionary social positions.
Both contemporary Haredi culture and twenty-first-century conservatism are thus exposed as
relatively recent formations that nonetheless insist on projecting the aura of ancient lineage.
Within this framework, ornament becomes a crucial ideological device. Emblems, stylistic
references, and architectural motifs perform the work of staging continuity where little actually
exists. The gilded decorations that appear throughout the exhibition—often awkward, oversized,
or deliberately crude—echo precisely this theatrical production of authority.
From the text by @rbbln
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Big thanks for @karin_schopp who let me exhibit in her beautiful space @bitteschoendankeschoen
Skopje 2014
Concrete and ready-made, 22 × 14.5 × 18 cm
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In 2010, the Macedonian government launched Skopje 2014, an urban overhaul that reshaped the country’s capital. The city center was filled with neo-baroque buildings, bridges lined with statues, and monumental fountains, most notably a towering figure of Alexander the Great in the main square. The project cost an estimated 500 million euros and added over 20 new buildings and 40 statues to the city.
I’m happy to invite you to my exhibition. The opening will be tomorrow the 13th March
At 18:00
In Schönleinstrasse 27 - 10967 Berlin
Graphic design @stastuchinsky
The gate to the Talmud
stickers on PVC
136x183 cm
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Posner’s work resists a purely polemical reading. In works like “Talmud Gate”, the artist turns to a more subtle exploration of continuity itself. Here, lineage is not theatrically proclaimed but structurally embedded. The motif of the Vilna Gate - which historically served as the facade of the Talmud - functions as a conceptual silver. The classical arch becomes a figure for the entrance to knowledge, a passage towards interpretation and understanding.
From the text written by @rbbln for my exhibition
No King, No God, No thanks
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The opening will take place tomorrow, Friday, March 13th
at 6 p.m. at the Schönleinstrasse 27 - 10967 Berlin
I am pleased to invite you to my upcoming solo exhibition
No king
No god
No thanks
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The opening will take place on Friday, March 13, at 18:00.
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On view: March 14–17 | 15:00–19:00
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Location:
Schönleinstrasse 27
10967 Berlin
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Graphic Design @stastuchinsky
A few years ago, I had the privilege of taking part in a special documentation project by the @claims_conference . I photographed Jaroslawa Lewicki - a true hero who saved Jews and smuggled food into the ghetto - for their book, Stronger Than Fear.
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Jaroslawa is a Righteous Among the Nations, and in the book, she shares her incredible story of courage as a young girl:
‘I was small and agile-a little kid who didn’t really stand out so I smuggled in food and medicine. Sometimes, I carried a backpack; other times, I hid a “delivery” under my dress. The gendarmes never checked me... The hardest part of taking care of them was hiding our fear from them because we didn’t sleep at night either. We knew that we had to be strong for Rysiek and Jurek; we had to save them and give them hope for a future life. And we succeeded!’
If there is no flour, there is no Torah; if there is no Torah, there is no flour’ (Pirkei Avot 3:17)
It stated in the Mishnah that the existence of spirituality and materialism is symbiotic. One does not exist without the other.
Images of my installation “kiss the Torah”, 2025.
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In Haredi society, sacred objects are expected to remain holy in its appearance. Children from the age of three have to learn about the rules, theology and obligations of the Halacha. This contradiction produces funky / holy objects redesigned for pedagogical use.
The work deals with a child’s understanding of theology. I used materials sourced from a Haredi kindergarten supply shop in Jerusalem.
Dimensions: over 1.5 m
Materials: wood, paper, polyester and more…
