http://www.nettalaufer.com/cells daily 0.75 2019-05-23 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1462815536101-FSC1PSWHTZUE3BNETTED/Parrot.jpg Cells - Parrot I 14״x25״ Cells - From their beginnings, zoos exhibited animals from distant places to demonstrate the superiority and power of their culture which had acquired these animals through trade or conquest. In “Cells” I photographed the habitats of zoo animals while digitally removing the animals. What remained shows the artificial nature of these “homes”, designed ostensibly for the animal’s comfort, but actuality showcasing our domination of them. https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1462815536101-FSC1PSWHTZUE3BNETTED/Parrot.jpg Cells - Parrot I 14״x25״ Cells - From their beginnings, zoos exhibited animals from distant places to demonstrate the superiority and power of their culture which had acquired these animals through trade or conquest. In “Cells” I photographed the habitats of zoo animals while digitally removing the animals. What remained shows the artificial nature of these “homes”, designed ostensibly for the animal’s comfort, but actuality showcasing our domination of them. https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1462815534805-TNX9S5J2UGMEJJB1BHYS/Ant.jpg Cells - Bull Ant 25״x14 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1462815534756-DVIQF666MV08DOLSUXXA/Baterfly.jpg Cells - Butterfly 25״x14 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1462815535151-VTVYD134JWQGOJHUSPDG/batprint.jpg Cells - Bat 25״x14 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1462815535536-Q2IKSJD7JZGHBSQ55M2M/Gerbil.jpg Cells - Gerbil 25״x14 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1462815536030-VMAW9JK4IYFWSJKYZXTZ/Monkey.jpg Cells - Monkey 25״x14 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1462815586298-852FHMF39RI5IQ1W9ZHV/Lizard.jpg Cells - Lizard 25״x14 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1462815536571-GZQJ3TEBYW1B6ZF5IAGN/Snak.jpg Cells - Snake 14״x25״ http://www.nettalaufer.com/black-beauty daily 0.75 2023-10-18 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1462807147178-188FSU3JADB84CYC8W0M/2Cat.jpg Black Beauty - Cat I 18”X25.5” Black Beauty evokes aesthetic and ethical questions arising from use of “Curing Genetics” in the breeding of animals. In this postmodern world, animals are commodities like any other commodity. Humans are no longer satisfied with the exotic and mysterious creations of nature, and seek to box nature into the human environment by redesigning and manipulating it in search of the ideal animal. I photographed these genetically modified animals on a white background to only after change it through digital manipulation to black which serves to accentuate the disappearance of the animal features and further emphasizes their objectification. https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1462807147178-188FSU3JADB84CYC8W0M/2Cat.jpg Black Beauty - Cat I 18”X25.5” Black Beauty evokes aesthetic and ethical questions arising from use of “Curing Genetics” in the breeding of animals. In this postmodern world, animals are commodities like any other commodity. Humans are no longer satisfied with the exotic and mysterious creations of nature, and seek to box nature into the human environment by redesigning and manipulating it in search of the ideal animal. I photographed these genetically modified animals on a white background to only after change it through digital manipulation to black which serves to accentuate the disappearance of the animal features and further emphasizes their objectification. https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1462807147217-7X1QZJ0JDTUMIS0D8UF8/1Dog.jpg Black Beauty - Dog 16”X24” https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1463067187721-0TNLEIUX2B12JAXAFHTM/mouse.jpg Black Beauty - Mouse 6”X5" https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1462807514637-TQOP6I3QJ3494IQAYPTO/Black-Fish.jpg Black Beauty - Fish 6”x4.5” https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1463067187697-DPLZLQHLWYYMR63LVGE0/Rabbit.jpg Black Beauty - Rabbit 13”X9” https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1462807148106-R25CPZ7AAAFJDFAAOOS1/5Rooster.jpg Black Beauty - Rooster 16.5”X20" https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1462807148832-AU9I8F3M27WP3WG5GSMZ/6Cow.jpg Black Beauty - Cow 87”X60” http://www.nettalaufer.com/white-gold daily 0.75 2016-05-17 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1463065000174-84LG1JLIMVMQJI8OTUTC/_MG_7938+180+print+final.jpg White Gold In 'White Gold' I photographed 150 ivory artifacts from post-colonial Congo in their original wrappings. Their story is part of a complex narrative that includes power relationships, hierarchy, slavery and the destructive consumption that has led the Elephant and Rhinoceros populations to the verge of extinction in it's quest for ivory. The unopened wrappings became the ivory’s sarcophagus, symbolizing on the one hand the death involved in obtaining the ivory, while at the same time, presenting them as objects of desire.   https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1463065000174-84LG1JLIMVMQJI8OTUTC/_MG_7938+180+print+final.jpg White Gold In 'White Gold' I photographed 150 ivory artifacts from post-colonial Congo in their original wrappings. Their story is part of a complex narrative that includes power relationships, hierarchy, slavery and the destructive consumption that has led the Elephant and Rhinoceros populations to the verge of extinction in it's quest for ivory. The unopened wrappings became the ivory’s sarcophagus, symbolizing on the one hand the death involved in obtaining the ivory, while at the same time, presenting them as objects of desire.   https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1463065000157-IZAZSLOMQDL1GQEOWP3Z/_MG_7941+180+print+final.jpg White Gold https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1463065000552-C5DST7O69XCN3DNZ6V32/_MG_8004+180+print++final.jpg White Gold https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1463065000761-01BRSR9YLFXUKV1L5686/_MG_8040+180+print+final.jpg White Gold https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1463065000782-ZMV02E9U84C5TPK0H0KC/_MG_8075+180+print+final.jpg White Gold https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1463065001008-CC7A0JR436XS1MV3AQLY/_MG_8081+180+print+final.jpg White Gold https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1463065001018-D57A6XFJ3QG170N2ZTWE/_MG_8150+180+print+final.jpg White Gold https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1463065001208-QQUPDTTEWD16OZ8WH3FT/_MG_8187.jpg White Gold https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1463065001302-ZREKJW9P6ZI36WMPUQ11/_MG_8231.jpg White Gold http://www.nettalaufer.com/25ft daily 0.75 2025-04-20 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1463433148312-CG5ZETH0UVSWYGXTPL6R/25ft_4.jpg 25ft - West Bank,الضفة الغربية,הגדה המערבית I 33"x23" I "44"x64 I " Digitally joined surveillance footage 25ft is a video installation displayed together with fourteen still photographs, appropriated and collected from Israeli army surveillance cameras, monitoring activity along the separation wall with Palestine. The work simulates the position of the soldier controlling the infrared camera, focusing only on animals and the landscape in the West Bank. Both the documented presence of wild animals and the absent image of human beings become visible through the tracking movement of the camera, military radio exchange, the fence and signs of urban structures, of which their inhabitants remain questioned. https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1463433148312-CG5ZETH0UVSWYGXTPL6R/25ft_4.jpg 25ft - West Bank,الضفة الغربية,הגדה המערבית I 33"x23" I "44"x64 I " Digitally joined surveillance footage 25ft is a video installation displayed together with fourteen still photographs, appropriated and collected from Israeli army surveillance cameras, monitoring activity along the separation wall with Palestine. The work simulates the position of the soldier controlling the infrared camera, focusing only on animals and the landscape in the West Bank. Both the documented presence of wild animals and the absent image of human beings become visible through the tracking movement of the camera, military radio exchange, the fence and signs of urban structures, of which their inhabitants remain questioned. https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1468603048750-KG9SKVMD59EZ7PW2RMQ7/dog.jpg 25ft - Dog, كلب, כלב 23"x15 | 60"x40" https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1468603065579-O9QQ06D7UQDCCP55JQW3/fox_2.jpg 25ft - Fox, ثعلب, שועל 23"x15 | 60"x40" https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1468602968925-HS25JGCHOF3M9VGD0JKH/Deer.jpg 25ft - Gazelle, أيل ,צבי 23"x15 | 60"x40" https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1468603298865-RJ048GBZSMD9I4A894CL/porcupine_Print.jpg 25ft - Porcupine, النيص, דורבן 23"x15 | 60"x37.5" https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1468603008533-KH73HAPK3QUMJ0YJ07N8/Wild+boar.jpg 25ft - Wild boar, خنزير بري, חזיר בר 23"x15 | 60"x40" https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1468602990016-3PAFA2W95ZPMLNW44M4S/fox.jpg 25ft - Fox II, 2 ثعلب ٢,שועל 23"x15 | 60"x40" https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1468602942806-RW0ITR08TZY1DIUUKWYU/leopard.jpg 25ft - Leopard, فهد, נמר 23"x15 | 60"x40" https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1468603329413-COF8PRBMLENYZUEJCFL4/dog_tree.jpg 25ft - Dog II, الكلب ٢, כלב 2 23"x15 | 60"x40" https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1468604480143-DZ1BYG2WC89GM3TUYGRL/Wild+boar_2+.jpg 25ft - Wild boar II, 2 خنزير بري ٢, חזיר בר 23"x15 | 60"x40" https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1687510934407-LG0CPVIZCAW2HCK7B81R/nettalaufer_10.jpg 25ft - Photos: Tal Nisim / Inga Gallery https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1687510917695-4KI1XUWYJJ01CKYAJTFV/_B0A0481-1+%281%29.jpg 25ft - Photos: Tal Nisim / Inga Gallery https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1687510854323-E2YPKO6DE4VZE1WC2GCB/1.jpg 25ft - Land of Milk and Honey: The Construction of Plenitude, Venice Architecture Biennale https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1687510838601-VGPY93UYCBZN1IMM1TGL/5.jpeg 25ft - Photos: Tom Swoboda / Terytorium, Wrocław Contemporary Museum http://www.nettalaufer.com/apoptosis daily 0.75 2020-04-29 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1577365622586-4HTSYPG43WNG4IVXZ6UE/IMG_9405-Edit.jpg Apoptosis - Tournefort's Gundelia,المغزل من العجلة ,עכובית הגלגל I 60”X40” UPCOMING "Apoptosis" describes the cell death process, a natural part of an organism's growth or development. Laufer's botanical research seeks to explore the impact of the Israeli West Bank Barrier on the flora of the area. https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1577365622586-4HTSYPG43WNG4IVXZ6UE/IMG_9405-Edit.jpg Apoptosis - Tournefort's Gundelia,المغزل من العجلة ,עכובית הגלגל I 60”X40” UPCOMING "Apoptosis" describes the cell death process, a natural part of an organism's growth or development. Laufer's botanical research seeks to explore the impact of the Israeli West Bank Barrier on the flora of the area. https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1577363779513-BEPXPSPKC6KILDVHENXS/image-asset.jpeg Apoptosis - Tournefort's gundelia , المغزل من العجلة , עכובית הגלגל https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1577364209997-UCQNZ9JWCFZRQVXB8TVC/IMG_9436.jpg Apoptosis - Sage, قويضة ,מרווה I 60”X40” https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1577364262538-LUH7QF83RJNRHLQY0SJK/IMG_9496.jpg Apoptosis - Syrian oregano, مردقوش سوري ,אזוב מצוי I 60”X40” http://www.nettalaufer.com/35cm daily 0.75 2024-05-03 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1570261795596-3VMJ097486NC6T92Z4NF/___%D7%A9_%C2%A3_%D7%A5___%D7%A9__%D7%A1_%D7%A3_%D7%A9___%C2%AC______%D7%A1_%C2%BF_%D7%A9_%C2%AC__%D7%A0_%D7%A6_%D7%A5_%C2%BF__%D7%A0_%D7%A5_%C2%BF___%D7%A9_%C2%AC_%2841%29.jpg 35cm - Hyena, ضبع ,צבוע I 70x50 cm, Archival pigment print, 2017-18 35cm is a series of twenty-four images that focuses on the effects caused by the “Lamed” passageways that are built throughout the wall and were made for the use of small animals, allowing them to pass from one side to the other. The footage is appropriated from motion-sensitive cameras that record each occurring movement of the animals. “Lamed” passageways as they are designed,(ל) ” draw their name from the Hebrew letter “Lamed by its phonetic shape. The wall has dramatically changed the ecological system of the area. By dividing the natural habitat of animals in two, it prevents them from moving in their usual tracks, or reaching their natural food and water sources. The “Lamed” passageways did not change the primal and allegorical relations between predator and prey, but did, however, become the location in which the act of killing takes place. https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1570261795596-3VMJ097486NC6T92Z4NF/___%D7%A9_%C2%A3_%D7%A5___%D7%A9__%D7%A1_%D7%A3_%D7%A9___%C2%AC______%D7%A1_%C2%BF_%D7%A9_%C2%AC__%D7%A0_%D7%A6_%D7%A5_%C2%BF__%D7%A0_%D7%A5_%C2%BF___%D7%A9_%C2%AC_%2841%29.jpg 35cm - Hyena, ضبع ,צבוע I 70x50 cm, Archival pigment print, 2017-18 35cm is a series of twenty-four images that focuses on the effects caused by the “Lamed” passageways that are built throughout the wall and were made for the use of small animals, allowing them to pass from one side to the other. The footage is appropriated from motion-sensitive cameras that record each occurring movement of the animals. “Lamed” passageways as they are designed,(ל) ” draw their name from the Hebrew letter “Lamed by its phonetic shape. The wall has dramatically changed the ecological system of the area. By dividing the natural habitat of animals in two, it prevents them from moving in their usual tracks, or reaching their natural food and water sources. The “Lamed” passageways did not change the primal and allegorical relations between predator and prey, but did, however, become the location in which the act of killing takes place. https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1570261900416-717AFQD4HYO2ECCUBYLZ/___%D7%A9_%C2%A3_%D7%A5___%D7%A9__%D7%A1_%D7%A3_%D7%A9___%C2%AC______%D7%A1_%C2%BF_%D7%A9_%C2%AC__%D7%A0_%D7%A6_%D7%A5_%C2%BF__%D7%A0_%D7%A5_%C2%BF___%D7%A9_%C2%AC_%28405%29.jpg 35cm - Wild boar, خنزير بري, חזיר בר I 70x50 cm, Archival pigment print, 2017-18 17"x12" https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1570261976975-JV6ZTJUF9WBBT5LX72FW/___%D7%A9_%C2%A3_%D7%A5___%D7%A9__%D7%A1_%D7%A3_%D7%A9___%C2%AC______%D7%A1_%C2%BF_%D7%A9_%C2%AC__%D7%A0_%D7%A6_%D7%A5_%C2%BF__%D7%A0_%D7%A5_%C2%BF___%D7%A9_%C2%AC_%28613%29.jpg 35cm - Gazelle, أيل ,צבי I 70x50 cm, Archival pigment print, 2017-18 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1570261901850-XVIUYSIGZLM7EZN7WTC4/___%D7%A9_%C2%A3_%D7%A5___%D7%A9__%D7%A1_%D7%A3_%D7%A9___%C2%AC______%D7%A1_%C2%BF_%D7%A9_%C2%AC__%D7%A0_%D7%A6_%D7%A5_%C2%BF__%D7%A0_%D7%A5_%C2%BF___%D7%A9_%C2%AC_%28396%29.jpg 35cm - Wild boar II, 2 خنزير بري ٢, חזיר בר I 70x50 cm, Archival pigment print, 2017-18 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1687510335649-XBGG7UW3UMHEPV1PCH5I/35cm_1.jpg 35cm - Alectoris, إلكتوريس, חוגלה I 70x50 cm, Archival pigment print, 2017-18 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1687510341015-5BWDQ4HLP1VHLGCSZ0JN/35cm_2.jpg 35cm - Porcupine, النيص, דורבן I 70x50 cm, Archival pigment print, 2017-18 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1687510343773-7FB6XP4LYYB2AF9TKRVF/35cm_3.jpg 35cm - Cat, قط , חתול I 70x50 cm, Archival pigment print, 2017-18 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1687510381826-UVP3SCSFA9TRH7W7K87V/35cm_5.jpg 35cm - Jackal, ابن آوى ,תן I 70x50 cm, Archival pigment print, 2017-18 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1687510705143-6U2A050TPJ7S6W4SS6AS/1.jpeg 35cm - Photos: Tom Swoboda / Terytorium, Wrocław Contemporary Museum https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1687510736195-ZMTK8ZWBP74TD50NT92R/2.jpeg 35cm - Photos: Tom Swoboda / Terytorium, Wrocław Contemporary Museum https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1687510744967-ZAEUEZIY0F2UJIPGUV9M/3.jpeg 35cm - Photos: Tom Swoboda / Terytorium, Wrocław Contemporary Museum https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1687510648959-FI015DT0U8J7ZNALEK6V/nettalaufer_02+%281%29.jpg 35cm - Photos: Tal Nisim / Inga Gallery https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1687511838616-5MWWW83SEUPG254ST08Z/nettalaufer_00.jpg 35cm - Photos: Tal Nisim / Inga Gallery http://www.nettalaufer.com/365 daily 0.75 2025-05-27 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1687506975168-EXEC9MRA4Q3GZPXBVLNF/nettalaufer_04+%282%29.jpg 365 - Inga Gallery, 2022 I Photos: Tal Nisim 365 is a wall drawing painted with gouache and assembled with, push pins and white cotton strings. It is based on a series of digital photographs extracted from satellite footage and data that transmit a yearlong movement of one Hyena who lives between Israel and the West Bank Barrier. The animal became a victim of violence on Palestinian territory and therefore was rescued by the Israel Defense Forces (IDF). After its recovery, the Hyena was released with a tracking transmitter. This incident reveals how animal protection transforms into a form of control and highlights the way in which the animalistic is reduced into statistics - a visual abstraction of characters, symbols, lines, and dots. https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1687506975168-EXEC9MRA4Q3GZPXBVLNF/nettalaufer_04+%282%29.jpg 365 - Inga Gallery, 2022 I Photos: Tal Nisim 365 is a wall drawing painted with gouache and assembled with, push pins and white cotton strings. It is based on a series of digital photographs extracted from satellite footage and data that transmit a yearlong movement of one Hyena who lives between Israel and the West Bank Barrier. The animal became a victim of violence on Palestinian territory and therefore was rescued by the Israel Defense Forces (IDF). After its recovery, the Hyena was released with a tracking transmitter. This incident reveals how animal protection transforms into a form of control and highlights the way in which the animalistic is reduced into statistics - a visual abstraction of characters, symbols, lines, and dots. https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1687507007750-4GYR74E2W37UMX5YA72H/nettalaufer_05.jpg 365 - Photos: Tal Nisim / Inga Gallery https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1611336555827-XWDIGFGERFR5DWSSCSGD/365.jpeg 365 - Photos: Tom Swoboda / Terytorium, Wrocław Contemporary Museum, 2021 http://www.nettalaufer.com/the-sculpture-garden daily 0.75 2025-05-27 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1687513061389-CQOHIP599GG98AFSYD3T/Donald+Judd.jpg The Sculpture Garden - The Sculpture Garden: Donald Judd, Archival pigment print, 2023 In the summer of 2022, I positioned surveillance cameras near geometric, conceptual sculptures and captured the nighttime movement of the wild animals against this sculptural background. Reflecting my interest in power dynamics between animals and humans, this project highlights the tension between what is undomesticated and what is domesticated, structured, and cultural. https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1687512170825-UMEOJVS8DES5ZV0TK85C/%D7%93%D7%99%D7%95%D7%9F.jpg The Sculpture Garden https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1687513061389-CQOHIP599GG98AFSYD3T/Donald+Judd.jpg The Sculpture Garden - The Sculpture Garden: Donald Judd, Archival pigment print, 2023 In the summer of 2022, I positioned surveillance cameras near geometric, conceptual sculptures and captured the nighttime movement of the wild animals against this sculptural background. Reflecting my interest in power dynamics between animals and humans, this project highlights the tension between what is undomesticated and what is domesticated, structured, and cultural. https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1687513055824-GCG126N73427ZX6K503X/Mark+Dion.jpg The Sculpture Garden - The Sculpture Garden: Mark Dion, Archival pigment print, 2023 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1687513049268-BQLHDR7FRKKGBN574EYY/6.jpg The Sculpture Garden - The Sculpture Garden: Michael Gross, Archival pigment print, 2023 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1687512415121-GQZXA6XYI18HAPDPF9EG/2.jpg The Sculpture Garden - The Sculpture Garden: Shrine of the Book, Archival pigment print, 2023 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1687512495330-GLIV75SEW252559S2CHG/%D7%91%D7%A0%D7%99+%D7%90%D7%A4%D7%A8%D7%AA.jpg The Sculpture Garden - The Sculpture Garden: Benni Efrat, Archival pigment print, 2023 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1687514356220-DKUT3CK0QQCR4P01S3DH/Facing+the+Wild-167.jpg The Sculpture Garden - Group exhibition - Facing the Wild, The Israel Museum, Jerusalem, 2023 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1687512903359-ONR2D54KECGR6CP9UNP5/Facing+the+Wild-154+%281%29.jpg The Sculpture Garden - Group exhibition - Facing the Wild, The Israel Museum, Jerusalem, 2023 http://www.nettalaufer.com/new-gallery-1 daily 0.75 2025-05-27 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1714472094916-12KFE5DFAK6LGJNST3SF/Netta+Laufer_010.jpg Dactylopius opuntiae - Dactylopius opuntiae, 2023 Contaminated cactus, terrarium A sizeable sabra cactus slowly decays in the center of the gallery. It is not the vitrine and lack of daylight killing it but the attack of a scale insect. This insect – the prickly pear cochineal (Dactylopius opuntiae) – feeds exclusively on sabra plants and secretes toxins that form a white layer on the sabra pads. Contaminated sabras turn yellow and eventually atrophy and drop. Originating in Mexico, the cactus arrived in our area in the 18th century. It quickly became a symbol of Palestinian agriculture, where it was used as a natural border separating land parcels. Since the 1930s, the term “tzabar” was used to describe the first generation of Jews born in the country and to symbolize the new Jew, the native Israeli. After 1948, sabra became the symbol of the Palestinian catastrophe. Sabra bushes remained almost the only testimony of hundreds of villages whose residents fled or were expelled during the war. A biological-current affairs issue joins this complicated symbolic history: in the summer of 2013, sabra bushes contaminated with the cochineal were found in Metula, from where they spread all over the north, threatening to kill the sabra plants in the Galilee. One hypothesis holds that the cochineal came across the Lebanese border (similar contaminates were found in southern Lebanon), perhaps due to an import of sabra plants with the “wrong” cochineal. (A different scale insect, Dactylopius coccus, has been used for hundreds of years to produce the valuable carmine red pigment.) The Lebanese, in contrast, blamed Israel for spreading the contaminant from “northern Palestine.” In the following years, researchers at Volcani Institute tried to contain the contamination with various biological agents, including the distribution of thousands of Mexican beetles, the cochineal’s natural enemies. Written by: Mira Lapidot https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1714472094916-12KFE5DFAK6LGJNST3SF/Netta+Laufer_010.jpg Dactylopius opuntiae - Dactylopius opuntiae, 2023 Contaminated cactus, terrarium A sizeable sabra cactus slowly decays in the center of the gallery. It is not the vitrine and lack of daylight killing it but the attack of a scale insect. This insect – the prickly pear cochineal (Dactylopius opuntiae) – feeds exclusively on sabra plants and secretes toxins that form a white layer on the sabra pads. Contaminated sabras turn yellow and eventually atrophy and drop. Originating in Mexico, the cactus arrived in our area in the 18th century. It quickly became a symbol of Palestinian agriculture, where it was used as a natural border separating land parcels. Since the 1930s, the term “tzabar” was used to describe the first generation of Jews born in the country and to symbolize the new Jew, the native Israeli. After 1948, sabra became the symbol of the Palestinian catastrophe. Sabra bushes remained almost the only testimony of hundreds of villages whose residents fled or were expelled during the war. A biological-current affairs issue joins this complicated symbolic history: in the summer of 2013, sabra bushes contaminated with the cochineal were found in Metula, from where they spread all over the north, threatening to kill the sabra plants in the Galilee. One hypothesis holds that the cochineal came across the Lebanese border (similar contaminates were found in southern Lebanon), perhaps due to an import of sabra plants with the “wrong” cochineal. (A different scale insect, Dactylopius coccus, has been used for hundreds of years to produce the valuable carmine red pigment.) The Lebanese, in contrast, blamed Israel for spreading the contaminant from “northern Palestine.” In the following years, researchers at Volcani Institute tried to contain the contamination with various biological agents, including the distribution of thousands of Mexican beetles, the cochineal’s natural enemies. Written by: Mira Lapidot https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1748364188066-4UYJRQC2O2C7OH1IXDSL/Sabrar_003.jpg Dactylopius opuntiae https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1748364235414-XJ83T6IRBKJOFAJQWKDB/Sabra_001.jpg Dactylopius opuntiae http://www.nettalaufer.com/elijahs-rocks daily 0.75 2025-05-27 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1748365106441-P8MWTIHSSRAHY5SJIK2B/Small_final_retouch.jpg Elijah’s Rocks - Elijah’s Rocks, Archival pigment print, 2023 Elijah’s Rocks, Archival pigment print, 2023 Elijah’s Rocks is a large-scale thermal portrait of the geological composition of Wadi Siach's walls, in which harder black rock is encased in soft, white sediment. The recording of the energy emitted from the rocks presents the surface as a radiant image, merging the geology and inter-rock separation with the mystique associated with the site. Written by: Dan Handel https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1748365106441-P8MWTIHSSRAHY5SJIK2B/Small_final_retouch.jpg Elijah’s Rocks - Elijah’s Rocks, Archival pigment print, 2023 Elijah’s Rocks, Archival pigment print, 2023 Elijah’s Rocks is a large-scale thermal portrait of the geological composition of Wadi Siach's walls, in which harder black rock is encased in soft, white sediment. The recording of the energy emitted from the rocks presents the surface as a radiant image, merging the geology and inter-rock separation with the mystique associated with the site. Written by: Dan Handel https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1714742213367-XWTE9JM0JQLPGW9A3UFA/_DOR7860.jpg Elijah’s Rocks - Elijah’s Rocks, Archival pigment print, 2023 http://www.nettalaufer.com/ashalim daily 0.75 2025-05-27 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1748367537402-S2L9LOJU6VR42YTARWHE/Ashalim+%281%29.jpeg Ashalim - Ashalim, 2023 video, 6:46 min drone camera A bizarre sight appears before travelers on Road 40 going from Beersheba to Mitzpe Ramon, like something from a sci-fi movie: in the heart of the desert stands a tall tower, at its top – bright, blinding light. The tower is part of the Ashalim thermo-solar plant for renewable energy. Surrounding it are hundreds of large mirrors that direct the sun’s rays to the enormous water tank at its top. A few years after the tower was erected, it transpired that the plant was not economically efficient and caused unexpected ecological damage. Now, the tower remains standing, blazing evidence of human failure. The video Ashalim is the first work Laufer created with a drone camera. The drone rises to the sky and glides slowly, the wind whispering in its flight. A few minutes into the video, we understand that the drone is heading toward the tower and a sense of dread seeps into the glorious desert landscape. Like a moth drawn to fire or Icarus, who dared fly too close to the sun, the drone approaches the terrible light and disappears into the glaring white. Unlike most of Laufer’s works, Ashalim was shot in daylight, in color, and has no animals. The video is shot from a bird’s eye view – mimicking one of the thousands of birds who died from the scorching heat produced by the plant. Beside the video is a series of still photographs shot with a thermal camera that translates the heat levels into bold, saturated colors. written by: Mira Lapidot https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1748367537402-S2L9LOJU6VR42YTARWHE/Ashalim+%281%29.jpeg Ashalim - Ashalim, 2023 video, 6:46 min drone camera A bizarre sight appears before travelers on Road 40 going from Beersheba to Mitzpe Ramon, like something from a sci-fi movie: in the heart of the desert stands a tall tower, at its top – bright, blinding light. The tower is part of the Ashalim thermo-solar plant for renewable energy. Surrounding it are hundreds of large mirrors that direct the sun’s rays to the enormous water tank at its top. A few years after the tower was erected, it transpired that the plant was not economically efficient and caused unexpected ecological damage. Now, the tower remains standing, blazing evidence of human failure. The video Ashalim is the first work Laufer created with a drone camera. The drone rises to the sky and glides slowly, the wind whispering in its flight. A few minutes into the video, we understand that the drone is heading toward the tower and a sense of dread seeps into the glorious desert landscape. Like a moth drawn to fire or Icarus, who dared fly too close to the sun, the drone approaches the terrible light and disappears into the glaring white. Unlike most of Laufer’s works, Ashalim was shot in daylight, in color, and has no animals. The video is shot from a bird’s eye view – mimicking one of the thousands of birds who died from the scorching heat produced by the plant. Beside the video is a series of still photographs shot with a thermal camera that translates the heat levels into bold, saturated colors. written by: Mira Lapidot https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1737140499875-6WI2BK82O8ZO6BRG4TK3/Netta+Laufer_004.jpg Ashalim https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1737140372819-GG05XUNT5DBHOS9AEDVB/Ashalim_5..jpg Ashalim - 2023, Ashalim (Heat), 2023, thermal camera; 5 archival inkjet prints image: 12x17 cm frame: 45×60 cm https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1737140452665-7UTA9LHH4AGW20FUZOPC/Ashalim_3..jpg Ashalim https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1737140470294-L7TVH8EH0NYCZ3YZ8IGX/Ashalim_1.jpg Ashalim https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1737140460507-001BLQ0IDN3WG4274HY5/Ashalim_2..jpg Ashalim https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1737140475719-QQSCXIOB5P69HBMR7LB6/Ashalim_4..jpg Ashalim https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1737140510060-2BJQ3VALG16CRBBBP0U4/Netta+Laufer_005.jpg Ashalim http://www.nettalaufer.com/ruhama-badlands daily 0.75 2025-05-27 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1737141132713-YJVIKXD1DPUUQDEL8ET0/%D7%91%D7%AA%D7%A8%D7%95%D7%A0%D7%95%D7%AA+%D7%A8%D7%95%D7%97%D7%9E%D7%94.jpg Ruhama Badlands - Ruhama Badlands, 2023 Infrared surveillance camera Several days after October 7, Laufer drove south, intending to create a documentary project. Stopping at the roadside, she noticed animal tracks and droppings. Like a scout, she followed them, her footsteps echoing the sounds of bombardments. The way led her to Ruhama Badlands, a nature reserve situated at the highest point in the area overlooking Gaza, and there she hid a security camera. Every couple of weeks, she returned to collect the tapes. Among the thousands of seconds recorded, Laufer found a single second, a “decisive moment” – one frame capturing a fox, with its face to the camera, its eyes shining white )from the infrared reflection(. In the background, on the pitch-black horizon, a flash of white light, whose rays disappear into the clouds above, the imprint of a bomb dropped in Gaza. This photograph most likely has a “twin” in the form of a photo of that same bombing from the airplane, an overview from up high, proof of “mission accomplished,” an imprint of success. Laufer suggests another, more complex, viewpoint: her photograph unites the big drama of the war for life or death with another fight for survival, that of the fox, in its everyday existence in a deserted and dangerous nature reserve. written by: Mira Lapidot https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1737141132713-YJVIKXD1DPUUQDEL8ET0/%D7%91%D7%AA%D7%A8%D7%95%D7%A0%D7%95%D7%AA+%D7%A8%D7%95%D7%97%D7%9E%D7%94.jpg Ruhama Badlands - Ruhama Badlands, 2023 Infrared surveillance camera Several days after October 7, Laufer drove south, intending to create a documentary project. Stopping at the roadside, she noticed animal tracks and droppings. Like a scout, she followed them, her footsteps echoing the sounds of bombardments. The way led her to Ruhama Badlands, a nature reserve situated at the highest point in the area overlooking Gaza, and there she hid a security camera. Every couple of weeks, she returned to collect the tapes. Among the thousands of seconds recorded, Laufer found a single second, a “decisive moment” – one frame capturing a fox, with its face to the camera, its eyes shining white )from the infrared reflection(. In the background, on the pitch-black horizon, a flash of white light, whose rays disappear into the clouds above, the imprint of a bomb dropped in Gaza. This photograph most likely has a “twin” in the form of a photo of that same bombing from the airplane, an overview from up high, proof of “mission accomplished,” an imprint of success. Laufer suggests another, more complex, viewpoint: her photograph unites the big drama of the war for life or death with another fight for survival, that of the fox, in its everyday existence in a deserted and dangerous nature reserve. written by: Mira Lapidot https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1737141391719-LIMYHKL61QDE8CMNY3ZC/Netta+Laufer_006.jpg Ruhama Badlands http://www.nettalaufer.com/blog-wells daily 0.75 2025-05-09 http://www.nettalaufer.com/blog-wells/2016/3/7/interest-cjjkl monthly 0.5 2016-03-07 https://images.squarespace-cdn.com/content/v1/56d9b7181d07c0cd16df5f11/1457374570182-SPBJDFD85JVBM0KK3FDR/image-asset.jpeg Blog - Interest http://www.nettalaufer.com/blog-wells/2016/3/4/heritage-m84hk monthly 0.5 2016-03-07 http://www.nettalaufer.com/blog-wells/2016/3/7/gratitude-exjl9 monthly 0.5 2016-03-07 https://images.squarespace-cdn.com/content/v1/56d9b7181d07c0cd16df5f11/1457370099006-DFIU2TVMYNO1SVOG9IQY/blog-82.65.365_PS2.jpg Blog - Gratitude https://images.squarespace-cdn.com/content/v1/56d9b7181d07c0cd16df5f11/1457370099081-X60SP2T1ZK52SMKCG5PF/blog-82.65.80_PS2.jpg Blog - Gratitude http://www.nettalaufer.com/blog-wells/2016/3/4/passant-aa72d monthly 0.5 2016-03-07 http://www.nettalaufer.com/blog-wells/2016/3/4/oeuvre-pcjkp monthly 0.5 2016-03-07 http://www.nettalaufer.com/mount-herzl daily 0.75 2025-05-27 https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1748366228334-SEZ85ONAPFN5GOAHVKDV/Screenshot+2024-01-15+at+5.48.18+PM.png Mount Herzl - Mount Herzl, 2022 Two-channel video, 20:24 min Infrared surveillance camera The video Mount Herzl takes place in the military cemetery of the fallen soldiers in the Arab-Israeli War of 1948. In 2022, Laufer placed two security cameras that recorded entire nights. The many hours of recording were then condensed into a single night and edited on two channels that present the same occurrences from two vantage points. The viewpoints switch channels every few minutes, introducing movement, jolting the viewer, and prompting new motivation to engage (like in a security system control desk). Here and there, a pair of eyes emerges from the darkness, and following them, a jackal moves among the graves, climbing on top of them before disappearing. Rain falls and stops, the path lights switch off and the day breaks. There is no sign of the wandering animals. The last shot is in color and shows the shiny wet stone path and the dark green cypresses immersed in the morning mist, and the words on the headstone are legible: Tuvia Ordang, Laufer’s grandfather, who hit a landmine and was killed in the war. In this work, Laufer suggests a division of time and place along discrete axes that exist simultaneously: the obvious distinction is ostensibly between those above ground and those beneath, the living and the dead. Yet the separation of day and night creates another fault line: dividing the kingdom of day, ruled by humans, from the kingdom of night, ruled by animals. The dead remain dead. written by: Mira Lapidot https://images.squarespace-cdn.com/content/v1/5730a69d044262a7f8c5ce64/1748366228334-SEZ85ONAPFN5GOAHVKDV/Screenshot+2024-01-15+at+5.48.18+PM.png Mount Herzl - Mount Herzl, 2022 Two-channel video, 20:24 min Infrared surveillance camera The video Mount Herzl takes place in the military cemetery of the fallen soldiers in the Arab-Israeli War of 1948. In 2022, Laufer placed two security cameras that recorded entire nights. The many hours of recording were then condensed into a single night and edited on two channels that present the same occurrences from two vantage points. The viewpoints switch channels every few minutes, introducing movement, jolting the viewer, and prompting new motivation to engage (like in a security system control desk). Here and there, a pair of eyes emerges from the darkness, and following them, a jackal moves among the graves, climbing on top of them before disappearing. Rain falls and stops, the path lights switch off and the day breaks. There is no sign of the wandering animals. The last shot is in color and shows the shiny wet stone path and the dark green cypresses immersed in the morning mist, and the words on the headstone are legible: Tuvia Ordang, Laufer’s grandfather, who hit a landmine and was killed in the war. In this work, Laufer suggests a division of time and place along discrete axes that exist simultaneously: the obvious distinction is ostensibly between those above ground and those beneath, the living and the dead. Yet the separation of day and night creates another fault line: dividing the kingdom of day, ruled by humans, from the kingdom of night, ruled by animals. 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