Aline Alagem's works displayed in the exhibition Director's cut continue her main preoccupation in recent years with the body, gender, and eroticism, and with the gaze that constitutes them in the current age of a mad torrent of processed images.

Alagem paints hyperrealistic paintings with a disrupted or fragmented narrative, on large scale canvases that exceed the boundaries of the painting as a window, blending beyond recognition the traditional narrative of oil painting on canvas as a coherent opening to the representation of reality. The viewer's gaze lingers on the quality of the painting, surprised by the unconventional fusion of plasticity and refinement and the brute force with which the painting manifests itself.

The subject of memory stands at the heart of Dana Yoeli's profoundly personal yet universal work. Memory, by nature, is illusory and intangible. Nevertheless, Yoeli chooses it as her subject and transforms it into substance, into physical matter.  She fluctuates between nature and artifice, documentation and fabrication, life and taxidermy. 
The works in her artist book Fichte / Ashuchit range from the roots of the spruce hidden beneath the surface humus to the flowers sprouting from the top that symbolize its maturity and the peak of its glory.  In this space, between the subterranean, primordial threat and the blossoming aesthetic, Yoeli weaves a personal story using a nearly forensic photographic technique devoid of sentiment.  Her family history becomes a foreign element within an organic environment.