EXHIBITIONS | June 10, 2025
Organic Tissue:
An Anatomy of Shared Memory and Radical Tenderness
Written by Laura Acosta
What does it mean to be human in a time of disintegration?
Organic Tissue is a radical curatorial act that does not seek to answer this question, but to inhabit it. Moving through the space feels like entering a living entity—its surfaces porous, its gestures trembling, its internal language whispered through threads, skin, debris, and echo. Each work pulses with its own emotional charge, yet all are connected through a shared logic of care, resilience, and interdependence.
Here, art is not an object or a concept—it is a body made of other bodies, a temporary communion.
Curated under the looming threat of war and social fracture, Organic Tissue insists on the collective as a mode of survival. It weaves together voices that are personal and political, tactile and sonic, ephemeral and resilient. In this space, identity is not fixed but fluid—offered not as statement, but as inquiry. The exhibition invites us to hold contradiction, to attend to rupture, and to imagine healing not as resolution, but as relation.
Exhibition venue: Artists’ House, Tel Aviv
Date: May 2025
Photographic fragments stitched into a sculptural body of memory and multiplicity.
The central structure anchoring the exhibition with visual and conceptual gravity.
Weissberg’s ritual textiles and ceramic forms in visual dialogue with Mano-Bella’s Organic Tissue / Central Installation.
Organic Tissue / Central Installation
Danielle Mano-Bella
At the core of the exhibition is the installation Organic Tissue / Central Installation by Danielle Mano-Bella, which gives the project its name and conceptual anchor. Developed out of a solo exhibition titled The Alchemist, and shaped through collaboration with the biotech startup SilkIt and other research-based artists, this abstract installation is built from photographic fragments of figures from different communities across the world. Suspended in the center of the space, it acts as both gravitational and connective force—an open, multilayered body made of emotional and cultural textures. The piece reflects Danielle’s ongoing exploration of human relationships, memory, and vulnerability through deconstruction and reassembly. It affirms that, beyond difference, we share a deep organic fabric: a tapestry of visions, desires, beliefs, needs, and drives.
This installation proposes not only an aesthetic experience, but the possibility of building a new kind of shared space—one based on humanity, understanding, and interconnection.
I Literally Loved You
Assia Weissberg
A quiet violence runs beneath the embroidered works of Assia Weissberg, where public mourning is reabsorbed into private space. Three ritual cloths—black, solemn, and floating—carry embroidered symbols that reference traditional Jewish burial rites. Beneath them, fragile blue and ceramic discs hang in a vertical line like a spinal cord of memory. This is mourning suspended between ritual and rupture. By reworking street-level memorial stickers into hand-embroidered cloth, Weissberg transforms transient grief into something that demands time, intimacy, and witness.
The installation’s invocation of Shiva—where mirrors are traditionally covered—reminds us that grief distorts perception. What is left unseen becomes sacred. Weissberg's work insists that loss is not an absence, but a lingering presence that reconfigures the domestic, the spiritual, and the political.
Hand-embroidered funeral iconography on mourning cloth, evoking personal and collective memory.
Ceci n’est pas une personne
Polina Liakhovitskii (polymer)
The works of Polina Liakhovitskii (polymer)—Ceci n’est pas une personne, LIKE ME, PLS, and Barter—form an immersive, multi-sensory installation that explores identity, visibility, and social performance. Through layered imagery, participatory gestures, and chaotic assemblage, she exposes the emotional cost of self-representation in contemporary culture.
LIKE ME, PLS floods the space with pleas for validation, while Ceci n’est pas une personne towers as a fragmented altar of disassembled identity. In Barter, a claw machine invites viewers to exchange personal objects in a ritual of uncertain value—questioning what we give away to be seen.
Together, these works blur the line between performance and vulnerability, turning the viewer into both participant and witness.
Detail from LIKE ME, PLS
Vacuum-sealed memory objects from Barter
Audience interacting with Barter
Hadas / Sabina / Adva
Haddar Macdasi
The works of Haddar Macdasi offer a space of stillness in the eye of the storm. His live figure drawings, rendered in ink on cotton paper, are raw, exposed, and incomplete— but deliberately so. Faces emerge and dissolve in the same gesture. Lines hover, hesitate, vanish. Macdasi's portraits are not portraits in the traditional sense—they are invitations to perceive presence as something unstable, in motion.
His approach reflects a profound respect for the act of observation—not as mastery, but as vulnerability. Drawing becomes a shared breath between artist and subject, a record of a fragile encounter. The viewer is not a spectator, but a participant asked to fill in the absences, to feel the silence between strokes. In Macdasi’s world, incompletion is not a flaw—it is a space of possibility.
Works by Haddar Macdasi—ink and watercolor studies of presence, absence, and intimate gaze.
Infinity Unfolds
Karen Shahar (HALAS)
With Karen Shahar (HALAS), the sensory shift is immediate. There is no object to observe, only a current to follow: fragments of voice, song, prayer, and conversation weave through the air. Sound becomes her chosen material—an invisible but deeply corporeal presence. At the center of her practice is challah, both as object and symbol, ritual and archive. Her sound collage, composed from recordings of shared meals and whispered texts, reclaims the domestic as sacred territory.
Infinity Unfolds is not only an artwork—it is a gesture of gathering, a curatorial method in itself. Shahar’s invocation of home as a spiritual and political act—transcending nation, identity, and time—reminds us that art can be a form of nourishment. Her work asks not what art looks like, but how it feels to be held by it.
Karen Shahar (HALAS), Infinity Unfolds. Challah as ritual, memory, and sacred gesture.
Untitled (Finger Knitting Installation)
Ofira Spitz
In Ofira Spitz’s deep red textile sculpture, we encounter the body as memory and metaphor. Cascading from the wall and sprawling across the floor, the piece is made entirely by hand through finger-knitting—a slow, repetitive, meditative process. The result is visceral, chaotic, and deeply intimate. Its crimson cords evoke internal organs, childhood toys, ancestral threads. There is no fixed pattern, no clear intent. The work grows organically—like a wound, like healing.
Spitz’s interest in soft materials and bodily gestures allows her to create spaces that are both somatic and symbolic. Her knitted form becomes an extension of her body, a mapping of emotional labor. It clings to the walls and the floor as if trying to hold onto something—or let it go.
Karen Shahar (HALAS), Infinity Unfolds. Challah as ritual, memory, and sacred gesture.
Ofira Spitz, Untitled. Finger-knitted textile sculpture evoking body and memory.
Survivor / 4 Cubits
Ronit Keret
The palm frond in Ronit Keret’s Survivor is elegant in its stillness, but carries a heavy past. Salvaged from a tree that survived fire, its burn marks are invisible, like so many of the traumas we carry. In 4 Cubits, Keret brings together women from four religions—Jewish, Muslim, Christian, Druze—into a single, intimate space. Her work is spiritual without being dogmatic, political without being prescriptive.
Through modest materials—styrofoam, dried wood, video—Keret builds monuments not to power, but to care. She reminds us that survival is not about strength but about endurance, gentleness, and mutual recognition. Her aesthetic of simplicity conceals a sophisticated philosophy of presence.
“Survivor” by Ronit Keret — a palm frond installation evoking resilience, memory, and quiet endurance.
Conclusion: A Collective Anatomy
Organic Tissue is not merely an exhibition—it is a nervous system made visible. Each artist represents a unique organ in a larger body, each work a heartbeat, a breath, a tremor. In times of division and despair, this exhibition proposes radical tenderness as resistance. It asks: what if art were not about distinction, but about interdependence? What if healing is not an endpoint, but a continuous and collective gesture?
The works do not align under a single narrative, but instead resonate across threads of grief, ritual, identity, and care. This is not an exhibition that concludes—it lingers. Like memory. Like love. Like something organic that continues to grow, even after we leave the room.
Participating Artists & Mentions
This exhibition is a collective anatomy—woven through shared practices of care, resistance, memory, and embodiment.
Each artist brings a unique thread to the organic tapestry of the show. Follow their work and continue exploring their practices:
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Danielle Mano-Bella
@d_m_b_studio
(Concept and Central Installation) -
Haddar Macdasi
@macdasi
(Live ink portrait series: Hadas / Sabina / Adva) -
Assia Weissberg
@assiaoof
(Textile and mourning installation: I Literally Loved You) -
Polina Liakhovitskii (Polymer)
@_polymer_
(Installations and performance: Ceci n’est pas une personne) -
Ofira Spitz
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Karen Shahar (Halas)
@ha.la.s
(Sound-based installation: Infinity Unfolds) -
Ronit Keret @ronitkeret (Sculptural works: Survivor / 4 Cubits)
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Eitan Ettinger
@eitanesta33
(Installation Assistant and spatial collaboration) -
Exhibition Venue
@telavivartistshouse
—Laura Acosta
Curator & Creative Director, Arttyco
Written in Barcelona, June 2025
✉ info@arttyco.com | 🌐 www.arttyco.com | IG: @arttyco
Laura Acosta, Curator and Creative Director at Arttyco, combines her background in architecture, interior design, and cultural management to create accessible and engaging contemporary art experiences. Her multidisciplinary approach emphasizes spatial awareness and deep audience connection.