Auction 29 Israeli Contemporary Art - Young promising artists for investment
By KooKoo
Dec 25, 2021
Ramat Gan, Israel

KooKoo's end-of-year sale with an emphasis on contemporary Israeli realism:

Winner of the Schiff Award for 2020 Israel Dror Hemed with two oil paintings,

Zoya Cherkassky and Bazooka Joe with two powerful works on Jewish identity and customs,

Julie Filipenko presents "Pygmaliona",

Mor Rimmer paints unique works in oil on wood,

We will introduce you to Assaf Ezra and the puppet drawings in the atmosphere of the 1950s,

Guy Levy with Mediterranean oil paintings,

Notice the cool collages of the Tzlil Benderhaim, KooKoo presents the series "Gender Reversal" that corresponds with the great masters of art - fascinating and important

Israeli realism artists participating in this sale: Eran Weber, Roni Yoffe, Rita Natarova, Doron Wolf, Orit Akta, Gala Gilan, Israel Dror Hemed, Hanan Milner.

KooKoo takes care for the best

Contact 0558859447 (Lisa)

Enjoy and good luck

(As always - prices include VAT and no additional VAT)

More details
The auction has ended

LOT 34:

Israel Dror Hemed
Soldier, 2017

  Previous item
Next item 
Sold for: $1,200
Start price:
$ 1,200
Estimated price :
$2,500 - $3,000
Buyer's Premium: 15%
VAT: 17% On commission only
Users from foreign countries may be exempted from tax payments, according to the relevant tax regulations

Soldier, 2017
Oil on canvas
95/63 cm

Israel Dror Hemed's solo exhibition "Painter-Collection" at the Tel Aviv Museum of Art curated by Ruthi Director
Israel Dror Hemed (born 1975), winner of the Haim Schiff Prize for Realistic Figurative Art for 2020, acquired his training in painting during three years of study with the artist Maya Cohen-Levy. At the center of his painting are figures of men, sometimes looking directly at the viewer, but usually turning their gaze away from the viewer onwards, self-contained, immersed in their world. He meets most of the men that Hemed draws by chance, asks their permission to photograph them, and then paints according to the photographs. Within the familiar practice of painting according to a photograph, he actually gives the painting a principled position, which redeems the human figure (the male, in this case) from the saturation of countless photographed images. Gently, he links the eroticism of the very act of painting to the objects of his gaze.
Hemed's starting point when he came to the painting - a figurative painting of characters from life, was doomed to take into account the history of the genre and its ancestors; The aura of oil painting and the criticism leveled at it, in retrospect, for colonialism, capitalism and chauvinism; And the place filled by the new figurative painting in the complex politics of identities. Hemed arrives at the painting equipped with great admiration for the greats of the painting, humility in relation to his own place, and a strong desire for the act of painting itself. Recognizing the value of the arena into which he enters, he looks presently at its main actors - no less than Caravaggio, Sergeant, Cezanne, Mana and Hockney, and tries to pour into it, quietly and without declaration, a dimension of contemporaneity and a voice of its own.
He photographs the objects of his gaze on the telephone, or in a small pocket camera, and transfers the digital image to an oil portrait on canvas, sometimes life-size, sometimes above life-size. At the base of the making are in love - with the act of painting, and with the objects of the gaze. This is how his motivation can be understood as he stretches the glimpse of photography, and pauses the duration of his - his, ours - observation of the cartoon character. The pause creates a new space of looks and relationships, in which all those involved in the arena of observation - the model, the painter and the viewer - take part. Faced with the immediacy, cheapness, and endless saturation of digital images, the slow, traditional, and in love painting offers itself as a space of grace.
Between the hidden or direct gazes of the cartoon characters, the space in which Hemed places his heroes, in front of his viewers, crystallizes: between provocation and avoidance. The act of painting appears to be a silent opposition to belligerent positions wherever they are, to a worn-out dichotomy between female and male, and to a narrow conception of what is contemporary. It offers the traditional as a way to break conventions.

  Previous item
Next item