It’s not every day that an artist sells every piece in their exhibition on opening night - especially when they’re not yet a household name. Yet that’s exactly what Haran Kislev achieved with Hanging the Darkness, which opened last Thursday at Zemack Contemporary Art in Tel Aviv, curated by Yaron Haramati.
This extraordinary accomplishment highlights the magnetic pull of Kislev’s deeply personal and haunting works, which confront trauma and resilience in a way that captivates collectors and audiences alike.
Kislev, a resident of Kibbutz Be’eri, channels the trauma of the October 7 attack on his community into this series of paintings. These are not works created to please or comfort; they demand attention, forcing viewers to confront the raw emotions of fear, grief, and resilience.
“Before October 7,” Kislev said in an interview with Haaretz, “I would paint during red alerts, staying in my studio instead of running to the shelter. The tension fueled my art.” That day changed everything. His kibbutz was attacked, and he and his family barely survived. “I don’t need to imagine anything anymore,” he reflected. “The worst fears have already happened, and they were as tangible as can be.”
The works in Hanging the Darkness reflect this seismic shift. Incorporating fragments of text messages and conversations from that day, Kislev weaves together a tapestry of voices – those who survived and those who didn’t. The landscapes, once marked by simmering anxiety, now bear visible scars, blending abstraction with stark reality.
The exhibition’s title, inspired by a conversation with his young daughter, captures the essence of Kislev’s journey. “Hanging the Darkness” speaks to both confronting and attempting to transcend despair. It’s not about erasing the shadows but finding ways to live with them, to turn pain into something meaningful.
A graduate of Shenkar College with a degree in multidisciplinary art, Kislev has always explored the boundaries between figuration and abstraction. In this collection, he abandons traditional tools in favor of knives, gardening implements, and other unconventional instruments, translating his raw emotions directly onto the canvas. The result is a body of work that is intensely personal yet universally resonant.
This is not the first time Kislev has drawn inspiration from the borderlands. His earlier works often depicted the landscape of his kibbutz, a liminal space where nature’s beauty coexists with the constant threat of conflict. But while those pieces hinted at tension, his current works are far more visceral, reflecting a trauma that has been fully realized.
Exhibition's success
The exhibition’s success also signals a shift in the art world’s recognition of Kislev’s talent. While he has exhibited before, this is the first time his works have resonated so broadly and deeply, achieving critical acclaim and commercial success.
Kislev’s sold-out exhibition underscores the power of art to connect, even when it grapples with the most difficult themes. It’s a testament to the human capacity for resilience and creativity, reminding us that in the face of unimaginable tragedy, art can offer a path forward.
For those who had the chance to see Hanging the Darkness, it’s clear why the works resonated so deeply. Kislev’s paintings are not just pieces to admire – they are experiences to feel, to grapple with, and to carry with you.
Until February 14. Zemack Contemporary Art, 68 Hey B’Iyar St., Tel Aviv, https://zcagallery.com