Hagai Ulrich is a visual artist and a writer in the field of contemporary art. In his photography and new-media works, as well as in his art-writing, he examines the context between the form of the image and the contents that comprise it. He holds an MFA with honors from Bezalel Academy of Arts and Design Jerusalem, and a BFA from Hamidrasha Faculty of Arts at Beit-Berl.
Hagai Ulrich converses with Nadav Bin-Nun about music and art, improvisation, violence, and narcissism, following the release of his Spiritual Album.
Efrat Vital's show, Winnie (Real Daughter), presented recently at the Herzliya Artists' Residence, brings to the fore the denial and suppression of the problematic history of racism, slavery, and Colonialism in the southern part of the United States. Hagai Ulrich has visited the show, and he suggests thinking about it from a local point of view as well.
"Pre-Israeli Orientalism: A Photographic Portrait", written by Dor Guez, focuses on a photographic genre from the early decades of the twentieth century as a local, unique, and complex case of visual Orientalism. Hagai Ulrich reviews the book and suggests broadening the conversation through the values and characteristics of performance art.
In Richard Deacon's comprehensive solo show at the Prague Municipal Gallery, to see the large-scale sculptures viewers must get close, bend down, crane their necks upward, focus on the small details, and then again step back and look at the whole work. These exploratory actions that the viewers perform with their bodies and their movement through space have led Hagai Ulrich to try to understand how Deacon manages to physically express ideas, symbols, and signs that cannot be realized in time and space.
Orit Ishay's comprehensive show at the Prague City Gallery includes images of bomb shelters, military uniforms, mourning rituals, woman soldiers, and a scrapbook of local dried flowers that had been given to General Allenby. It seems that the entirety of activities Ishay engages in creates an interesting critical course in which information loses its content and reality sheds its substance.
"Slowland," Bianca Eshel Gershuni's and Oree Holban's joint exhibition, opened at Barbur Gallery in Jerusalem in the wake of the highly visible dispute between the gallery and the municipality, and the latter's attempts at censorship. Hagai Ulrich visited the show and returned with some thoughts about the political prospects suggested by the space the two have built.
Over the past thirty years, Miki Kratsman has been active as an artist, photojournalist, investigator, and archivist. Hagai Ulrich reviews his new book, the result of collaboration with curator and scholar Ariella Azoulay. The book examines the way in which photography can turn individuals into ultimate suspects.
Do the works of Michal Makaresco represent cheap fetishism and dubious situations? Were they made casually, easily, or on a whim? Hagai Ulrich visited the show at Hamidrasha Gallery in Tel Aviv and came back with thoughts about good taste, honesty, as well as questions about weight and scale.
Contemporary painting as the wreckage pile of Modernism or genuine Modernist painting? Focusing on composition or the subjects? Hagai Ulrich writes for Tohu on "Take Painting," showing at the Petach Tikva Museum of Art.
Many emotionally and politically charged places appear in Nir Evron's work, among them Rawabi, the new Palestinian city, the Seven Arches Hotel on Mount Olive, in Jerusalem, and the Jamestown Settlement in Virginia, USA. What happens to the concreteness of the locations and the specific political stories when the works separate content and form? Hagai Ulrich reviews Evron's show, "Masad (Foundation)."