In Liora Kaplan’s solo exhibition “To Shulamit, As Promised, With Love”, the gallery transforms into a temporary sanctuary—a transient space for gathering amidst the continuity of migration, within a process whose endpoint remains unknown. Migrating, whether by choice or inevitable circumstances—always generates a perpetual motion, an unrelenting upheaval devoid of rest.

The body of work in the exhibition represents a current snapshot, where order contains chaos, but this order is provisional—a momentary attempt at organization and reconstruction. Kaplan’s new sculptures incorporate a variety of construction materials, including wood, metal, Ytong blocks, and cement mesh. The act of building is an effort to redefine the self and establish boundaries—a gesture that seeks to pause, create frameworks, delineate spaces, and offer a sense of cohesive existence. At the same time, the works resist rigidity; they retain the potential for transformation and becoming something else. They embody the paradox of migrating: on one hand, they are transient and in constant motion; on the other, they coalesce within a defined and specific logic.

The artworks serve as reflections of a collective consciousness of a journey and resonate with ancient rituals once used to connect people. In this liminal state, ritual transforms into a daily tactic—a vital element that enables and aids orientation within a space of uncertainty. These rituals become the stakes of routine, anchoring existence within an ever-changing reality.

The sculptures in the exhibition are placed on the floor or suspended from the ceiling, creating an in-between zone within the gallery. This liminal space is an integral part of the exhibition, where boundaries blur and new possibilities emerge. Within this dynamic space, one senses a movement between grief and sorrow, moments of solace, introspection, and understanding.

The works serve as markers connecting different temporalities—past, present, and future. They preserve memory, aspire to renewal, and express their longing to manifest in new contexts. They stand as both testimony and promise: a testament to adaptability, transformation, and the enduring capacity to hold onto hope for an exciting future.

The exhibition is curated by Adi Gura.

About the Artist:

Liora Kaplan lives and works in Tel Aviv. She studied at Beit Berl College of Arts and Avni Institute of Art. Selected solo exhibitions include The Lighthouse is Dark Between Flashes at KMAC, Kentucky, USA (2023), and Rhythms of Permanent Resonance at the CCA Tel Aviv (2022). Her public sculpture Often There is a Need For Time is displayed as part of Tel Aviv Municipality’s outdoor sculpture project.

Other notable exhibitions include On a Silver Platter at CCA Tel Aviv, Israel, curated by Nicola Trezzi (2022); Boundless Space at Sotheby’s, New York, curated by Kim Cook (2021); Groundwater at the Municipal Gallery Ramat Hasharon, Israel, curated by Ravit Harari (2020); EXHIBIT MODEL SIX – The Tel Aviv Version at CCA Tel Aviv, curated by Nicola Trezzi; and ONLY CONNECT! at Braverman Gallery, Tel Aviv, curated by Thomas Rom (2019).

Kaplan has received awards from the Foundation for Independent Creators, Artis Cultural Export Fund, and Artis Exhibition Assistance Grant (2024, 2022). Her works are included in the Tel Aviv Museum of Art collection and numerous private collections worldwide.