Feb. 24, 2018 - June 2, 2018

Miri Segal 


Herzliya Museum
of Contemporary Art
Curator: Dr. Aya Lurie

Exhibition Catalog

List of works

· Cursed Spirits
· Miriage
· Lament
· Being Miri Segal
· Portrait of Satoshi Nakamoto 
  AKA Anonymous Gazes Cross

· Temporary Relief
· Neverfall
· The Shining
· Sergey B.

· Don’t Be Evil


· Place de la Bonne Heure

· Still life in cucumber season

· Necrofleur

· Vapor

· Exhibition Text by:Aya Lurie

Unless otherwise stated works are courtesy of  Miri Segal and Dvir Gallery, Tel Aviv

The work was generously supported by the Cultural Council of the Israel National Lottery - Mifal HaPais.
Miri Segal: Miriage is supported by the Artis Grant Program
Still Images in this catalogue by: Lena Gomon
Videographer: Asi Oren


Miri Segal’s artistic language, crystallized over the past twenty years, employs a variety of media – including video, light and text, treated objects involving hardware and software, photographic and computer-manipulated imagery. Through the involvement of sensory and physical manipulations, optical illusions, word games and enticing technological experiences, Segal's works often invade the viewer's space in unexpected ways. Floating images, Technological Ghosts, shadows without body and the Purgatorium - serve to subtly speculate on our capacity to apprehend concrete reality. Segal’s works reflect her interest in philosophical questions regarding Existence, Ethics of Technology, and Economic-Political Regimes.


Aya Lurie, PhD., is the Director and Chief Curator of The Herzliya Museum of Contemporary Art. Lurie is also a Lecturer at the Academic College of Tel Aviv-Jaffa in the curatorial program of Israeli Art studies, and serves in several judicial prize committees  (Art, Museum & Curatorship) in varied professional leading venues. She was the former Chief curator of the Shpilman institute for Photography. 


Miri Segal


2018 03


Media installation: Incandescent Lightbulb, software, music player, and Microcontroller
Excerpt From Documentation @ Herzeliya Museum 2018

In Lament (2018) Miri Segal sings, in a tremulous voice, Natan Alterman’s famous lullaby Lailah, Lailah (“Night, Night”) which her mother used to sing to her as a child – while an incandescent light bulb (a tribute to Edison, its inventor) brightens and dims in keeping withthe volume of the sound, like a flickering star in the dark. The lullaby, which is supposed to calm and reassure children as they fall asleep, is actually a horror story of violent death and lost memory. In line with this discordant  juxtaposition, Segal reconstructs the singing scene after
her mother’s death, in an attempt to communicate with the object of her yearning beyond the darkness by sending a message of comfort and reassurance (to her mother? to us? to herself?). This recalls the “living dead” figure in Alterman’s poetry – a nomad (a singer representing the artist) who, in his ghostly incarnation, becomes a sort of  Impressionist painter whose sole desire is to commemorate his beloved and to reveal the beauty of the world.  As Haim Nagid points out, “Unlike Aristotle, who stated that the instance must stem from the meaning, revolutionary Modernism argued that the meaning must spring from the instance. In the eyes of Alterman, the universe and his beloved – which are glimpsed in a chance but unforgettable blink of the artist and lover’s eye – are forever sudden. Thus they are to remain in the artistic work – in their eternal arbitrariness.”   
text: Aya Lurie