Forgetting Ritual Beita Version #2

Sharav Shavur Collective: Yoav Ben Moshe, Noa Pardo, Omer Peri, Michal Gil, Shahar Heimer, Odia Zilber, Suheila Abu Hadebah Munir

The exhibition “Forgetting Ritual” was developed within the framework of Beita Version, an incubator for emerging collectives now in its second year. For nearly a year, the Sharav Shavur Collective has worked on two parallel tracks: writing for the first issue of Beita Magazine, and creating works for their debut exhibition.

The exhibition’s title brings together two conceptual poles that appear contradictory, yet often exist in a relationship of mutual dependence. The ritual as a repetitive practice aimed at reinforcing a symbolic framework and generating real or imagined order, sets conditions of preservation and meaningful recurrence. Forgetting is not merely absence or failure of memory, but an active act: erasure, attrition, a force that undermines order and poses its boundaries as an open question.

Placing the two terms, ritual and forgetting, side by side does not seek to reconcile them or propose a synthesis, but to expose the active tension between them: the recurring ritual that generates meaning versus the dispersive, elusive force that unsettles the very possibility of remembering. The exhibition inhabits this liminal space as an open array of proposals through which the possibility of dwelling in constant motion, between institutionalization and erasure, organization and dissolution, is explored.

• Noa Pardo enlarges a tiny flower into a monument commanding “Remember me”, revealing within its petals repressions and images from the Gaza border.
• Michal Gil collects scenes of disaster from the press and social media, assembling them into a fragmented landscape, both near and distant.
• Yoav Ben Moshe gathers images of lost dogs from his village’s WhatsApp group, granting them material weight in contrast to their digital lightness.
• Odia Zilber scatters a flock of clay bird-whistles, silences and sounds moving between fire, earth, water, and air.
• Suheila Abu Hadebah Munir and Shahar Heimer cast a mosaic into plaster, erasing its colors to ask what remains of the image when memory fades.
• Shahar Heimer lingers on “broken heatwave” (Sharav Shavur), a condition that no longer exists, yet whose material traces continue to surface slowly.
• Omer Peri constructs within an architectural niche a structure of temporary materials, paper and charcoal, that tests the ability of matter to embody a spatial-tectonic-emotional contradiction: a demand for presence versus the constant threat of collapse.

Against institutionalized memory systems—national, cultural, and historical—the exhibition does not propose a fixed alternative, but rather dwells within dialectics: between the demand for meaning and the collapse of its conditions.