Shining a spotlight on rampant post-truth discourses, French artist Laurent Montaron demonstrates how various media effectively blur the line between fact and fiction. His videos and photographs on view at the Center for Contemporary Art Tel Aviv range from 2016 to a new commission, and are poignant, pertinent reminders that a camera is not necessarily an objective witness; rather, Montaron’s works illustrate what Gilles Deleuze described as “camera consciousness.” The artist also makes use of a flock of kites designed by French World War I army general Jacques-Théodore Saconney to assist in aerial photography for the installation Train de cerfs-volants Saconney (Saconney Kite Train), 2016, which, like several other of Montaron’s works on view, takes on new relevance when considered within contemporary debates about surveillance, privacy, and spy wars. An accompanying catalogue will feature texts by curator Nicola Trezzi and Philippe-Alain Michaud of the Centre Pompidou, Paris.

— Mara Hoberman

Born in Poland in 1900 as Ludwig Kurzmann, Arieh Sharon immigrated to Palestine in his teens, and then moved to Germany to study architecture at the Bauhaus in Dessau in 1926. After working in the Berlin office of Hannes Meyer, Sharon went on to design more than six hundred projects before his death in 1984. Appointed by David Ben-Gurion to head the Department of Planning in 1948, the architect spearheaded the “Physical Plan for Israel,” commonly known as the Sharon Plan, which assimilated the thousands of Jewish immigrants arriving in the Middle East and contributed to the hegemonic groundwork of the Zionist nation-building program. Accompanied by an extensive catalogue, this first comprehensive exhibition will present more than two hundred drawings, models, photographs, sketches, and videos, spanning Sharon’s entire career and demonstrating how he earned the title of founding father of Israeli architecture.  

— Nuit Banai