Runaround, 2026
HEX (excerpt from video), 2026. One-channel stop-motion video, 2'45'', 17'30''.
The douo exhibition Runaround (Shahar Mizrahi and Hadas Hay, Curator: Tamar Margalit) explores transformation as an ongoing state. It's inspired by the supernatural sub-genre of horror cinema, which deals with ghosts and apparitions as liminal forms, whose presence is only hinted at.
Stargate (1994)
Men in Black (1997)
Dara Birnbaum's 'Technology/Transformation, footages from the 1970s TV series Wonder Woman
In fictional genres across film and television, the image of a flash of light often marks a crucial and transformative moment. The flash of light divides the narrative into a “before” and an “after”: a transition from the human character to the hero, the erasure of memory, or the opening of an actual passage, a portal leading to a parallel universe.
The dramatic power of the flash of light is also rooted in its association with violent and dangerous events: the nuclear flash produced by an atomic bomb, a failed laboratory experiment, or the detonation of an explosive device. As with lightning and thunder, the light arrives before the sound. For a brief moment, the disaster appears as a visual event, preceding both the understanding of its scale and the sensation of its impact. In this sense, the flash is the first image of a world, however big or small, that is about to change beyond recognition.
In photography, the flash of light appears as a blown-out area within the image, a surface in which photographic information is absent. Perhaps there, too, it functions as a kind of frozen portal: a potential opening into the image beneath the image, or into the image’s future.
HEX (still from video), 2026. One-channel stop-motion video, 2'45''. Installation view from the exhibition Runaround, Art Cube Artists’ Studios, Jerusalem. Photo: Hadas Hay. / Frames from HEX, One-channel stop-motion video, 2026.
Hallway, 4-channel sound installation, 16'25''. Installation view from the exhibition Runaround, Art Cube Artists’ Studios, Jerusalem. Photo: Hadas Hay.
Hallway is a 4-channel sound installation. It follows an invisible female figure as she walks through an endless hallway, in which each door opens onto a different world or scene, ushering in fragments of occurrences and hints of narrative. The work is composed of field recordings collected during city wanderings after midnight: groups of men fighting outside a club; overflowing sewage that sounds like the ripple of a stream; birds that have formed a colony inside an abandoned building; a drunken man harassing a woman; and so on. It proposes a drifting through a distorted, imagined space that touches the edges of danger.
The installation is presented across four channels, in a surround sound system that produces a spatial sense of movement and distance. Thus, the corridor becomes a loop, a circle, echoing the structure of the narrative.
The two works, HEX and Hallway, are played together in the space, interweaving and continuously folding into one another’s narrative.