6.4. – 4.5. 2017


The exhibition title Black Money, White Lies works as a filter, through which the viewer should think of about the show. The name is a guidance, hint, but we must first clarify the meaning of the words. Black Money, White Lies – why we use “black” instead of “dirty”? Why is a white lie soft and harmless, even though it is still a lie? Colors in the language, especially black and white, are encumber with package of associations. White is used for the expression of goodness, purity, light, good intentions and clear communication. Black is on the contrary a symbol of wickedness, evil, darkness and violence.

In the installation for Klubovna it may seem, that Adika suggests the viewer to look at his photographs through the contrast of black and white – through such concepts as high and low, beautiful and ugly, genuine and fake. However, if we think about the name again, his proposal can behave subversively and does not result in completely clear message – White Lies. Now those white lies brings us to the “gray” scope. To the places, where mixing occurs and lie seems to be smaller, decent and harmless. Beauty is not so explicitly beautiful and imitation is not a literal kitsch. David force us to revise what is black and what is white (and what’s more, using color photographs set in a colorful installation).

Photographs selected for show Black Money, White Lies result from the Last Light series. Last Light is an extensive set of photographs collected over the past decade. Adika is an excellent observer, in his photographs he records moments, still life that the absolut majority of observers would miss. He is a great portraitist with a flair for right moment.

Adika sais about his images, that they are a by-product of his life – his own biography and the collective memory of a society, that surrounds him. In his photographs political reality leak through the social one. He shows beauty, that always belongs to a specific moment and beauty in his photographs has its own strategy – seducing and capture.

Accurate photographs of David Adika blur the boundaries in between abstraction and language of conceptual art. Especially microcosm of Israeli households provides him the basic elements of a cultural components for photographed still life of plants, food, objects, event portraits of its inhabitants. Thanks to this “visual survey” reveal intimate, yet in some ways universal, biographies of people living in the ethnic melting pot of Israel.

Curator: Marta Fišerová Ćwikliński


David Adika was born in 1970 in Jerusalem, lives and works in Tel Aviv. Between 1993 and 1997 he studied at the Academy of Fine Arts and Design Bezalel. Later, in 2004, he finished his master’s degree at the same place. He is grantee of Artport Tel Aviv (2016); Sharet Scholarship (2004); Israeli Ministery of Culture (2011). Adika participated in many Israeli and international group and solo exhibitions. A selection of solo exhibitions: Africana, Tel Aviv Museum of Art (2016); As Reflects In Water Face Face – Lnmm Latvian National Museum of Art, Riga (2014); Equator – The Open Lens Gallery, Philadelphia (2012); Oululu – East Central Gallery, London (2011); Living Room – Helena Rubinstein Pavilion, Tel Aviv Museum of Art (2010); Every Monkey is a Gazelle in Its Mother’s Eyes – Braverman Gallery, Tel Aviv (2009). David Adika is a professor at the Academy of Fine Arts and Design at Bezalel in Jerusalem.




Interview with the author:

   Izrael II bar.ces.poz logo_brnoLogo_Artalk_grey_RGB

Project was supported by The Embassy of Israel in Czech Republic, by Jew Community in Brno, by Ministery of Culture Czech Republic and The City of Brno.