Haaretz
Melzer lauds this exhibition as a “courageous artistic move,” naming the panorama-video piece “one of the sharpest visual responses to the bleeding Israel-Palestine conflict ,” “Exhibition proves that raw historical reality cannot be hidden”.
Haaretz Critique PDF
Calcalist
October 2025Timeout
September 2025Ha’aretz Article Actions Echo PDF
“When Photography and Sculpture Become One Ohad Matalon’s artworks destabilize the boundaries of the medium, creating shifting arenas of appearance and disappearance.”
September 2025Haaretz
Gilad Melzer hails this solo exhibition as “contemporary Israeli art at its best,” praising Matalon’s unique positive-negative layering for masterfully challenging photographic depth and creating a brilliant response to painting and sculpture.
February 2022Haaretz
December 2021The Eye of Photography Magazine
January 2015Hagit Peleg Rotem
December 2014Photography-Now
October 2014
Ha’aretz
September 2014The Culture Trip
Graziano Scaldaferri
August 2014Ha’aretz
Uzi Tzur
July 2014Veryview\ArtSalon
Dr. Chiang Ling-Ching
May 2014PIPELINE
July 2013TELAVIVIAN
Dalit Nemirovsky
ZENITH
July 2012CULTFRAME
di Maurizio G. De Bonis
NEUES DEUTSCHLAND
Von Volkmar Draeger
ARTCO
Jia Zhen Tsai
Read Eng Translation
Writing for Artforum, Julia Friedman celebrates Ohad Matalon’s radical installation for “dispensing with conventional photographic factuality”. She praises how the groundbreaking exhibition “makes the unwitting visitor part of the installation,” brilliantly eschewing conventional stillness through immersive static projections
ARTCO
Jia Zhen Tsai praises at ARTCO Magazine Matalon’s radical screen-based installations for launching an intense “internal political critique”. Celebrating how his non-object light projections brilliantly resist aesthetic capitalism, she lauds his masterly manipulation of the “politics of images” and “inversion of inversion” to dismantle the passive consumer gaze
April 2010