Three Bodies
June-August 2025
For the first time, three design departments at Shenkar College of Engineering, Design and Art — Industrial Design, Jewelry Design, and Visual Communication — come together for a joint exhibition at the Formshop gallery. The exhibition brings together students, graduates, and faculty members, creating a dialogue across disciplines and examining the boundaries between two- and three-dimensionality, between body and object, and between material, image, and space.
The Department of Industrial Design marks five years of its Work Lamp Design course with contemporary lighting objects that emerge from experimentation, exploration, and material engagement. These works emphasize design as both an intellectual and emotional tool, one that addresses problems while also generating change — with the lamp serving simultaneously as a functional and aesthetic object.
The Jewelry Design Department presents a collection devoted to chains and necklaces, reflecting on the relationship between body and wearable object. The works reveal material, technological, and conceptual diversity, situating the chain — a form with thousands of years of history — as a communicative, aesthetic, and emotionally resonant object.
The School of Visual Communication approaches the body in three dimensions: as figure, as letterform, and as material. The works challenge familiar perceptions and re-examine the role of visual language in shaping our experience of reality.
Internal Mechanics
September-November 2025
The exhibition Internal Mechanics explores one of the most compelling frontiers in contemporary design: the moment when the industrial object transcends its function to become a carrier of artistic meaning. Three young designers present works that at first appear to be familiar pieces of furniture or everyday objects, yet quickly reveal themselves as reflections on the body, memory, and consciousness.
Assaf Kimmel’s table refuses to settle for its intended role. It unfolds, its form unravels, and it invites the viewer to take part in a mechanism that moves between play and functional transformation.
Dor Maimoun’s textiles and prints act as a living layer, a kind of skin that reveals and conceals a human body, evoking and exposing contexts from the queer world he encountered during his studies in Chicago.
Roee Ben Yehuda’s chair, which incorporates a hidden drawer, opens a portal to an inner world where the piece of furniture functions as a bodily–psychological memory.
What unites these works is the search of an inner mechanics – not the visible operation of screws and joints, but the forces that stir us as viewers. The exhibition proposes industrial design as a cultural intersection: not merely a matter of technique or form, but a field where aesthetics, symbolism, and the threshold between the functional and the poetic are tested and redefined.
