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© Gidon Levin

On December 22, Gordon Gallery's new Jerusalem venue will open its doors. It is an unusual step and the first time that a Tel Aviv-based gallery—one of the oldest and most successful—opens an additional venue in Israel's capital.

© Gidon Levin

Gordon Gallery was established in Tel Aviv in 1966 by Yeshayahu (Shaya) Yariv. It was named after the first street where it operated—Gordon Street in central Tel Aviv. From the very outset, the gallery worked with the most important and influential artists in the local scene, such as Raffi Lavie, Aviva Uri, Yossef Zaritsky, Uri Lifshitz, Ofer Lellouche, and others.

© Gidon Levin

In 2004, the gallery passed into the hands of Amon Yariv, who has been its director since. It resumed exhibiting local contemporary art exhibitions, becoming one of the most influential commercial galleries in Israel, and the owner of one of the ten largest private collections of Israeli art in Israel.

© Gidon Levin

The artists represented by the gallery today include Larry Abramson, Yair Garbuz, Michal Na'aman, Sharon Poliakine, Philip Rantzer, Jan Rauchwerger, Amir Shefet, and Addam Yekutieli (Know Hope). In 2018, the gallery left its old residence on Ben Yehuda Street and moved to HaZarem Street in south Tel Aviv, to a large, open space—a move which is also considered groundbreaking. Next to the main space, at 6 HaPelech Street, the gallery has another venue, as well as a spectacular sculpture garden.

© Gidon Levin

© Gidon Levin

The new venue is located in the Sapir Center industrial area, in the city's southwest, an area reminiscent of the Tel Aviv's Kiryat Hamelacha, which has long been a pilgrimage site for art lovers. It is an area steeped in large industrial buildings, mostly housing light industry, but also several artist studios, yeshivas, as well as Bezalel Academy's ultra-Orthodox branch Oman, located next door to the new gallery, on the third floor of building number 3.

© Gidon Levin

© Gidon Levin

One of the main challenges in designing the Gordon Gallery in Jerusalem was in defining the desired relationship between the gallery and its surrounding space. In the preliminary planning discussions we had with Amon Yariv, the gallery’s owner, questions arose as to the degree of openness towards the bustling space in the immediate vicinity of the gallery. Further questions dealt with the relationship between the workers and visitors to the Sapir Center, and the new gallery.

© Gidon Levin

© Gidon Levin

© Gidon Levin

© Gidon Levin

The gallery is rectangular, and is lit from its narrow ribs, between which the space is some 20 meters long. For this reason, offices, the art storerooms and toilets were located in the center of the gallery, thus enabling optimal lighting for both the front and rear exhibition areas. The entrance to the gallery is inviting. It has no entrance lobby or threshold areas, and is an almost direct continuation of the open public corridor which leads toward it. The gallery is designed to allow circular movement, enabling continuous discovery of its various spaces from new angles.

© Gidon Levin

© Gidon Levin

© Gidon Levin

The old façade was dismantled, and replaced by transparent glass, framed in steel and with a semi-transparent curtain behind it. Time spent in the gallery is undisturbed and calm but is not detached from its surroundings. The depth of the corridor prevents the entry of direct sunlight, which illuminates the front display areas with softened light. The gallery and its unique exhibits are now open to a wide corridor which runs along the length of the entire building, inviting passers-by to enter.

© Gidon Levin

© Gidon Levin

The gallery has a distinct presence in the industrial area. It both illuminates and is visible from a distance, but is not separated from or alien to the Sapir Center.

Diagram

Plan and models