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Matan Ashkenazy

MA work

The Bank Work

The Bank Work invites the spectator to observe on different realities that occur in one place. The photographs are made by looking at the facades of the Bank of England while it is being cleaned, resulting in the disappearance of dirt accumulated over the past two hundred years. 

In the work, the facades repeat themselves in a dirty / clean version in the exhibition space. The architectural surfaces can be seen as objects that contain a photographic logic. The reappearing walls seem as though they were reprinted in a different version, and seemingly looking as if they are darker or lighter prints, intentionally enhancing the connection between the surface of the facades and questions of representation. The act of cleaning is defined as an historical event and as a metaphor for erasing the past, therefore cleaning is valued as an act of representation.

The scale, framing and printing of each work are deliberately made to look modernist or 'classic', thus reminding the spectator that the artist is using conventions of looking to impose a trick of representation. The ensuing deception of photography is revealed and remain exposed. The installation considers the movement constructed in the space, therefore, erasing, looking and walking are all connected as a metaphor for a weaker reality constructed by such an important institution. Photography itself appears as an act of cleaning reality in order to represent the world, revealing itself as an institution of looking.


  • MA Degree


    School of Humanities


    MA Photography, 2015

  • My work includes photography and photographic installation, considering the exhibition as a time to reflect upon the connections between photography, time and reality. The installations explore the perception of photography as a tool for editing time constructed in the exhibition space. The movement of the viewer is connected to looking at the work and is carefully considered.

    My practice deals with formal observation in the everyday constructs of life. The places depicted in the photographs are defined as invisible, and contain a form of obstruction that reveals the policing of space. Although my research is about the political use of the landscape and the controlling of space and architecture, it also self reflects on the medium of photography as a tool to police looking itself.

  • Degrees

  • BFA Photography, Bezalel Academy of Art and Design, Jerusalem, Israel
  • Exhibitions

  • Curator and Organiser of RCA Photography at Offprint, Turbine Hall, Tate Modern, London, UK, 2015 (curator and organiser); Fresh Paint 7 Art Fair, Tel Aviv, Israel, 2014; 5 Under 30, Daniel Blau Gallery, London, 2014; Photographic Memory, curated by Vardi Kahana, International Photography Festival, Israel, 2014; Work in Progress, Royal College of Art, 2013; Sequential Shifting (solo show), Ramat-Gan Museum of Art, Ramat-Gan, Israel, 2012; First Friday, Ramat-Gan Museum of Art, Ramat-Gan, Israel, 2012; Fresh Paint 6 Art Fair, Tel Aviv, Israel, 2012; Secret Art 6, Mani House, Leumi Bank, Tel Aviv, Israel, 2012; Israeli Graduates Selected Work, Tel-Hai Museum of Photography, Tel-Hai, Israel, 2011; Bezalel in Ashdod, Ashdod city, Israel, 2011; Photography department graduate exhibition, Bezalel Academy of Art and Design, Jerusalem, Israel, 2011
  • Awards

  • Excellence in Photography Award, America Israel Cultural Foundation; Mendel foundation award for graduate student at Bezalel academy of art and design, Jerusalem, Israel