By Ciara Fortis
It is such a pleasure to finally get to write about this spectacular and profound interdisciplinary artist.
His body of work provokes attention toward  irregu
lar modes of facing familiar containers such as skin, inflatables, masks and shoe models - by which entities such as the body, time, history and meaning are taking alternative shapes.
The work challenges norms by queering and emphasizing  the absurdity of fixity of any kind, it helps us negotiate between abstract and ambitious themes into graspable and approachable nuances.
By using performative, textual, visual and symbolic operations, Nitsan's installation literally allows us to step backwards from our perspective and question our mode of spectatorship. We move from still viewers to active participants. The repetition in the work, to which we are encouraged to join, serves as a device to) unite, gather, and join his contemporary mantra (for instance, when he shouts ‘time after time’), this also can be seen as a way to keep trying to rupture standardized time.
The invitation in the work is always kind, open and generous. You can literally feel the warmth and heart of the artist through the tone of his personal address.
As English isn’t the artist’s mother tounge, we are able to get entangeled in complex language, where queer words are hacked and serve the poetics, as a way to reimagine our borders, as well as our habitual usage of language.
The provocative propositions that may remind of Dada, are some sort of a restoration of the past anew, or else...
The actions are avant garde in their character as our positionality in them and towards them is being questioned over and over again.
I shall clarify that repetition never feels redundant here, it in fact, always emphasises rhythm, precision, a cause to exaggerate and step beyond the common; As if modeling courage, possibility and persistence to maintain what seemed a moment ago impossible.
As time shifts, we are invited to use our vocabulary and our imagination (for instance when we are hearing him scream over and over again ‘I will be waiting’ or when we are asked to draw maps of utopian time) in ways that are provocative and alienating at once.
Does stretching fabrics as stretching time really work? Shall we give it a try?
Exaggerating indeed never felt more ‘about time’, as it is time to acknowledge an artist who reminds us that reformulating the current moment actively and together- is political activism of sorts and an essential act right now.

By Ivan Stolar
Margaliot’s work is staggered, nonlinear, senseless and questionable (or questioning- you are left to choose...).
I position his work alongside other contemporary artists that don't quite "get it", a colleague of mine once called his work ‘childish’, I would just consider it as ‘first impulse, right impulse’, or an ‘everything goes’ kind of attitude.
The reason for his lack of criticality might be that the artist tends to work out of his country of origin or that he is not familiar with the histories of installation and performance art. He is uninformed of the medium in which he operates, which is reflected in his compensations, such as using various kinds of ‘Chutzpah’ as he tries to exaggerate and use big words. There is not much to defend, besides his courage and extravagant attitude.
I find the work to unsettle, unland, unfix itself on a field of artistic practice. As he is hovering between genres, medium and means of expression, we are left to find our way within the work.
His choices of timing and materiality seem bold yet he uses amateurly made objects in a way that has been done and will continue to be done. Another colleague also reminded me that the gesture of repetition can be seen as an Israeli motiff, about this I let You decide (similar to Nitsan’s gestures).
As I am trying to language the work, I come upon an obstacle as his words and text leave us to face holes and ruptures so often. How may I as a writer, have a desire or demand to create  continuity when encountering a work that is so unlinear in its kind?
I am truly trying to be gentle when writing about the body of work, but indeed we see here an example of a young and emerging artist who could easily find a different job than art making; I am unsure if the field is really in need of these  loud disruptions... He may as well just go to a demonstration and yell some ununderstandable vowels; why do we have to bear this?
As the work attempts to carry us (or at least it says so), I wonder how it cares for and with us? And what if we do look for some order or form in the installations? What’s wrong with that?
More questions than answers at this point. We will be waiting for a better art piece to pop up like mushrooms in the forest.

warning these reviews are fake news...

Look for a name and surname from a country that you are unfamiliar with, choose random names and start to describe your work. First with a review which reveals interesting, positive and exciting sides about your work, try to over compliment it and exaggerate just a tiny bit. Later, write another review where you look at the problematic sides, its small defects and search for elements that could also not fully make about your work, don’t be afraid to sound critical. publish it in your catalogue.

to watch the ‘Events and the Nature of Time’

click here

to watch ‘Yakantalisa - Portrait of a Dead Poet‘

click here