The stark contrast between living in Israel’s violent, war-torn environment and Kreuzberg’s peaceful daily life inspired Noy and Tamir’s exhibition “Gebr. Israel,” created during their first month of residency at Künstlerhaus Bethanien (KB).

The exhibition is a homage to the “Lichtfabrik,” a former Jewish-owned lamp factory that now houses KB. Founded by brothers Leo and Felix Israel in the early 20th century, the factory’s history is marred by the loss and displacement caused by the Nazi regime. Throughout the exhibition, Noy and Tamir weave the identities and history of the Israel brothers into their own, blurring the lines between past and present while creating a self-portrait of the artist duo in Berlin.

Before entering the exhibition, viewers encounter a semi-trailer exploring two possible storylines: one about two brothers and the other about queer artist-lovers. Set in 1930s Berlin, with scenes depicting the city’s skyline, World War II settings, and lighting factories, the narrative is deeply intertwined with Noy and Tamir’s contemporary experiences in Israel. The video reflects their intense participation in the weekly protests against the Israeli government, leading to violent encounters, arrests, and Noy’s subsequent traumatic trial, from which he ultimately emerged innocent. The artists combined archival materials from the KB about the brothers Leo and Felix with AI-generated videos to create an alternative historical narrative. The resulting disorienting imagery embodies memory fragmentation under post-trauma, linking Noy and Tamir’s traumatic experience to a broader global historical context.

At the heart of the exhibition is a relief depicting a masculine, chaotic reality threatening individual freedom. Repetitive scenes of two male characters engaged in creative activities within the historic “Lichtfabrik” are surrounded by parades of grimacing figures, leaving viewers to wonder whether they are witnessing a political demonstration, a pride march, or a fascist rally. Throughout the work, symbols of Jewish identity, such as the Star of David and a disfigured menorah, evoke a sense of alienation the artists feel towards their native Israel. Now living abroad and against the backdrop of Jewish history marked by migration, Noy and Tamir cultivate a connection to the places they live and work during their residency.

The exhibition also includes several small white reliefs, replicas of the building’s original decorations, and a lamp modeled after the original design by the Israel brothers. Noy and Tamir present the lamp that resembles a holy menorah upside-down as a Jewish version of the inverted cross. By intertwining different periods, Noy and Tamir confront the moral regression of the West, where war has become normalized as a way of life.