Recent Events
Recipeint of the Rappaport Prize 2025 for established artist
Solo Show
Kestner Gesellschaft, Hanover, Germany
23.3-30.6/2024
'Nira Pereg : ABRAHAM ABRAHAM SARAH SARAH'
Curated by Artistic Director Adam Budak.
National Taiwan Museum of Fine Arts
2.12.2023-10.3.2024
7 BOWS on view at "Geopoetics: Changing Nature of Threatening Worlds"
Curated by Dr. Patrick D. Flores, Kim Seong-Youn, and Dr. Viola Hsieh.
Solo Show
TATE MODERN, LONDON, England
1.3-15.10/2023
Nira Pereg : ABRAHAM ABRAHAM SARAH SARAH at the Tank,Tate Modern, London
عن المركز Givat Haviva Art Gallery, Israel
17.6-22.4/2023
"Twilight Zone"
The Laurie M. Tisch Gallery at the MMJCCM; NYC, NY, USA
1.3-1.5/2023
SABBATH 2008 on view at "VENI VIDI VIDEO"
Curated by Saron Balaban
Solo Show
Talbot Rice Gallery, Edinburgh | Scotland
29.10/22-18.2/2023
Nira Pereg / Patriarchs
Related Press :
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e-flux
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The SKinny ART| FEATURES - Nira Pereg's Patriarchs @ Talbot Rice, Edinburgh
By Sofia Cotrona | 08 Dec 2022
..."Pereg’s works highlight the mechanisms of exclusions in order to build complex and layered narratives about the Israeli-Palestinian conflict, partly influenced by her own positionality – as an Israeli artist, her nationality gave her the ability to record these documentaries, yet it inevitably reduced her access to certain Muslim spaces. For example, at the end of ABRAHAM ABRAHAM SARAH SARAH, the artist doesn’t have permission to record the Muslim worshippers entering the mosque as she does with the Jewish worshippers.
Yet the artist doesn’t shy away from traumatic events such as the 1994 massacre – and the everyday forms of violence and surveillance endured by Muslim Palestinians. ISHMAEL narrates the disappropriation of the Muslim minaret and records an instance where the sunset Adhan is forbidden by Israeli authorities in response to Jewish settlers’ demand to have their own call to the Mincha prayer at the same time. The title itself draws attention to these ideas – Ishmael was Abraham’s firstborn, who was then cast out and denied his rightful place. This religious narrative charges Pereg’s work with the themes of dispossession and disappropriation that define the experience of living in the Occupied Palestinian Territories."
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The Scotsman: Eng : Art reviews: Elizabeth Price | Lara Favaretto | Nira Pereg | Qiu Zhijie By Susan Mansfield:
..."The three distinct shows are highly contrasting. Upstairs, Israeli artist Nira Pereg presents films made in the Cave of the Patriarchs in the Old City of Hebron in the Occupied Palestinian Territories. Believed to be the place where Abraham is buried, it is among the most revered religious sites for Jews, Muslims, and Christians. Following a massacre in 1994 in which 29 Muslims were killed, it has been strictly divided into Jewish and Muslim areas, reinforced by bulletproof walls and checkpoints and the presence of the Israel Defence Force.
Pereg’s two-screen film, Abraham Abraham Sarah Sarah, focuses on the occasional days when, for special festivals, each faith gains access to the whole building for a 24-hour period. She films the moments of changeover: carpets being rolled up and stored, religious artifacts placed behind locked screens, Hebrew banners hung to cover up Arabic inscriptions. By homing in on the detail, the practical, the ordinary, she hints at the depths of division which surround this contested space."
Solo Show
Depo Istanbul | Türkiye
15.9– 28.10/2022
The Script Remains the Same / Gene aynı Senaryo
Curator Vasif Kortun
Related Event :
Artist Talk with Curator Vasif Kortun
19.9 /2022
@ Depo September 19– 18:00 PM
Academic Conference
DES- German and European Studies:
"Comparative Aspects of Remembrance, Memory Politics and Inter-State Conflict:
Eastern, Southeastern Europe and the Middle East"
(Online Conference)
Solo Show
Braverman Gallery. Tel-Aviv | Israel
8.7-15.10-21
Nira Pereg / Twilight Zones תוספת שבת
Viewing Room at Braverman Gallery
Curator Ami Barak
Related Press :
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Haaretz: Heb 15.7.2021
אמנות | ביקורת אמנות- תוספת שבת
אבי פיטשון
נירה פרג מציגה: איך הופכים ערימת מחסומים משטרתיים לחוויה אמנותית נעלה
בתערוכתה החדשה ממשיכה פרג לחקור התנהגות אנושית בסיטואציות טעונות פוליטית.
מבט-העל שלה מחליף קלישאות עבשות של התנגדות והיא הצעה
משלהבת להמסת גבולות
PODCAST | Heb. 14.9.2021
״לשם שמיים״
פודקאסט התרבות של בית הנסן - מרכז לעיצוב, מדיה וטכנולגיה
רונן אידלמן ויונתן אמיר מארחים את נירה פרג
נירה פרג – לומדת מחסומים ומפרקת אותם״"
From the committee’s statement:
“Nira Pereg is renowned for her video installations created since the early 2000s. In her work, she focuses on the threshold zones of places that are politically or religiously charged, documenting rituals or procedures that take place within them.
The power of her works lies in their deep human interest, alongside an exceptional aesthetic sensitivity to structure and sound. She weaves all of these elements into large-scale installations, usually composed of multiple video channels that illuminate fascinating ceremonial elements and social structures.”
Nira Pereg (b. 1969, Tel Aviv) is a multidisciplinary artist who explores structures of control, ritual, and time through practices of research, documentation, and processing. Her work dissects and documents symbolic systems of power and influence, using a visual language that combines precision with poetic sensitivity. In her works, documentation is not a mere act of reporting, but a process that generates a new archive while simultaneously exposing the hidden mechanisms of the social and cultural space.
For Pereg, video is not just a technical medium, but a philosophical-conceptual tool that allows for a re-examination of reality. She deals with structures of repetition, resonance, and disintegration, which challenge notions of linear time and stable space. Routine rituals are unraveled into their components, and the way they return and are performed grants them new meanings, revealing the tension between order and deviation, between the sacred and the mundane.
Her exhibitions offer a dynamic viewing experience in which the audience is invited to dwell within realms of uncertainty, where familiar categories fracture and disintegrate. The works open up the possibility for a renewed reflection on the construction of memory, testimony, and narrative, while questioning mechanisms of representation and control.