Awakening Curator: Aliza Ashkenazi and Miri Spector Chernitz Held as part of Amanut BaMoshava, 2026, Pardes Hana-Karkur Artists Association. The exhibition seeks to observe a social crisis and days of uncertainty from a female perspective. Such times shake the familiar order and destabilize feelings of security and belonging. They surface states of vulnerability, loss, and fracture, but at the same time reveal movements of turning inward, resilience, and renewal. The exhibition explores ways in which women experience, interpret, and process crisis through visual means. Painting is revealed here as a space of presence and observation, a space in which time slows down, experience breaks into layers, and feeling takes on body and form. The works, some created in recent years and some reflecting past crises, offer imagery for the tension between fracture and strength: fear and pain alongside powers of overcoming, stable standing, continuity, and hope. Through brushstrokes, layers of paint, and stubborn materiality, a presence emerges that does not yield. And when reality sometimes seems superior to any imagination, the act of painting remains an act of refusal. Refusal to be overwhelmed, refusal to align with chaos. A silent tongue sticking out against chaos. Each in Her Own Way Michal Geva dismantles architectural structures; outside and inside crack, nature invades and takes over, and the domestic space becomes impossible. Disorder reorganizes into a breathtaking composition of seductive beauty, yet simultaneously destabilizing and offering no sense of security. Miri Spector Tsiring returns to the earth: red, cracked, wounded, searching within it for signs of renewal. Even within an apocalyptic landscape, possibilities of renewed birth are hinted at. Margo Gran replaced soft watercolors with charcoal during the days of war. Observing outward from her studio, she seeks stability in drawings; in another series, she meets skies pierced by jet trails. Aliza Ashkenazi captures portraits that are silent testimonies to a place: Kinneret Gat's face, the girl with the deer mask, and the portrait of the Israeli pine forest, like an evil forest, in which a red dress hangs as a sign marking the sight. Anat Or Magal is present in the tension between absolute certainty and the collapse of sudden beliefs, between the flash of life and the scent of death. The act of painting is an attempt to reorganize internal order amidst the fog.