“I Hate You in June” is Patricia Ellis and Ulli Knall’s “Artist’s Project”.
The “Artist’s Project” is an exhibition-event, the product of an artist’s initiative ( or by two artists in this case) who share their fantasy with the work of artists who are really akin. They are linked by a certain time-spirit, speak the same language, live in different countries and enjoy participating in a project of their own. Concurrently another artist project was held in the museum, entitled “The disaster of love” curated by artist Galia Yahav.

The “I Hate You in June” artists are acutely aware of the current dialogue and elect not to expound theoretical theses, often ridiculing the self-importance and pretense that accompany such discourse. They believe in a bond of a different type, less “intellectualism”, more street smarts with emphasis on mutual relationships between artists. The focus is on the melodramatic modern romance, highly influenced by television (which also, incidentally, tends to take itself very seriously). It is a voyeur’s look into the depth of depthlessness, without ignoring the heartache involved.
The “Artist’s Project”, as a group exhibition, is a rare event in the art establishment. It is only natural that the museum supports a professional curator to display exhibitions in its halls. The museum places at the curator’s disposal its reputation, financial and organizational means : a well-oiled mechanism designed to exhibit and promote his/her assertion at the highest professional level. In the current scene, curators are cultural stars and the system sustains them so that they, in turn, will sustain it.
The “Artist’s Project” at the museum was based on an open dialogue with the artists who link the museum and its public with the world of imagery and their preferences and with the place from where their activity is powered. It’s no coincidence that the previous event held at Ein Harod, “Gracelands Palace”, Andreas Schlaegal’s “Artist’s Project”, also took its form in London. In both projects, artists who became acquainted at the “Goldsmith” School of Art were among the participants. The artists continued functioning from different places all over the world maintaining their own internal global network of cooperation, providing a new vitality to the world of art.