Women, blood, profanity, beauty, exotic fruit, women’s exclusion, boycotts of Israeli goods – these flow like a current vein in the remnants of the night of fire on the silver platter, remnants in the guise of film extracts and traces of actions left behind after Noam Edry’s sensational and controversial performance, which marked the end of 2011at the museum.

At the climax of the live performance, which combined sound and a variety of media, including emotional outbursts of actresses clad in sensual, dripping, bleeding Israeli fruits sculpted in foam – the giant chickpea structure was activated by four crewmen and rounds of boiled chickpeas were fired at the spectators present in the auditorium. The performance itself and its debris, film extracts and scenery reminiscent of the aftermath of a party, still resonate with aggression, hysteria, lyricism and embarrassment. They at once attract and repel, arouse and antagonize, pointing at inner layers of vitality and desire entangled deep in the gut of Israel’s society.

“We think we control our own lives, we think we run them ourselves but in fact we are led blindly be the events”, says Edry.

What are the real “fruits” exported by Israeli society, what do we look like from the outside and what churns the insides of a reality of aggression and imagined identity, machoism and hysteria; what is the price we pay for being Israeli?