In a gallery talk following the 1993 screening of his film “Noises”, Absalon expressed his desire to rebelto say "no" without offering a counter-alternative or a superior ideology, but simply to resist. Resistance for the sake of resistance. Absalon took up this stance after he discovered that he had AIDS, which in the 1990s was a death sentence.
This exhibition is a tribute to the artist Absalon (1964–1993), whose way of resistance was extraordinary.

The exhibition brings together works by various artists who share this concept of "resistance for the sake of resistance" alongside and in dialogue with Absalon’s own work. Each piece emphasizes that resistance does not necessarily have to manifest as a formal protest; rather, the very position of resistance restores agency to the subject. That is to say, even when the subject is helpless, there is inherent value in the resistant stance or in resistance as a state of being.

The viewing of the exhibition is accompanied by the sound from Absalon’s video work-a prolonged scream heard in an infinite loop. This sound accentuates the silence of the other works, emphasizing their demand for attention, while simultaneously allowing for an observation of "quiet resistance" as an alternative to the loud one.
The works explore various manifestations of resistance: Rachel Rabinowitz creates small paintings that raise questions about obedience and discipline. By focusing on faceless details or the organ of hearing (the ear), she strips authority from images traditionally associated with power, such as the horse. Adi Oz-Ari and Michaela Weinfeld-Fleishman confront the reality of war through a subtle lens. Oz-Ari produces a monoprint
from gauze, leaving a transparent, nearly invisible image on the page. Meanwhile, Weinfeld-Fleishman miniaturizes and blurs aerial photographs of bombings in Gaza into abstract images, thereby challenging the manner of media reporting and what she perceives as ignoring the sights of war.
Liat Elbling presents deconstructed architectural models (photography) and a column sculpture that evoke questions of presence, disappearance, and camouflage within the architectural structure. Uri Weinstein captures energy within a small power strip that renders itself dysfunctional by being plugged into itself, creating an infinite loop of trapped energy. Noa Simhayof-Shahaf seeks to reclaim control over her own representation through the minor act of winking within the conventional format of a passport photo, and in doing so, she expropriates the format from its official use and subverts her "official version" before the authorities.
The entire exhibition converges toward Absalon’s video work, where the scream is established as a condition—an expression of human helplessness and the primal impulse to resist, even when it holds no power to change reality.