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I. S. Kalter
Fleshworks | Fleischwerke | Chairœuvres | פלאשוורקס | פֿליישווערקן

Fleshworks is an ongoing body of works (since 2019). The Fleshworks presented on this page have not yet been shown in public and were created, in whole or in part, during wartime in the artist's atelier in Tel Aviv. Each Fleshwork below was completed after the massacre of October 7, 2023. Fleshworks and related activity is independent, not related to any organization, and receive zero support.

I. S. Kalter is a Tel Aviv based artist actively supporting civic efforts to end the war, which would release the 59 hostages held in death tunnels and mitigate the suffering of all people living in this part of the Middle East. Since 2011, the artist has been committed to confronting the rapid negative progress of a democratic-totalitarian regime in Israel, using individual artistic, legal, civil, moral, academic, empiric, documented and democratic means. The artist’s activity is part of a broader struggle, highlighting the need for a civic reeducation program aimed at teaching agents how to preserve, reform, and correct democratic institutions—both in the State of Israel and globally. 

He says: "Life-affirming democratic civilizations must confront a difficult but necessary truth: individual freedom and will, when empowered by authority, must be bounded within public institutions. The freedom we cherish must be exercised with consideration for others—and therefore, in certain cases, must be limited. These necessary but flexible and dynamic boundaries reveal a dialectical contradiction—freedom can lead to tyranny and vengeful abuse of power, particularly when an authoritarian figure favors the interests of a small group over the greater whole. Conversely, democracy can descend into anarchy, where a nation fractures into factions, each claiming its own laws, rules, behaviors, and sense of sovereignty. To avoid both extremes, such civilizations must uphold civic balance through strict term limits and practice rotation systematically in high-level public roles constantly. Without these practical safeguard tools, we risk the worst outcomes—masked diversity; stagnation disguised as plurality; tyranny suited like Wall Street in democratic form. Beware. Take care".

                         — I. S. Kalter, on "Fleshworks", April 30, 2025, Tel Aviv—Yafo


 
I. S. Kalter
Fleshworks

 



Fleshworks is an ongoing body of works (since 2019). The Fleshworks presented on this page have not yet been shown in public due to national systematic error in the national art system; and were created, in whole or in part, during wartime in the artist's atelier located in a storefront in Tel Aviv’s Old North. Each Fleshwork below was completed after the massacre of October 7, 2023.

Fleshworks and related activity is independent, not related to any organization, and receive zero support.

I. S. Kalter is actively supporting civic efforts to end the war, which would release the 59 hostages held in death tunnels and mitigate the suffering of all people living in this part of the Middle East. Since 2011, the artist has been committed to confronting the rapid negative progress of a democratic-totalitarian regime in Israel, using individual, artistic, legal, civil, moral, academic, empiric, documented and democratic means. The artist’s activity is part of a broader struggle, highlighting the need for a civic reeducation program aimed at teaching agents how to preserve, reform, and correct democratic institutions—both in the State of Israel and worldwide. 

 



"Fleshwork" is a term I. S. Kalter coined to describe a form of art materializing from personal flashbacks. Fleshwork is abstract, subjective cognitive and physical state of consciousness that becomes tangible and merges with objective reality.

Fleshwork is the raw and finished product, the incarnation of a flashback.

Fleshworks are influenced by the artist's personal wounds and express a visual version of this concept and image. Kalter's paintings, assemblages, and curatorial objects resemble deep cuts, broken bones, bleeding wounds, and landscapes of droughts. They represent the devolution of humanity and aspire to create a dark, ethical, and visual portrait of our time. Fleshworks express the horrors of war, the bleeding bodies, the scorching sun, and burning heat—the exhaustion of the soul in the grim reality of the Middle East.
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Emergence and Annihilation

2023 — 2024 

Oil and mixed media on canvas, brass, artist's frame

79x90x7 cm

  Fleshworks | Fleischwerke | Chairœuvres | פלאשוורקס | פֿליישווערקן | فليشوركس  

"Life-affirming democratic civilizations must confront a difficult, yet necessary truth: individual freedom and will—even when empowered by a rare and universally positive authority—must be restricted within public institutions. No matter how brilliant or branded one may be, a prolonged hold on public power risks transforming even the sharpest minds into a kind of Genius Malignus—a deceptive force that manipulates truth with rhetorical elegance while appearing rational. Such an authoritarian figure, if left unchecked over time, distorts insight into self-serving illusion.

What we have witnessed over the past century is that political policies promoting rapid economic growth in one civilization often generate frustration—both internally and in neighboring, less prosperous, and often exploited nations.

State-level processes require time, in part due to the essential role of strict oversight. When oversight and criticism are weak, nearly absent, or ineffective, these processes accelerate—but only a small elite benefits. What often follows is a steep collapse, as those responsible either become renegades or transform the state into a bureaucratic mafia, deliberately constructed on a recognized—and therefore utilized—institutionalized systematic error.

The lesson for us is this: the freedom we cherish must be exercised with consideration for others—and therefore, in certain cases, must be limited. These necessary, yet flexible and dynamic boundaries reveal a fundamental dialectical contradiction. Freedom can lead to tyranny and vengeful abuse of power, particularly when an authoritarian figure prioritizes the interests of a small group over the greater whole. Conversely, democracy and its freedoms can descend into anarchy, where the universal maxim constructing a nation fractures into factions, each claiming its own land, rules, and sense of sovereignty.
















To avoid both extremes—if that is even possible at this point in spacetime—life-affirming civilizations must uphold civic balance by enforcing strict term limits and systematically changing individuals in high-level public roles. I am not referring only to elections or term limits for mayors and prime ministers, but more critically, to the regular rotation of leadership within public institutions. These positions hold significant power, shaping entire sectors of the domestic economy and controlling de facto different fields of production. Without these practical safeguard tools, we risk the worst: masked diversity; stagnation disguised as plurality; and tyranny suited like Wall Street."



      — I. S. Kalter in Conversation with a Stranger, Fleshworks and Related Activity, April 29, 2025, Tel Aviv–Yafo




 
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Stagnation Disguised as Plurality (Opaqueness)

2023 — 2024 

Oil and mixed media on canvas, artist's frame

79x99x7 cm

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Two Extremes Formed by Sameness (Meaning of Duality)

2023 — 2024 

Oil and mixed media on canvas

40x50x3 cm

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The Ninth Dominion (Aleatory Void)

2023 — 2024 

Oil and mixed media on canvas, artist's frame

79x79x7 cm


Independent Artist: What is the role of the artist?

Anonymous National Curator: These are times of war. The artist should show the world that we remain cultured, rather than barbaric. Perhaps the artist could offer a glimpse into our nation's history, to remind us what we are fighting for. Or else, something quiet — an escape. In times like these, when citizens step into the national museum, they want to see something more beautiful than the grim reality outside. 

Independent Artist: That is already an opinionated idea — a matter of taste or political affiliation. The aesthetic response could just as well be that when a citizen enters a museum during wartime — especially if they are a reservist on leave from the front, which is a soul corrupting significant part of our reality — perhaps they wish to see art that deciphers their experiences, art that is part of war.

Anonymous National Curator: That is naive, my “independent” friend. What they truly want is something that will galvanize them. And of course, art has different layers for different kinds of spectators. The aesthetic cipher you speak of allegedly exists, but only those who were trained to read the dictionary can actually separate the deceptive layers.





























Independent Artist: I asked about the role of the artist, and you almost immediately situated that role within the framework of a national art system. That is valid — these systems do exist — and since you mentioned it as someone who is a key figure within it, without offering much clarification, your response renders those systems present in the very act of reflecting on the artist’s role. So, as I understand it, in your view the relationship between the national art system and the independent artist cannot be separated — even within the layers of the artwork itself. And since this is a thought experiment — as such a sincere conversation could never be made public in the totalitarian-democratic reality we inhabit — I would like to explore this more openly with you. Let us continue. In your view, what is the role of the artist? Please provide a definition.

Anonymous National Curator: The role of the artist is to understand what kind of art the nation requires at a given moment in reality, to create it at their own expense, and to be granted permission to donate it when called upon. Art is, indeed, a Faustian bargain.



— Independent artist in correspondence with an anonymous national curator, Fleshworks and Related Activity, August 2024
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Revolution of Common Sense (Within a Swaying Body)

2024 

Oil and mixed media on canvas

99x114x8 cm



Fleshworks, composed using mixed media techniques and oil painting, stands as a raw, sincere testament to prolonged trauma and enduring resistance. Its organic, non-geometric forms and abject materiality evoke discomfort—ugly, fragile, and undeniably human. The works refusal to conform is in its protest against violence and dogma, especially in times of war. Yet precisely because of its strange, unsettling nature, it becomes muktzeh machmat mi’us—set aside, repulsive to many. It is both a sacred offering and an object of exile, suspended between the need to be seen and the urge to turn away.
  Fleshworks | Fleischwerke | Chairœuvres | פלאשוורקס | פֿליישווערקן | فليشوركس  
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War Hole

2024 — 2025 

Oil and mixed media on canvas, artist's frame

109x130x7 cm

Duality is a recurring principle—the capacity to hold two contradictory truths simultaneously. It is the ability to believe in both, to fully inhabit each in its entirety, in service of preserving a greater order. Duality is a difficult principle to grasp, but a necessary one to deconstruct in order to understand subjectivation in the 21st century. At this level of subjectivity, the subject challenges—or moves beyond—the modern notion of the individual, shifting toward a conception grounded in dualism. I exist as much as I didn't.

This goes beyond mere contradiction; it is not about conflict, but about the integration of opposites in a way that does not negate either. Instead, it sustains a higher coherence—a truth that can emerge only through the tension and coexistence of both forces. It is, in Kantian terms, a synthetic a priori judgment: a necessary condition for making sense of a world composed of irreconcilable yet coexisting truths.

Duality begins with simple forms and abstract stains, moves through the broad contours of events, and sharpens into an understanding of existence alongside specific people who conceal themselves within that concept, in specific places and moments—their relationships and concrete actions embedded in reality".

— Chris Marker on his 90th birthday, July 29, 2011
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Being Under The Guise of Non-Being

2023 — 2024 

Oil and mixed media on linen

75x92x6 cm

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Maneuverability in Equilibrium

2019 — 2024 

Oil and mixed media on canvas, artist's frame

92x124x7 cm

  Fleshworks | Fleischwerke | Chairœuvres | פלאשוורקס | פֿליישווערקן | فليشوركس  
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The Shapira Time Delay

2023 — 2024 

Oil and mixed media on linen, artist's frame

68x89x7 cm

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Congealment

2023 — 2024 

Oil and mixed media on linen

80x100x5 cm

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Sapirga (The Body's Earthly Desires and The Higher Aspirations of The Soul)

2024 — 2025 

Oil and mixed media on linen, artist's frame

116x45x8 cm

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Jewish Anomaly

2023 — 2024 

Oil and mixed media on canvas, artist's frame

109x130x7 cm

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Information Processing at the Occurrence of the Universe

2021 — 2024 

Oil and mixed media on canvas

84x113x10 cm

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That Envelope

2023 — 2024 

Oil and mixed media on canvas

70x100x6 cm

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