GRADUATE SHOWS / AUGUST 2026
Shenkar Graduate Exhibition 2026
A closer look at the projects, ideas and voices shaping this year’s graduate exhibition.
BY LIRON ZISKIND • 8 MIN READ
FEATURED IMAGE / COVER
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01 / INTRODUCTION
INTRODUCTION
The graduate exhibition arrives as a generous field of first statements: projects trying on public voices, testing materials, and asking where a design practice might begin. Moving between fashion, visual communication, product and digital work, the show holds together through an openness to process rather than a single house style.
What stands out is the confidence to make space for unfinished questions. The strongest rooms do not simply present a result; they leave traces of the research, risk and revision that brought it into view.
EXHIBITION OVERVIEW / OPTIONAL CAPTION + CREDIT
02 / CURATION & VISUAL IDENTITY
CURATION & VISUAL IDENTITY
The exhibition’s visual language is deliberately spare. Signage, typography and spatial pacing allow projects to hold their own temperature, while small points of repetition give visitors a way to read across departments. It is a framework that makes attention feel active rather than prescribed.
CURATION / BRANDING / SPACE — OPTIONAL CAPTION + CREDIT
03 / THE PROJECTS
THE PROJECTS
Across the exhibition, recurring themes take shape through an unusually broad set of visual languages: private archives become public interfaces, discarded materials are treated as research tools, and digital spaces are asked to carry the texture of an encounter. The work is at its best when its medium is not a finish but a proposition.
There are moments where ambition outruns clarity, and a few projects could trust their central gestures more. But the overall character is generous and alert. These are not designs seeking an instant identity; they are practices beginning to articulate their own conditions.
“The most memorable projects do not explain every move. They make room for a viewer to stay with the question.”
SELECTED PROJECTS
01
NOA BEN-AMI • @NOABENAMI • MENTOR: TAL EREZ • VISUAL COMMUNICATION
PROJECT DESCRIPTION
A visual archive that turns overlooked domestic objects into a shifting alphabet. Through a sequence of printed matter and responsive images, the project asks how memory can be organized without becoming fixed.
REVIEWER’S TAKE
The project’s quietest decisions are its most persuasive. A modest palette and careful pacing allow the archive to feel intimate rather than nostalgic, and the visual system never overtakes the material it holds.
OPTIONAL CAPTION / CREDIT
04 / FINAL THOUGHTS
FINAL THOUGHTS
This exhibition makes a convincing case for the value of a first public gesture: imperfect, attentive, and full of propositions that deserve more time. Its real strength is the range of its voices, and the willingness to let those voices remain distinct.
The work leaves behind a sense of a generation designing not only objects and images, but new ways of being in relation to them.
WORDS: LIRON ZISKIND / PHOTOGRAPHY: SHENKAR ARCHIVE / TAGS: GRADUATE SHOWS, DESIGN EDUCATION
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