ืœื“ืœื’ ืœืชื•ื›ืŸ

ืกืืœื™ ื”ืคื˜ืœ ื ื•ื”

ืžืชื•ืš ื•ื™ืงื™ืคื“ื™ื”, ื”ืื ืฆื™ืงืœื•ืคื“ื™ื” ื”ื—ื•ืคืฉื™ืช
ืกืืœื™ ื”ืคื˜ืœ ื ื•ื”
ืื™ืŸ ืชืžื•ื ื” ื—ื•ืคืฉื™ืช
ืื™ืŸ ืชืžื•ื ื” ื—ื•ืคืฉื™ืช
ืœื™ื“ื” 18 ื‘ืื•ืงื˜ื•ื‘ืจ 1969 (ื‘ืชย 57)
ืงื•ืœื•ืžื‘ื™ื”
ืžื“ื™ื ื” ื™ืฉืจืืœ ืขืจื™ื›ืช ื”ื ืชื•ืŸ ื‘ื•ื•ื™ืงื™ื ืชื•ื ื™ื
ืชืงื•ืคืช ืคืขื™ืœื•ืช ืž-1998
ืขื™ืกื•ืง ืื•ืฆืจืช ืืžื ื•ืช
ืžืขืกื™ืง ืขืฆืžืื™ืช
www.sallyhaftel.com
ืœืขืจื™ื›ื” ื‘ื•ื•ื™ืงื™ื ืชื•ื ื™ื ืฉืžืฉืžืฉ ืžืงื•ืจ ืœื—ืœืง ืžื”ืžื™ื“ืข ื‘ืชื‘ื ื™ืช

ืกืืœื™ ื”ืคื˜ืœ ื ื•ื” (ื ื•ืœื“ื” ื‘-18 ื‘ืื•ืงื˜ื•ื‘ืจ 1969) ื”ื™ื ืื•ืฆืจืช ืขืฆืžืื™ืช ื‘ืชื—ื•ื ื”ืืžื ื•ืช ื”ืขื›ืฉื•ื•ื™ืช. ื”ื™ื ืืฆืจื” ืชืขืจื•ื›ื•ืช ื™ื—ื™ื“ ื•ืงื‘ื•ืฆืชื™ื•ืช ืจื‘ื•ืช ื‘ื—ืœืœื™ ืชืฆื•ื’ื”, ื’ืœืจื™ื•ืช, ืžื•ื–ื™ืื•ื ื™ื ื•ื‘ืžืจื—ื‘ ื”ืฆื™ื‘ื•ืจื™ ื‘ื™ืฉืจืืœ ื•ืžื—ื•ืฆื” ืœื”, ื‘ื™ืŸ ื”ื™ืชืจ ื‘ืžื•ื–ื™ืื•ืŸ ื™ืฉืจืืœ, ืžื•ื–ื™ืื•ืŸ ื”ืจืฆืœื™ื” ืœืืžื ื•ืช ืขื›ืฉื•ื•ื™ืช ื•ื‘-Brno House of Arts ื‘ืจื ื•, ืฆ'ื›ื™ื”.

ื”ืคื˜ืœ ื ื•ื” ื ื•ืœื“ื” ื‘ืงื•ืœื•ืžื‘ื™ื”. ื”ื™ื ื‘ื•ื’ืจืช ืœื™ืžื•ื“ื™ ืชื•ืืจ ืจืืฉื•ืŸ ื•ืฉื ื™ ื‘ืชื•ืœื“ื•ืช ื”ืืžื ื•ืช ื‘ืื•ื ื™ื‘ืจืกื™ื˜ืช ืชืœ ืื‘ื™ื‘. ื‘ื™ืŸ ื”ืฉื ื™ื 1994โ€“1996 ืœืžื“ื” ื‘ืกื˜ื•ื“ื™ื• ืœืืžื ื•ื™ื•ืช ื”ืชื™ืื˜ืจื•ืŸ ืฉืœ ื™ื•ืจื ืœื•ื™ื ืฉื˜ื™ื™ืŸ ื‘ืชืœ ืื‘ื™ื‘. ื‘ืฉื ืช 1997 ืœืžื“ื” ื‘ื‘ื™ืช ื”ืกืคืจ ืœืชื™ืื˜ืจื•ืŸ ื•ืงื•ืœื ื•ืข "The Lee Strasberg Theatre & Film Institute" ื‘ื ื™ื• ื™ื•ืจืง. ื”ื™ื™ืชื” ืžืจืฆื” ืื•ืจื—ืช ื‘ืžื•ืกื“ื•ืช ืืงื“ืžื™ื™ื ืฉื•ื ื™ื ื•ืžืœืžื“ืช ืื•ืฆืจื•ืช ื‘ืžื›ืœืœืช ืกืคื™ืจ.

ื”ื™ื ื”ื—ืœื” ืืช ื“ืจื›ื” ื”ืžืงืฆื•ืขื™ืช ื‘ื’ืœืจื™ื” ื‘ื™ื ื˜ ื‘ืชืœ ืื‘ื™ื‘, ืฉื ืขื‘ื“ื” ื‘ื™ืŸ ื”ืฉื ื™ื 1998โ€“2003. ืœืื—ืจ ืžื›ืŸ ืฉืžืฉื” ื›ืื•ืฆืจืช ื’ืœืจื™ื” ื‘ืจื•ื•ืจืžืŸ, ืชืœ ืื‘ื™ื‘ ื•ื‘ื™ืŸ ื”ืฉื ื™ื 2008โ€“2010 ืฉื™ืžืฉื” ื›ืื•ืฆืจืช ื‘ื’ืœืจื™ื” ืื•ืจื‘ื ื™ืงืก (Urbanix), ืกื˜ื•ื“ื™ื• ืœืงืจื™ืื™ื™ื˜ื™ื‘ ื•ืขื™ืฆื•ื‘ ื‘ืชืœ ืื‘ื™ื‘. ื‘ื™ืŸ ื”ืฉื ื™ื 2010โ€“2013 ืฉื™ืžืฉื” ื›ืื•ืฆืจืช ื•ืžื ื”ืœืช ืฉืœ ืงื• 16 โ€“ ื’ืœืจื™ื” ืงื”ื™ืœืชื™ืช ืœืืžื ื•ืช ืขื›ืฉื•ื•ื™ืช ื‘ืชืœ ืื‘ื™ื‘[1], ื•ื‘ืฉื ืช 2017 ืืฆืจื” ื™ื—ื“ ืขื ืขื“ื ื” ืžื•ืฉื ื–ื•ืŸ ืืช ื”ื‘ื™ืื ืœื” ืœืจื™ืฉื•ื, "ืฉื•ื‘ื• ืฉืœ ื”ื ื™ื™ืจ / ืžื—ืฉื‘ื•ืช ืขืœ ืจื™ืฉื•ื", ืจืฉืžื™ื VI, ื‘ื‘ื™ืช ื”ืืžื ื™ื ื™ืจื•ืฉืœื™ื.

ื”ืคื˜ืœ ื ื•ื” ืืฆืจื” ืืช ืคืกื˜ื™ื‘ืœ ืื•ื”ื‘ื™ื ืืžื ื•ืช ืขื•ืฉื™ื ืืžื ื•ืช ืžื˜ืขื ืขื™ืจื™ื™ืช ืชืœ ืื‘ื™ื‘ ื‘ืฉื ื™ื 2011 ื•-2013. ื‘ืฉื ื™ื 2018โ€“2020 ืฉื™ืžืฉื” ื›ื™ื•ืขืฆืช ืืžื ื•ืช ืฉืœ ื’ืœืจื™ื” ื”ื•ื™ืœื”, ืžื›ืœืœืช ืืžื•ื ื” ื™ืจื•ืฉืœื™ื. ื”ื™ื™ืชื” ื—ืœืง ืžื”ื•ื•ืขื“ื” ืœื‘ื—ื™ืจืช ืœื‘ื—ื™ืจืช ืืžื ื™ื ืœืชื•ื›ื ื™ืช ืฉื”ื•ืช ืืžืŸ ื‘-IDA Hannover 2013 (Intercultural Dialog in Art) ื•ื—ื‘ืจื” ื‘ื•ื•ืขื“ืช ืคืจื•ื™ืงื˜ื™ื ืฉืœ ืขื™ืจื™ื™ืช ืชืœ ืื‘ื™ื‘-ื™ืคื•. ื—ื‘ืจื” ื‘ื•ื•ืขื“ื” ื”ืžื™ื™ืขืฆืช ืฉืœ ืืจื˜ืคื•ืจื˜.

ืชืขืจื•ื›ื•ืช ื‘ืืฆื™ืจืชื”

[ืขืจื™ื›ืช ืงื•ื“ ืžืงื•ืจ | ืขืจื™ื›ื”]

2006

  • ื‘ืžื ื”ืจืช ื”ื–ืžืŸ, ื’ืœืจื™ื” ื‘ืจื•ื•ืจืžืŸ, ืชืœ ืื‘ื™ื‘

2007

  • Somewhere better than this place, ื’ืœืจื™ื” ื‘ืจื•ื•ืจืžืŸ, ืชืœ ืื‘ื™ื‘

2008

  • The Leaders of Epsilon, ืชืขืจื•ื›ืช ื™ื—ื™ื“ ืฉืœ ื ืกืงื” (Nesca), ื’ืœืจื™ื” ืื•ืจื‘ื ื™ืงืก, ืชืœ ืื‘ื™ื‘
  • Doma Versus (ืงื•ืœืงื˜ื™ื‘ ื“ื•ืžื” โ€“ืืจื’ื ื˜ื™ื ื”), ื’ืœืจื™ื” ืื•ืจื‘ื ื™ืงืก, ืชืœ ืื‘ื™ื‘

2009

  • ื“ื ื™ืืœ ื“ื•ื‘ืจ, ื”ื‘ืจืงืคืกื˜ (ื—ืœืœ ืืœื˜ืจื ื˜ื™ื‘ื™), ืชืœ ืื‘ื™ื‘
  • The Sacrificing of the Cake, ืชืขืจื•ื›ืช ื™ื—ื™ื“ ืฉืœ ื”ืืžืŸ ื’ืจื™ ื‘ื™ื™ืกืžืŸ (Gary Baseman), ื’ืœืจื™ื” ืื•ืจื‘ื ื™ืงืก, ืชืœ ืื‘ื™ื‘

2010

  • Fire, work!, ืชืขืจื•ื›ืช ื™ื—ื™ื“ ืฉืœ ืืœื•ื ื” ืจื•ื“ื”, ืงื• 16- ื’ืœืจื™ื” ืงื”ื™ืœืชื™ืช ืœืืžื ื•ืช ืขื›ืฉื•ื•ื™ืช, ืžืจื›ื– ืงื”ื™ืœืชื™ ื ื•ื•ื” ืืœื™ืขื–ืจ, ืชืœ ืื‘ื™ื‘
  • ื”ืืœื›ื™ืžืื™ื, ืจื•ืชื ืชืžื™ืจ, ืฉื—ืจ ืคืจื“ื™ ื›ืกืœื• ื•ืชื•ืžืจ ืกืคื™ืจ, ืงื• 16- ื’ืœืจื™ื” ืงื”ื™ืœืชื™ืช ืœืืžื ื•ืช ืขื›ืฉื•ื•ื™ืช, ืžืจื›ื– ืงื”ื™ืœืชื™ ื ื•ื•ื” ืืœื™ืขื–ืจ, ืชืœ ืื‘ื™ื‘

2011

  • ื”ื—ืœืงื” ื˜ื‘ืขื™ืช, ืจื•ืขื™ ื•ื™ืงื˜ื•ืจื™ื” ื—ืคืฅ, ืžืกืคืจืช ืขื•ืคืจ ืขื™ื“ืŸ, ื‘ืžืกื’ืจืช ืคืจื•ื™ืงื˜ "ืคืขื•ืœื” ืื—ืช ื‘ื—ื•ื“ืฉ" ืฉืœ ืงื• 16- ื’ืœืจื™ื” ืงื”ื™ืœืชื™ืช ืœืืžื ื•ืช ืขื›ืฉื•ื•ื™ืช, ืžืจื›ื– ืงื”ื™ืœืชื™ ื ื•ื•ื” ืืœื™ืขื–ืจ, ืชืœ ืื‘ื™ื‘
  • ืฉื™ื‘ื•ืฉื™ื, ืชืขืจื•ื›ืช ืจื—ื•ื‘ ื‘ืœื‘ ื”ืขื™ืจ, ืื™ืจื•ืข ืื•ื”ื‘ื™ื ืืžื ื•ืช, ืขื•ืฉื™ื ืืžื ื•ืช, ื”ืžื—ืœืงื” ืœืืžื ื•ื™ื•ืช, ืขื™ืจื™ื™ืช ืชืœ ืื‘ื™ื‘ โ€“ ื™ืคื•
  • ONDERLAND, ืชืขืจื•ื›ื” ืงื‘ื•ืฆืชื™ืช, ืงื• 16- ื’ืœืจื™ื” ืงื”ื™ืœืชื™ืช ืœืืžื ื•ืช ืขื›ืฉื•ื•ื™ืช, ืžืจื›ื– ืงื”ื™ืœืชื™ ื ื•ื•ื” ืืœื™ืขื–ืจ, ืชืœ ืื‘ื™ื‘

2012

  • RE: VISITING ROCKEFELLER, ืืžื ื•ืช ื™ืฉืจืืœื™ืช ืขื›ืฉื•ื•ื™ืช ื‘ืžื•ื–ื™ืื•ืŸ ืจื•ืงืคืœืจ ืœืืจื›ืื•ืœื•ื’ื™ื”, ืžื•ื–ื™ืื•ืŸ ื™ืฉืจืืœ, ื™ืจื•ืฉืœื™ื (ื™ื—ื“ ืขื ื”ืื•ืฆืจ: ื™ื ืื™ ืกื’ืœ)[2]
  • Ambiguous Being, who is afraid of Identity, ืชืขืจื•ื›ืช ื•ื™ื“ืื• ืžื‘ืจืœื™ืŸ, ื˜ื™ื™ืคื” ื•ืชืœ ืื‘ื™ื‘, ืงื• 16- ื’ืœืจื™ื” ืงื”ื™ืœืชื™ืช ืœืืžื ื•ืช ืขื›ืฉื•ื•ื™ืช, ืžืจื›ื– ืงื”ื™ืœืชื™ ื ื•ื•ื” ืืœื™ืขื–ืจ, ืชืœ ืื‘ื™ื‘ (ืžื•ืฆื’ืช ื’ื ื‘-Tam Tam ART, ื‘ืจืœื™ืŸ ื•ืžื•ื–ื™ืื•ืŸ Houg-Gah, ื˜ื™ื™ืคื”)
  • ืื—ืจื™ ืฉื”ืฉืžืฉ ืฉืงืข, ืชืขืจื•ื›ืช ื™ื—ื™ื“ ืฉืœ ื˜ืœื™ ื‘ืŸ ื‘ืกื˜, ื’ืœืจื™ื” ื’'ื•ืœื™ ืž., ืชืœ ืื‘ื™ื‘
  • 8 ืงื•ื‘ ื—ืœืœ ืžื•ื–ื™ืื•ืŸ, ืžื•ื–ื™ืื•ืŸ ืชืœ ืื‘ื™ื‘ ืœืืžื ื•ืช, ืชืœ ืื‘ื™ื‘ (ื™ื—ื“ ืขื ื”ืื•ืฆืจื•ืช: ื ื™ืœื™ ื’ื•ืจืŸ ื•ื ื•ื’ื” ื“ื•ื™ื“ืกื•ืŸ)

2013

  • ืœื”ื—ื–ื™ืง ื‘ืงืฆื•ื•ืช III, ืชืขืจื•ื›ืช ื™ื—ื™ื“ ืฉืœ ืื‘ื™ื˜ืœ ื›ื ืขื ื™, ื’ืœืจื™ื” ืžื ืฉืจ, ืชืœ ืื‘ื™ื‘
  • ืื•ืจื™ื™ื ื˜ ืืงืกืคืจืก, ืชืขืจื•ื›ืช ื™ื—ื™ื“ ืฉืœ ื ื‘ื˜ ื™ืฆื—ืง, ื”ืžื•ื–ื™ืื•ืŸ ืœืืžื ื•ืช ื”ืืกืœืื, ื™ืจื•ืฉืœื™ื
  • ื–ื”ื™ืจื•ืช, ื”ืชืคืฉื˜ื•ืช!, ืื™ืจื•ืขื™ ืื•ื”ื‘ื™ื ืืžื ื•ืช, ืขื•ืฉื™ื ืืžื ื•ืช 2013, ืขื™ืจื™ื™ืช ืชืœ ืื‘ื™ื‘-ื™ืคื•
  • ืืกืคืช ื“ื™ื™ืจื™ื โ€“ ืจื•ืขื™ ื›ืจืžืœื™, ืื™ืชืžืจ ืฉืžืฉื•ื ื™, ืงื• 16- ื’ืœืจื™ื” ืงื”ื™ืœืชื™ืช ืœืืžื ื•ืช ืขื›ืฉื•ื•ื™ืช, ืžืจื›ื– ืงื”ื™ืœืชื™ ื ื•ื•ื” ืืœื™ืขื–ืจ, ืชืœ ืื‘ื™ื‘

2014

  • ื‘ื—ื•ืœื•ืช, ืชืขืจื•ื›ืช ื™ื—ื™ื“ ืฉืœ ืขื•ื“ื“ ื”ื™ืจืฉ, ื’ืœืจื™ื” ื”ืกื“ื ื ื‘ืจืžืช ืืœื™ื”ื•
  • Cell Culture Club, ื ื™ื‘ื™ ืืœืจื•ืื™ ื•ื”ื™ืœื” ืขืžืจื, ืกื“ื ืื•ืช ื”ืืžื ื™ื, ืชืœ ืื‘ื™ื‘

2015

  • ื˜ื™ื™ืœืช, ืชืขืจื•ื›ืช ื™ื—ื™ื“ ืฉืœ ื™ื ืื™ ืกื’ืœ, ื‘ื™ืช ื”ืืžื ื™ื, ื™ืจื•ืฉืœื™ื
  • OBJECTONOMY: The Economy of the Object, ืชืขืจื•ื›ื” ืงื‘ื•ืฆืชื™ืช, ื’ืœืจื™ื” MeetFactory, ืคืจืื’
  • ืชืขืจื•ื›ืช ื’ืžืจ, ื‘ื•ื’ืจื™ ืœื™ืžื•ื“ื™ ื”ืžืฉืš, ื‘ื™ืช ื”ืกืคืจ ืœืืžื ื•ืช ื”ืžื“ืจืฉื”, ื‘ื™ืช ื‘ืจืœ, ื’ืœืจื™ื” ื”ื™ืจืงื•ืŸ 19, ืชืœ ืื‘ื™ื‘
  • ืฉื•ื‘ืจ ืฉื•ื•ื™ื•ืŸ, ืชืขืจื•ื›ืช ื™ื—ื™ื“ ืฉืœ ื˜ืœ ืคืจื ืง, ืžื•ื–ื™ืื•ืŸ ื”ืจืฆืœื™ื” ืœืืžื ื•ืช ืขื›ืฉื•ื•ื™ืช
  • ROOMS, ืชืขืจื•ื›ืช ื™ื—ื™ื“ ืฉืœ ืœื™ ื™ื ื•ืจ, ื’ืœืจื™ื” ื–ื™ืžืืง ืœืืžื ื•ืช ืขื›ืฉื•ื•ื™ืช, ืชืœ ืื‘ื™ื‘
  • ื—ืฆื™ ืคื ืกื™ื•ืŸ, ื’ืœืจื™ื” ื‘ืจื•ื•ืจืžืŸ, ืชืœ ืื‘ื™ื‘

2016

  • ืฉื•ื‘ื• ืฉืœ ื”ื ื™ื™ืจ/ ืžื—ืฉื‘ื•ืช ืขืœ ืจื™ืฉื•ื, ืจืฉืžื™ื VI, ื”ื‘ื™ืื ืœื” ืœืจื™ืฉื•ื, ื‘ื™ืช ื”ืืžื ื™ื, ื™ืจื•ืฉืœื™ื (ืื•ืฆืจื•ืช ืžืฉื•ืชืคืช ืขื ืขื“ื ื” ืžื•ืฉื ื–ื•ืŸ)[3]
  • ืฉืœื•ื ื”ืžืœื›ื•ืช, ืชืขืจื•ื›ืช ื™ื—ื™ื“ ืจืขื™ื” ื‘ืจื•ืงื ื˜ืœ, ืกื“ื ืื•ืช ื”ืืžื ื™ื, ื™ืจื•ืฉืœื™ื
  • ืžืชื—ืช ืœืขื•ืจ, ืชืขืจื•ื›ืช ื™ื—ื™ื“ ืฉืœ ืžื™ืจื™ ืžื•ืจ, ื’ืœืจื™ื” ืื™ื ื“ื™, ืชืœ ืื‘ื™ื‘

2017

  • Breaking Balance, ืชืขืจื•ื›ื” ืงื‘ื•ืฆืชื™ืช, ื’ืœืจื™ื” HIT, ื‘ืจื˜ื™ืกืœื‘ื”, ืกืœื•ื‘ืงื™ื”
  • ื™ื ื‘ืชื•ืš ื™ื, ืชืขืจื•ื›ืช ื™ื—ื™ื“ ืฉืœ ื”ื“ืกื” ื’ื•ืœื“ื•ื™ื›ื˜, ืกื“ื ืื•ืช ื”ืืžื ื™ื, ื™ืจื•ืฉืœื™ื
  • Evocative Surfaces, ืชืขืจื•ื›ืช ื™ื—ื™ื“ ืฉืœ ื‘ื‘ืจืœื™ ื‘ืจืงืช, ืืจืžื•ืŸ ื’ืจื™ืžื ื™, ื•ื ืฆื™ื”, ืื™ื˜ืœื™ื”
  • ืื™ ืฉืงื˜, ืชืขืจื•ื›ืช ื™ื—ื™ื“ ืฉืœ ืขืชืจ ื’ื‘ืข, ื’ืœืจื™ื” ื’ื‘ืขื•ืŸ, ืชืœ ืื‘ื™ื‘

2018

  • Thank You for your visit, ืชืขืจื•ื›ืช ื™ื—ื™ื“ ืฉืœ ื“ื•ืจื•ืŸ ืขื•ื‘ื“, ื•ื™ืœื”- ื’ืœืจื™ื” ืœืืžื ื•ืช ืขื›ืฉื•ื•ื™ืช, ืžื›ืœืœืช ืืžื•ื ื”, ื™ืจื•ืฉืœื™ื
  • ื™ืฉ ื‘ื™ื“ื™ ืžืฉื•ืœืฉ ื™ืฉืจ-ื–ื•ื•ื™ืช ื•ืœื ืื”ืกืก ืœื”ืฉืชืžืฉ ื‘ื•, ืชืขืจื•ื›ืช ื™ื—ื™ื“ ืฉืœ ื ื™ืฆืŸ ืกื˜, ื’ืœืจื™ื” ืœืืžื ื•ืช, ืื•ื ืืœ ืคื—ื
  • ืชืขืจื•ื›ื” ืชืžื™ื“ื™ืช, ืชืขืจื•ื›ืช ื™ื—ื™ื“ ืฉืœ ื ื‘ื˜ ื™ืฆื—ืง, ื”ืžืจื›ื– ืœืืžื ื•ืช ืขื›ืฉื•ื•ื™ืช (CCA), ืชืœ ืื‘ื™ื‘
  • ื‘ืขื™ื”, ืชืขืจื•ื›ืช ื™ื—ื™ื“ ืฉืœ ื™ืขืœ ืคืจื ืง, ืกื“ื ืื•ืช ื”ืืžื ื™ื ืชืœ ืื‘ื™ื‘

2019

  • Drop Dead Funny, House of the Lords of Kunstat, ื‘ืจื ื•, ืฆ'ื›ื™ื”
  • ืื’ื•ื“ืช ืœืจื•ื•ื” ืœื—ืงืจ ื”ืืœ ื˜ื‘ืขื™, ื‘ื™ืช ื”ืืžื ื™ื ื™ืจื•ืฉืœื™ื, ื™ืจื•ืฉืœื™ื
  • ืžืฉื›ืŸ, ืชืขืจื•ื›ืช ื™ื—ื™ื“ ืฉืœ ืืกื ืช ื™ื”ืœื™-ืกืจื‘ื’ื™ืœื™, ื‘ื™ืช ื”ืืžื ื™ื, ื™ืจื•ืฉืœื™ื

2020

  • ื ื•ืคื™ ื‘ืจื™ื—ื”, ืชืขืจื•ื›ืช ื™ื—ื™ื“ ืฉืœ ืขื™ื ืช ืืžื™ืจ, ื’ืœืจื™ื” ืื™ื ื“ื™, ืชืœ ืื‘ื™ื‘
  • ืงื™ืŸ, ืชืขืจื•ื›ืช ื™ื—ื™ื“ ืฉืœ ืžื•ืจืŸ ืงืœื™ื’ืจ, ื’ืœืจื™ื” ื ื’ื, ืชืœ ืื‘ื™ื‘
  • ืฉืงื™ืขื”, ืชืขืจื•ื›ืช ื™ื—ื™ื“ ืฉืœ ืขื™ื ืช ืขืจื™ืฃ-ื’ืœื ื˜ื™, ื”ื’ืœืจื™ื” ื‘ืกื“ื ืื•ืช ื”ืืžื ื™ื, ื™ืจื•ืฉืœื™ื
  • ืกืื ืฉื™ื™ืŸ, ืชืขืจื•ื›ืช ื™ื—ื™ื“ ืฉืœ ืขื™ื ืช ืขืจื™ืฃ-ื’ืœื ื˜ื™, ืžืฉื›ืŸ ืœืืžื ื™ื ื”ืจืฆืœื™ื”, ื”ืจืฆืœื™ื”
  • ื‘ื™ื›ื•ืจื™ื II, ืชืขืจื•ื›ื” ืงื‘ื•ืฆืชื™ืช, ื”ื’ืœืจื™ื” ื”ื—ื“ืฉื”, ืกื“ื ืื•ืช ื”ืืžื ื™ื ื‘ื˜ื“ื™, ื™ืจื•ืฉืœื™ื

2021

  • ื’ืฉื ืฉื—ื•ืจ, ืžืจื›ื– ืจื•ื˜ืฉื™ืœื“ ืชืœ ืื‘ื™ื‘[4]

2022

  • ืžืขื‘ืจ ืœืื™ ืฉื, ืชืขืจื•ื›ื” ืงื‘ื•ืฆืชื™ืช ื‘ื”ืฉืชืชืคื•ืช: ื ื•ืขื” ื™ืคื”, ืื•ืจื™ ื–ืžื™ืจ, ืจืขื•ืช ืงืจืŸ, ื˜ืœ ื’ืคื ื™, ืฉื™ืจ ื”ื ื“ืœืกืžืŸ, ื“ื ื™ืืœื” ืžืจื•ื– ื•ืžืื™ื” ืืจื•ืš, ืžื•ื–ื™ืื•ืŸ ื”ืจืฆืœื™ื”[5]
  • ืฉื›ื‘ื” ืžื•ืคืจืขืช, ืืžื ื•ืช ืขื›ืฉื•ื•ื™ืช ืžืืช ื–ื•ื”ืจ ื’ื•ื˜ืกืžืŸ ื‘ืื’ืฃ ืœืืจื›ืื•ืœื•ื’ื™ื”, ืžื•ื–ื™ืื•ืŸ ื™ืฉืจืืœ. ืื•ืฆืจืช ืฉื•ืชืคื”: ื˜ืœื™ ืฉืจื‘ื™ื˜[6]

ืœืงืจื™ืื” ื ื•ืกืคืช

[ืขืจื™ื›ืช ืงื•ื“ ืžืงื•ืจ | ืขืจื™ื›ื”]

ื”ืขืจื•ืช ืฉื•ืœื™ื™ื

[ืขืจื™ื›ืช ืงื•ื“ ืžืงื•ืจ | ืขืจื™ื›ื”]
  1. โ†‘ ืื‘ื™ื˜ืœ ื‘ื•ืจื’, ื—ื“ืฉื•ืช ื”ืืžื ื•ืช: ืกืืœื™ ื”ืคื˜ืœ ื ื•ื” ื ื‘ื—ืจื” ืœืื•ืฆืจืช ื’ืœืจื™ื” ืงื• 16, ื‘ืืชืจ ื”ืืจืฅ, 17 ื‘ืคื‘ืจื•ืืจ 2010
  2. โ†‘ ืจืขื•ืช ื‘ืจื ืข, ืชืขืจื•ื›ื”: "Re:Visiting Rockefeller" ืžื•ื–ื™ืื•ืŸ ืจื•ืงืคืœืจ ืœืืจื›ื™ืื•ืœื•ื’ื™ื”, ื‘ืืชืจ ื›ืœื›ืœื™ืกื˜, 11 ื‘ื ื•ื‘ืžื‘ืจ 2012
  3. โ†‘ ื”ื‘ื™ืื ืœื” ื”ืืจืฆื™ืช ื”ืฉื™ืฉื™ืช ืœืจื™ืฉื•ื, ื‘ื™ืช ื”ืืžื ื™ื, ื‘ืืชืจ Fashion Israel, โ€2016-11-08
  4. โ†‘ ื’ืฉื ืฉื—ื•ืจ, ื‘ืืชืจ ืžืจื›ื– ืื“ืžื•ื ื“ ื“ื” ืจื•ื˜ืฉื™ืœื“
  5. โ†‘ "ืžืขื‘ืจ ืœืื™ ืฉื": ืกื™ื•ืจ ื‘ืžื•ื–ื™ืื•ืŸ ื”ืจืฆืœื™ื” ืขื ืกืืœื™ ื”ืคื˜ืœ ื ื•ื”, ื‘ืืชืจ ื‘ื™ืช ืœืืžื ื•ืช ื™ืฉืจืืœื™ืช
  6. โ†‘ ืฉื›ื‘ื” ืžื•ืคืจืขืช, ื‘ืืชืจ ืžื•ื–ื™ืื•ืŸ ื™ืฉืจืืœ