Daniel Tchetchik

Daniel TcHETCHIK

Biography

Daniel Tchetchik is an Israeli-American artist and is a staff photographer as well as the chief editor of the photography blog at Haaretz. He divides his time between personal projects and documentary assignments; often, each approach inspires the other.

Most recently (July 2025), he was invited for a ten-day residency in the Poconos region in the US to create a body of work and to give several lectures. In May 2025, he was represented by Form Gallery at Photo London and chosen to present his work in an artist talk at the fair (by curator Charlotte Jansen). Additionally, this September, Tchetchik launched his mid-career retrospective artist book, Backroads, published by the Be’eri publishing house.

Tchetchik has exhibited in leading museums, art fairs, galleries, and international platforms in NYC, London, Kassel, San Francisco, Sweden, Tel Aviv, Berlin, Hamburg, Bulgaria, and India. His works are part of the collections of the Tel Aviv Museum, the Ramat Gan Museum, the Peter Blum Gallery, Hotel Montefiore, the Umm El Fahem Gallery, the Museum for Sepulkralkultur, the Marc Rich Foundation, the French Institute, as well as several private collections. His editorial work has been published on prominent platforms such as The Financial Times, The Süddeutsche Zeitung, The New Yorker, Frankfurter Allgemeine, Haaretz Newspaper, and more.

Website: danieltchetchik.com | Instagram: @danieltchetchik

Daniel Tchetchik, courtesy of the artist

Exhibition "Facing the Sea" Coming in November 2025

SPECIAL PRESENTATION: VIRTUAL ARTIST TALK VIA ZOOM

The Virtual artist talk via zoom, hosted by ZAZ10TS, opened with remarks by Tzili Charney, Founder of ZAZ10TS, welcoming a global audience into a shared hour of looking, listening, and holding space together.

In conversation, artist and photographer Daniel Tchetchik and curator Sofie Berzon MacKie traced the living thread between art and life. Daniel spoke about his current ZAZ10TS presentation, Facing the Sea, and how the portraits he created with My Wave, an organization that supports trauma survivors through surfing, became a way of witnessing without turning away. Sofie reflected on what it means to hold that work in a public space, and how seeing becomes an act of care when words are no longer enough.

Together, they moved back in time to the origin of Days Before Darkness in the far north of Sweden, where light recedes by inches each day and the world grows heavier, quieter, more interior. Daniel described how he was not photographing events, but atmosphere, the emotional weather of darkness arriving. Sofie recalled how their collaboration slowly took shape as a kind of countdown, carefully planned and deeply attentive, until October 7 shattered everything, including the torching of the Be’eri gallery and the foundations of what had once felt stable and knowable.

And yet, in the raw aftermath, they chose to continue. Daniel spoke about creation as a small light held in the palm, something fragile and stubbornly human. Sofie described how that choice carried the work into a museum exhibition that opened in January 2024, a space shaped as refuge, dim and meditative, slowed by benches and by the distance between images. Visitors did not pass through quickly. They stayed for long minutes, sometimes an hour, letting their eyes adjust and their hearts catch up.

They reflected on the curatorial gestures that mattered. Sofie spoke about the rhythm between photographs and about creating a small heart room of intimate color prints, where nature appears without interruption and offers a place to breathe inside the larger darkness. Daniel shared how this careful framing allowed the work to become less about representation and more about presence.

The conversation closed with their artist book Backroads, imagined as a three part journey with hand attached color images and Daniel’s published writing. Together, they described it as a bridge from a physical road map into a metaphysical passage.

In the questions and reflections that followed, participants returned again and again to the same feeling. That these images make room to grieve without spectacle, to witness without propaganda, and to remember that art can still offer a way to keep walking together toward something like dawn.