Monument sculpture has traditionally been characterized by strength and stability and expressed a dominant ideology. In my work, raising a monumental sculpture to the air using an imaginary material creates flawed simulation in the face of expressions of power of a mobilized past. The installation, based on an existing antiquities site, is built as an archeological structure made of concrete descending from the ceiling, in which half of the archaeologist's / builder's tools are hidden. The connection that arises between the narrative and the formalist places the connections between two Zionist practices - archeology and modernism, and constitutes a representation of a "no place" site that asks about the place. "Infill" is a concept from the world of architecture and means "new construction", which integrates and inserts new structures into old structures. In this project I parallel this construction tactic to the archeological excavation of a multi-layered structure, which in contrast to the original excavation, unites time and material. The space consists of a superimposition of three buildings, which have been integrated site-specifically into the fourth building - the gallery space. The disintegration of the buildings into fragments and their re-integration created a composition that blends architectural space with its complete disruption - the buildings are exposed in sections, simulating a maze of encounters and creating imaginary and impossible spaces. Abstraction and unfathomable concrete foundations have created a structural paradox of modern architecture, which is not functional and therefore barren. Manipulative use of material delusion, disintegration, displacement, upside-down and varying scale in relation to the body, create an unmediated space experience that validates the viewer with power relations of gravity, loss of orientation, threat and discovery.

פרסום התערוכה במגזין האמנות "הרמה" של "מנופים", גיליון "דיסאוריינטציה"