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