Fall

The flickering, beating image of an old man. Basic lines in a drawing, nearly abstract. Male-sounding speech. It feels like Hebrew and the tone rings familiar, but the words are not words and entirely senseless.

 

A fireworks display deconstructed into vague form. What is the very least an image must have to relate to reality, to latch onto the familiar? To the sounds of explosions and passing bullets, the epitome of this celebration is brought back to its inception on the battlefield.

 

A Dadaist sculpture, monolithic, lame and nearing collapse; a cotton candy machine, expropriated and made impotent. No longer a device, it is a monument to the funfair, a battle-worn armored vehicle en route to the amusement park memorial. Inside and under its lopsided legs there is charcoal, a memory of the image in the drawing but also the remains of a bonfire that had gone out.

 

The space work emerges from the juxtaposition that exists between Independence Day and Israeli Memorial Day This includes the wreath-laying ceremony at the cemetery and the kibbutz amusement park space, which was established annually to mark the festivities The disassembled images are excluded and alienated As a request to understand the nature of the national story that has been told by so many so many so many times 

 

Yair Barak

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