Cover Story
The project was made with Avihai Mizrahi
Can we separate the archetype of the book and its functionality from the materials it is made of? Is it possible to strip the book off of essential qualities such as its content and still tell a story?
In the series Untitled the book serves as a material, physical, and cultural point of departure for the creation of new objects that stand on their own, and cannot be named.
Unlike a book, in which the content is not directly linked to the physicality of the object, the objects in the series demonstrate a direct link between the materiality and physicality and the content of the object and its story.
Cover Story
The project was made with Avihai Mizrahi
Can we separate the archetype of the book and its functionality from the materials it is made of? Is it possible to strip the book off of essential qualities such as its content and still tell a story?
In the series Untitled the book serves as a material, physical, and cultural point of departure for the creation of new objects that stand on their own, and cannot be named.
Unlike a book, in which the content is not directly linked to the physicality of the object, the objects in the series demonstrate a direct link between the materiality and physicality and the content of the object and its story.
Non contagious exhibition, Bait Hansen, Jerusalem, June 2016.
The work: “Untitled –temporary name” was made by Hagit Hazan, Avihai Mizrahi and Neil Nenner.
The Hansen House, was established in 1887 as a leper asylum by the Protestant community of Jerusalem.
In 1950 the site was purchased and served as a leprosy treatment center through to 2000. In 2009, the Israeli government decided to hand over the building to the municipality of Jerusalem city, for the purpose of converting it into an interdisciplinary cultural center.
Non contagious exhibition asks what feelings this place raise, while looking around the visitor feel both Aversion, attraction and compassion.
Untitled –temporary name, use a simple technique of coloring fabric, placed as a simulator for the spread of material, and a means for examining issues such as time, inner movement and design processes. Controlling the final outcome limited to “writing an algorithm ".
The fact that the objects are changing along the exhibition represents our sense of mortality, aging, infection or spread of disease.
