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{"id":93,"date":"2006-01-17T19:11:40","date_gmt":"2006-01-17T19:11:40","guid":{"rendered":"http:\/\/old.sala-manca.net\/wordpress\/?p=93"},"modified":"2015-01-18T15:02:02","modified_gmt":"2015-01-18T15:02:02","slug":"note-in-the-margin-hadas-ophrat-catalogue-2006","status":"publish","type":"post","link":"https:\/\/old.sala-manca.net\/?p=93","title":{"rendered":"Note in the Margin | Hadas Ophrat Catalogue (2006)"},"content":{"rendered":"

Note in the Margin (a text for Hadas Ophrat catalogue, 2006)
\n*
\nHO walks on a thin wire. Red (the clothing, the moment). An underground
\nprisoner sings a traveling song one moment before his hanging, an echo of
\nyesterday’s underg $\"0000007b\"$ round prisoners, today’s political prisoners (we are all political
\nprisoners). The installation is placed in the exercise yard of the Museum of
\nUnderground Prisoners (“March”, ‘Heara 4′, Jerusalem 2002). The artist walks
\nalone, in the yard, and disrupts the declination of nouns (“my cradle, your cradle,
\nhis cradle, her cradle, our land, your land, their land\u2026”). Time stretches to the
\nedge of the gallows of time. On his back he wears a bag, sticking out from which
\nis a pile of eggs arranged to look like a house. This is a private ritual, naked,
\nbefore the crowd that has gathered abound him. From time to time it seems as if
\neverything is falling, time runs out \u2013 an egg falls from the prisoner’s back on to
\nthe stone floor of the yard. The yard is grateful. “And the secret is not to let the
\neggs break,” someone says, quoting something someone else once told him.
\nAnd he was wrong. Winter. Cold. A perfect day for carrying out the future
\nsentence of the Israeli artist in the courtyards of the Ministry of Defense. HO’s
\nsentence is not carried out in public.
\n**
\nThe artist takes sleeping pills and chooses to escape from the reality of Israeli art
\nat the power station (“Insomnia”, Tel Aviv 2003). Art, in its meager dress for the
\ntasteless event, the artist in a symbolic, fragile and unforgettable act of sleeping
\n\u2013 perhaps forgotten for him the way a dream is forgotten. He warns us about
\nwhat is going on inside. Action that is minimalistic, internal, silent. Cycles of sleep
\nand death in 21st century Israel.***
\nAnother type of walking was his walking blind in the Seidoff Courtyard (“Naked
\nEye”,’Heara 2′, Jerusalem 2002). Here the artist portrays a figure from a Baroque
\ncarving. He walks with his eyes covered, with the aid of two canes. The pain of
\nthe blind man and the construction of a place in a temporary state of blindness,
\nan act of identifying boundaries, of losing one’s way. That same day there was a
\nbombing in the Mahane Yehuda market, 100 meters away. A dead-end situation,
\nconstantly returning, time stretching out, walking in the dark.
\n****
\nAnd we shared with him his sleep in the power station, we walked with him along
\nthe thin wire at the Underground Prisoners’ Museum, and we understood the
\ndanger that understood him and us. Invitations to reflect on the minimal, the
\nbasic: walking, death, the body, time, words. And the video documentation of
\nthese works is, perhaps, an expression of another loneliness, an archive of
\nmemory, an alternative text, a note on the heart of the matter.
\nLea Mauas and Diego Rotman \/ Sala-Manca<\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"