Past Exhibitions

Through The Fog

Anat Turbowicz


Through The Fog, The Distance Anat Turbowicz

Noa Yekutieli regards herself not as an artist but as a memory researcher. In her installation Through The Fog, The Distance she explores the fickle nature of memory through natural disasters which erase an entire physical reality, leaving only memories that gradually blur and dissolve to make room for a newly evolving reality. The disaster, however, is not the subject of her work, but only the frame story whereby the artist observes the resulting void, the locus whose absence we feel and strive to fill, the place which we miss.

The installation consists of three parts: the trail of ruins which symbolizes the reality after the disaster; the white wall that stands for the void created when physical reality disappears and memories gradually fade; and some 200 paper-cuts, hidden behind the wall, featuring excerpts from a reality now gone.

Yekutieli opted for the genre of installation because it enables the viewer to experience a wide range of positive as well as negative feelings, an experience better suited to our perception of time than observation of individual works. The installation also allows reference to the space. By imposing limitations on movement in the space, the viewer is forced to heed the nonexistent as well as the existent.

Work on the installation began by collecting photographs of disasters. Yekutieli intentionally selected a wide range of disasters from diverse geographical and cultural loci to accentuate the dimension of universality. Although each disaster as such is local, together they constitute a universal experience which elicits identification and compassion, generating a common denominator, a collective memory for people from different physical, emotional, and historical places. From each photograph Yekutieli cut out an image by a papercutting technique. The images were hung on the wall regardless of their geographic location or time. The ostensibly arbitrary mounting creates a new reality which is reflected from the cluster of memories. The viewer is intentionally restricted, prevented from seeing the full picture, as in “real life.”

Yekutieli orchestrates an intentional dissonance between a raw material and a delicate technique, between overt and covert, visible and invisible, between excess and absence, thereby invoking discomfort which burdens the senses and prevents experiencing the work as a whole. Yekutieli thus takes us out of our comfort zone, making us reconsider the workings of memory.