In this work, Ohad Maromi presents an archive of dystopic documents: one part of the installation consists of eight “archival” photographs, while the second part features a slowly rotating projection of an object/model/stage. The photographs and the projection appear on two parallel walls; the dark wall featuring the projection may be seen from the illuminated area containing the photographs, and vice versa. Meromi invokes a utopian modernist spirit, while exploring ideas concerning collaboration, improvisation, and community.
This work draws upon manifold sources of influence, including Constructivist set design, the history of the Israeli kibbutz and the austere aesthetics of modernist architecture and public spaces. The elements of Meromi’s rough-hewn installation all exude an unfinished quality, which embodies his view of artmaking as an ongoing process.