Room 06

SEVEN WINTERS

Seven Winters was the major solo exhibition presented at the Israel Museum in 2016, curated by Mira Lapidot. The title Seven Winters also served as the thematic code for Room 6 - one of the earliest rooms in the Liquid Desert project - which was revealed and surfaced as part of the 49 rooms comprising the collective subconscious space.

The work on Room number 6 began in 2012 and continued over four years. During this period, a working language evolved, oscillating between structured methodology and intuitive processes, creating a sculptural syntax that defined the installation as an underground space, a complex system of consciousness in which seven units of information functioned as nodes of resonance.

The working process with the curator included a series of engaging work sessions, which made it possible to map different working groups over the years, and guided the formulation of the “collective brain” across its seven rooms, based on a spatial arrangement that relied on an image of the father’s brain.

The Stress Room offered a raw and turbulent environment, centered around the Magnetic Table a sculptural formulation of one of seven philosophical questions developed in the Berlin studio, later translated into cinematic form. Adjacent to the room, architectural walls of exceptional scale created a field of sonic resonance. In addition, the drawing  Cosmic Eye functioned as a collective tattoo, oscillating between the depiction of a blind spot and the memory of a cataract mark.

The exhibition articulated a dialogue between material, image, and consciousness: the reflection of the moon on Berlin’s river waters, a series of Forgetting Drawings exploring acts of denial, oblivion, and darkness, sculptures recalling the Black Balcony from the family apartment in Ashdod, the piano, and the Tent of Time - all together forming a rich and complex sculptural experience that presented an extraordinary spatial encounter.

The exhibition as a whole relied on the transition between the physical space of the installation and a parallel metaphysical realm. The film functioned as a hole in the wall, creating an extension of the exhibition field and a passageway between the physical and the metaphysical, architecturally adapted to the exhibition layout. This created a connection among all the installation’s components : the Stress Room, the Black walls, the Cosmic Eye Drawing, the sculptures, the Tent of Time, and the Black Balcony: where sculpture, line drawing, cinematic movement, and sound collectively articulated the field of the collective brain across its different rooms.

The film Vortex of Separation served as an organizing axis and subconscious layer, linking the various parts of the installation and opening them into a metaphysical space, while the overall work process resulted in the creation of additional original works: including the Magnetic Table film, the Moon film, Black Wall and the Frozen in Time Room - works that together completed the full sculptural experience of the exhibition.