THE ARCHEOLOGY OF THE UNSEEN
The work process and the materialization of code no. 16: The Archeology of the Unseen, curated by Petra Stegmann, took about three years.
During this period, several key activities took place that were inherent to the nature of my work within the Liquid Desert space. These included the extended process of developing the specific underground code/subject emerging from the subconscious sphere, which ultimately culminated in the materialization of Code Room No. 16 from the desert site in an exhibition held at a museum in Germany.
The process included meetings and discussions addressing several working and conceptual directions related to the nature and significance of this code at the Liquid Desert project site, which exists as a virtual and conceptual space in the Negev Desert and engages with the emergence of repressed living materials and their surfacing through a body of unique physical works.
The working principle began with a focus on a specific code that was essentially connected to the museum and the history of the city in which it was located, as well as with time spent in a parallel conceptual room at the site. During this extended period, significant working materials and relevant content emerged from both my side and that of the curator.
ACTIONS
ADAM-HAYA
The noises produced by the desert animals were transported to the location of the actual exhibition in Germany. This exchange of information and the communication between the hidden, underground branches of the tree constitutes the fascinating and profound work apparatus led by myself, Petra and the dedicated team devoted to the task: Tal Pe'er, Anna Vollborn, Noa Fine and Thomas Hubl.
The existence of additional spaces and the activation of important materials within – beyond the visual at the exhibition – is a key principle of this work. The visitor at the museum becomes a witness to the resurfacing of fragments from a collective subconscious and his or her very choice to listen to the changing sound frequencies capacitates the important and essential act of simultaneous subconscious communication between two spaces, beyond the museum walls themselves.
ADAM-BINYAN
Various activities took place in the area surrounding the museum, parallel to the exhibition, characteristic of the ACTION activities of the Liquid Desert, which I have been conducting throughout Europe for the past 17 years. These activities, lasting several months, entailed the recording of bunker walls from both inside and outside the structures, located in several places throughout the city.
ADAM-MOKESH
A bunker dating to the war period is located underwater at a lake near the museum. The mines bearing the alphabet letters landed on its ceiling and are in fact still there. The data recorded through the bunker walls were transmitted to both the spectators at the museum and the desert animals in the Negev.
By means of drawing, sculpture and sound works, I began to formulate the visual representation of the essential underground and subconscious content related to this room in the museum, for the purpose of including this information anew in the system. The process comprised an extensive historical research of the city and the museum itself, as well as the period of its construction. The work process entailed immersion and resurfacing of life material by means of various conceptual actions carried out outside the museum and their eloquent phrasing as artworks exhibited inside the museum space.
