The work Anti Heels presents a pair of high heeled shoes placed on an apparatus whose shape is reminiscent of Tatlin’s Tower. The climb up the surrounding staircase brings the visitor closer to the shoes placed in its upper section, but forces him to look at them from beneath. While climbing the apparatus he can see that these are not ordinary high heeled shoes, since the heels are located in the front part of the shoe. Television screens enclosing the space present a model wearing such a pair of shoes and walking along a circular runway, tripping from time to time but rising and continuing to march. In order to keep her balance she is forced to walk bent over, and her body stoops forward in an anti-feminine and ridiculous posture. The malformed structure of the shoe gives rise to a deconstructivist process that awards visibility to cultural mechanisms that lie at the basis of the feminine posture related to high heels: such shoes are the product of a sexist, chauvinist society, which forces women to distort their bodies in order to adapt them to the feminine image that became rooted as an idea in the capitalist Western culture, in which the female body was objectified.
Neo-Bartalism, Solo Exhibition, 2017
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Neo-Bartalism integrates techniques of new media – surveillance technologies, robotics, image processing and machine learning – with videos and physical objects produced with low-tech tehnologies. This is in many ways a nihilistic exhibition, but poetic and full of humor. It deals defiantly with mechanisms of control and propaganda, with capitalist mechanisms, with feminism, religion, stereotypes of the Israeli character, and with the Arab-Israeli conflict. It presents clichés and at the same time ridicules them and deconstructs them to a level that is empty of content. It is at once political and a-political, concrete and abstract, deals with global issues and touches on the most delicate facets of social and political reality in Israel.