Finally Without End
Edited by Orit Bulgaru
Contributions by Michal Ben-Neftali, Joseph Cohen, Gabriele Horn, Aya Lurie, Sarit Shapira, Shalom Shpilman, Raphael Zagury-Orly
Featuring Ilit Azoulay’s meticulously composed photographs, this publication includes work from the series “Implicit Manifestations,” which was created during a six-month residency at the KW Institute for Contemporary Art in Berlin. Concerned with the unacknowledged scraps and remains of the everyday – from architectural debris to spools of thread – the artist's photographs capture the ambiguity of objects detached from their original purpose.
Presented in new symmetrical configurations, Azoulay's images speak to the memory-work attributed to things and our unreliable cataloging of knowledge through them.
In addition to photographs, this publication offers a variety of perspectives on Azoulay’s practice. Sarit Shapira describes the artist’s 2008 series “Unknown Aspects” as an elevation of cultural debris to the level of representation, while Michal Ben-Naftali offers a psychoanalytic reading of Azoulay’s uncanny images. Shalom Shpilman explores the viewer’s participation in the artist’s visual realm of significance.
Curators Aya Lurie (Herzliya Museum of Contemporary Art, Israel) and Gabriele Horn (KW Berlin) meditate on two concurrent exhibitions of some of the works featured in this book. Azoulay’s photographs, as one essay describes, are events-in-progress – forever unfolding and forestalling conclusion.