No Single View

Works

Text

Archive

2026<br> Inkjet Print, Metal- and MDF Frame, <br>108 x 65 cm
1 Report 004: I know where to stand if I don’t want to be seen right away.
2026<br>Inkjet Print, Metal- and MDF Frame, <br>168, x 226 cm
2 Report 006: It happened like that. And still, other angles remain.
2026<br>Inkjet Print, Metal- and MDF Frame, <br>213 x 143 cm
3 Report 007: This is where I began to notice.
2026<br>Inkjet Print, Metal- and MDF Frame, <br>230 x 125 cm
4 Report 008: I kept all the parts they edited out. What were you hoping to find?
2026<br>Inkjet Print, Metal- and MDF Frame, <br>193  x 177 cm
5 Report 009: Sometimes I think I’m the story, sometimes I think I’m just the footnote.
2026<br>Inkjet Print, MDF Frame, <br>52 x 46 cm
6 Record 001: Is this the version you know?
2026<br>Inkjet Print, MDF Frame, <br>41 x 30 cm
7 Record 002: Is that how it looked from where you stood?
2026<br>Inkjet Print, MDF Frame, <br>60 x 49 cm
8 Record 003: Is this the blue you remember?
2026<br>Inkjet Print, MDF Frame, <br>40 x 30 cm
9 Record 004: Is this how it looked from your side?
2026<br>Inkjet Print, MDF Frame, <br>41 x 39 cm
10 Record 005: Did you witness the whole thing?
2026<br>Inkjet Print, MDF Frame, <br>41 x 42 cm
11 Record 006: Did you look long enough?
2026<br>Inkjet Print, MDF Frame, <br>40 x 35 cm
12 Record 007: What did you notice exactly?
2026<br>Inkjet Print, MDF Frame, <br>49 x 37 cm
13 Record 008: Did you see the same thing?
2026<br>Inkjet Print, MDF Frame, <br>52 x 43 cm
14 Record 009: Which version reached you first?
2026<br>Inkjet Print, MDF Frame, <br>52 x 49 cm
15 Record 010: Did you see it before or after?
2026<br>Inkjet Print, MDF Frame, <br>51 x 38 cm
16 Record 011: What did your eye return to?
2026<br>Video Work
17 Mary

No Single View, curated by Dr. Helena Pereña, explores how narratives are constructed, perceived, and negotiated. Rather than presenting history as a fixed account, Ilit Azoulay approaches memory as something continuously shaped through acts of selection, omission, and perspective.

Developed through extensive research at Villa Stuck in Munich, the project unfolds across film, photographic works, and sculptural photo-collages. At its center is Mary, a two-channel film in which seventy-seven actresses perform the same fictional interview with Mary Stuck. Through these shifting voices, identity emerges not as singular or stable, but as something assembled through multiple, often contradictory perspectives.

Using macro photography, archival fragments, texts, and found materials, Azoulay creates layered works in which images coexist without resolving into a single narrative. Rather than offering certainty, No Single View creates a space where complexity remains visible, asking not only how stories are told, but how they are constructed, and how every act of looking participates in the making of meaning.

No Single View
Villa Stuck, Munich, 2026

Photographer: Billie Clarken