Ilit Azoulay: A 7th Option
Coinciding with Ilit Azoulay鈥檚 inclusion in The Museum of Modern Art鈥檚 Ocean of Images: New Photography 2015 exhibition, Andrea Meislin Gallery is delighted to announce a 7th option, the artist鈥檚 third solo exhibition at the gallery.
The concurrent exhibitions feature large-scale photographic installations that suggest the ways that history is constructed, organized, and perhaps manipulated. In these works, Azoulay continues her excavation of urban layers and their hidden histories.
Azoulay began this new series during a residency at the Kunst-Werke Institute for Contemporary Art in Berlin. Channeling the spirit of archeologist, historian, and urban explorer, she traveled around Germany collecting and photographing objects and architectural fragments. Some structures she chose were undergoing restoration; others had been reconstructed precisely, brick by brick, following Germany鈥檚 restoration laws. Then Azoulay embarked on an intensive process of investigation, researching each fragment she had photographed.
Her two massive photographic installations recombine those images into intricate puzzles that tease the eye and the mind. Combining her lexicon of images鈥攁rchitectonic and decorative, art-historical and vernacular, funerary and monumental鈥擜zoulay creates an open-ended narrative that the viewer is invited to complete.
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Coinciding with Ilit Azoulay鈥檚 inclusion in The Museum of Modern Art鈥檚 Ocean of Images: New Photography 2015 exhibition, Andrea Meislin Gallery is delighted to announce a 7th option, the artist鈥檚 third solo exhibition at the gallery.
The concurrent exhibitions feature large-scale photographic installations that suggest the ways that history is constructed, organized, and perhaps manipulated. In these works, Azoulay continues her excavation of urban layers and their hidden histories.
Azoulay began this new series during a residency at the Kunst-Werke Institute for Contemporary Art in Berlin. Channeling the spirit of archeologist, historian, and urban explorer, she traveled around Germany collecting and photographing objects and architectural fragments. Some structures she chose were undergoing restoration; others had been reconstructed precisely, brick by brick, following Germany鈥檚 restoration laws. Then Azoulay embarked on an intensive process of investigation, researching each fragment she had photographed.
Her two massive photographic installations recombine those images into intricate puzzles that tease the eye and the mind. Combining her lexicon of images鈥攁rchitectonic and decorative, art-historical and vernacular, funerary and monumental鈥擜zoulay creates an open-ended narrative that the viewer is invited to complete.
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