Nitzan Satt

As a  work process, each one of us wrote a personal memory related to  the place where they spent their childhood, in the north.

​

Nitzan recreates a memory from thee sixth grade, in which a boy, who was talented in electronics, succeeded in installing a hidden recording device, in order to record the conversations in the girl’s communal showers, in the children’s home, and played them in the public areas of the kibbutz.

​

In retrospect, this initial sound piece completed the reversal of interior and exterior. There was no significant difference between privacy and publicity. The interior and the exterior were both conducted as public arenas, different but public.

 

Saher speaks of a safe space which he builds for someone else-  another, who is actually defending himself from it.

​

This is a personal and collective memory, from his experiences at construction sites, where he used to listen to conversations regarding the private lives of the rest of the workers, experiences which blur the boundaries. ‘The personal is political’  receives another dimension.

 

Although through different experiences, we both aimed towards the sensation of a breached interior, like a stranger in his own home, the feeling  internal exile.

​

Despite of the wall’s thickness it does not protect - because there is no subject.

 

In the installation - memories are assimilated into  material, textures, the plaster-spray of plaster ratio, the Terrazzo casting and the shed’s old wooden stairs