Video installation - itamarinbar.com/
Collaboration with Tracy Abbott Szatan / Agora Collective Residency / Berlin
Two young artist, that never meet, never talk to each other. One from the US the other from Israel.
Moderately Comprehensible is the outcome of the collaboration between Tracy Abbott Szatan and Itamar Inbar at Agora Collective’s Residency Program, Berlin.
The program is hosting artists who are willing to explore collaborative processes in a multi-disciplinary context.
The four week long program challenges two artists who have never met before to share a house and a studio, in order to work on a project together.
"Szatan and Inbar use found objects that have their own noticeably long life of service- as carriers for different forms of correspondence. Appropriately, as the title derives from both what is able to be understood, as well as, what is able to be contained, the objects collapse temporal, physical, and textual space to brim with multiple voices and potential expressions.
For their residency at Agora Szatan and Inbar have collected an array of objects that are distinctly recognizable as having been used by someone else. Someone once breathed into the horn of a phone, listening to the message on the other end of the line and someone once stroked the words on a postcard sent by a family member or a friend.
Karl Marx famously wrote that a commodity among commodities has its true inner value exposed and admired by the consumer through an indefinable quality that makes it an object of desire. Szatan and Inbar have taken the used objects and given a definition to their desirable quality: intimate history. The artists have reinterpreted the meaning and even the use of the objects to suit their needs. This makes them a convincing new owner of the intimate value that the objects may carry with them, removing them from the world of commodities and installing the objects into an allegory that the artists control.
Moderately Comprehensible is a look into appropriating the intimacy of individual histories, challenging what occurs when ownership and thresholds of belongings, language, and place are crossed, recrossed, and recomposed. They superimpose contemporary media onto the archival nature of the appropriated material, thus creating a clash between recognition and disorientation. Postcards are cut-up and reassembled, making not the card itself but the content of their possible message the objet trouvé"
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