Into My Fall That is Endless

Linda Adams; Roni Barot; Dvorit Ben-Shaul; Chana Cromer; Rina Ezroni; Ruth Facktorovich; Avigail Fried; Miri Garmizo; Sarith Leila Haas; Jenia Kris; Cecilia Lind; Netanel Paz; Riva Pinsky-AwadishJenia Kris; Meir Reuven Zalevsky; Walter Benjamin, A Dream: I found myself in a labyrinth of stairs. This labyrinth was not entirely covered. I ascended; other stairs led downward. On one landing, I discovered I was standing on a summit. A broad view of the entire land opened up from there. I saw others standing on other summits. One of these others was suddenly seized by dizziness and fell down. The dizziness spread; more people now fell from other summits into the depths. When I, too, was seized by this feeling, I awoke.; This deconstructive essay by Walter Benjamin is quoted by Michal Ben-Naftali in the introduction to Jacques Derrida's book, "The Towers of Babel" (Derrida, 2019). The performative nature of the essay encapsulates the interplay with otherness, describing the fall into the depths as an infectious ritual that reveals an expanding structure moving between personal and collective subconscious. The concept of the fall does not reach its final destination—the depths— but rather, imagines it and experiences it from the distance of time, like an interrupted dream. The potential inherent in the dream experience of falling adopts, necessarily, the imagination of the edge, the infinite, which receives no visual expression but remains a realm of the unknown, a gap that must be filled.; The exhibition positions the concept of "the fall" as a thematic, accompanying gesture by the artist community of "Marie Gallery". They respond to the concept and its mention in Benjamin's text, which evoked and gave rise in them to both existing and new insights. The artist community shares a collaborative discursive domain as well as a shared exhibition space; a poetic realm and a concrete space that recognize the value of art as processual. In the exhibition, the concept of "the fall" is articulated through versatile media and various interpretations, giving tangible artistic representation to the idea of phantasmatic gravitation.; The exhibition asks: Can the infectious interplay, hitherto perceived as a negative and passive image of "the bystander," weave different circumstances? Is it possible to gather human communal qualities and convert the source of identification with the "other" into an alternative strategy?; During this period, when the lucidity of phenomena loses its clarity and reality surpasses all imagination, leaving a feeling each morning of being in the aftermath of a nightmare, the exhibition attempts to mark a different field of meaning, and dwells on episodes along the scale of the falling action, looking back at the abyss.; (The exhibition title is taken from: Alejandra Pizarnik, On This Night, In This World, 2005.)