32 galleries onto the synagogue, and recreates the experience of wandering through the entire building while offering new spaces and additional architectural viewpoints of the structure in a way that blurs the boundary between reality and its imagined possibility. The video deals with the possibility of experiencing the building on a psychological level, through the fluidity between the different parts which seem to offer a kind of mapping of a microcosm: we find ourselves unconsciously moving from the basement floor to the interior of the building, into it, caressing the opening concrete walls, penetrating the synagogue and beyond it to the unnaturally moving vegetation, out to the sculpture garden where the sculptures seem to be in motion too, and so on. In a way, the video was born from a similar departure point as the niches: in both works, we based the project on wandering through the building and exposing what appeared to us as its central elements, on one hand and. on the other, transitional and hidden spaces, like the basement, the dark doorways, the floating staircases that seem to lead nowhere and create an overall sense of dystopian moments. Carmit: Please elaborate on the “labyrinthine" aspects that played a significant role in the work for the exhibition, both on a physical and a conscious level. Shirley and Tal: We discovered the “labyrinthine” nature of the building as we continued to wander through it. Every time we stopped to photograph, we discovered new corners, like perpetual tourists in a new and intriguing place. We wanted to recreate this feeling in all the different derivatives of the work leading up to the exhibition: from the work processes in the studio to the images created. Later on, the studio work stemmed from virtual wandering in the space of images we photographed and feeding them into Artificial Intelligence as another layer of the creation process. The physical wandering inside the building and the digital wandering inside the images allowed us to delve deeper into the building's "conscious innards" and into our work processes with it. These work processes around the photographs – which were quite intuitive – helped us give material expression to the labyrinthine quality: cutting, tearing, pasting, framing, connecting and assembling, positioning, stacking, compressing frame parts or interweaving them together, and then the next stage of re-photographing them. In contrast, the video offered a completely new way of wandering that was made
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