An anonymous visitor at my performance installation in the Israel Museume -timidly approaches my workbench. He apologizes that since he is a tourist, he has nothing to spare for the invented mound collection. However, he has a note and two business cards: “I already copied the information I need. Can you do something with it?”
I decide to utilize it immediately.
I place a small podium on the center of the workbench. I insert his file into a wooden weaving shuttle found in a Kyoto Sunday market.
I gaze at all the objects the audience gave on the table. My hands pick a paper clip given to by Eran Arie, the curator of the archaeological wing.
The combination reminds me of a torso.
I leaf through the name cards, wondering what are THE WORDS that will transform the objects and give meaning to the subtleness of the moment?
He stands there with a hint of a curious smile.
I choose “Salvage Archaeology.” I sense accuracy. Surprisingly to this setting, I also recognize the genuine feeling I know only from therapy sessions; It is the first time I work as an artist and as a therapist simultaneously. However, he is not a client…
The art process holds within the quality of intimately mutually creating, even though I don’t know who this person is. Not even his name.
It is bewildering and yet a magical human encounter.
Freud was right, searching the soul is an excavation process.
Who needs to be saved?
I am not completely satisfied, something is lacking. I add a QR leading to a dream about what is under Alexandria Library. Dream played, acted in the sand tray I created as a personal contemplation.
I invite my partner guest to join me to the shelves as I place another Ready and Made work.
Only a few steps are separating the one night studio and the museum vitrina.
As he observes the work and as his smart phone reveales the images brought through the QR.
He meets my eyes and smiles:
– “I never had such an experience, thank you!”
– Me neither, thank YOU!
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