About the Trilogy+1

"Each clip has a beginning that recalls a known action carried out in a coherent manner that builds up the expectation of a continuation that is known in advance. In the three clips in the trilogy there is a mechanical rhythm, which as it progresses the repetitive actions start to appear absurd. The rhythm takes control of the narrative and breaks it down. The expectation of completing the creative process of covering a book, building a boat from paper or preparing a pattern to make a bride’s dress - do not come about. The automatic movement of the hands takes control of thinking. The action becomes the narrative itself. I “think” with my hands A type of theatrical pantomime is created that recalls the silent films in black and white from the early days of the cinema. I do a paraphrase of a known (ordinary) action and reduce it to its mechanical aspect, emptied of functional purpose." Yonit Kadosh

Disappearance (After G. Perec)

In the video work 'Disappearance (After G. Perec)', Vanounou attempts to fold a paper boat. The origami technique, which in Japanese culture serves as a meditative moment, turns into a moment fraught with failure. All the attempts are seared into the paper itself; it remembers the path, and the artist seems unable to create a tangible object, but merely indicates possibilities for a structure that repeatedly "fails" until the next attempt. The folding of the paper becomes an action detached from the goal; it is a path without a destination. There is a tight connection between the endless action of doing without a goal, linking the repetitive painting of the boats to the Sisyphean paper folding. Vanounou's body of work acts as a pendulum of time. It deals with the surface, with its internal mechanism. The seemingly simple landscape that she paints is always within her/within us, and it evokes a sense of déjà vu. Will space and time continue to exist even without her? Without us? Nir Harmat