Inbal Hoffman
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The obvious crisis of everything

2020

ArtExhibitionInstallationSculpture

July 2020 · MFA, Bezalel Academy of Arts and Design. A sculptural installation exploring the relationship between time and matter in the context of family, motherhood and home, set against aspiration and reality — in a world of neoliberal economics where a person's value is measured by their work in a market of supply and demand. The piece was made through a multitude of repetitive actions, using cheap, readily available household materials, resulting in an object that is a space of tiny occurrences: an object composed of countless moments, offering many different views — a work that owes its existence to a considerable investment of time, and that in turn asks the viewer to linger. It proposes a barter within the attention economy, born of the understanding that in a consumer society, time is the only resource left to those who have nothing. The work reflects the tension and helplessness imposed on us during the Covid-era lockdowns, when the home became the main stage for every part of life — at once full of movement and utterly paralyzed. Materials: liqueur bottles, garbage bags, IKEA food-storage containers, slippers, clothing, a laundry rack, sheets, floor cloths, thread, wood, aquarium pumps, lighting, electrical cables, plastic.

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