Gal Weinstein’s work generates an appearance of a reddish brick wall within the white museum space. It combines the structure of the repetitive, rigid rectangular grid with the arched and softened structure of the actual wall in the exhibition space, thus toying with the basic geometrical opposition between square and circular. Weinstein thus makes an educated conceptual use of the immanent gap between surface and essence, as appearance becomes void, drawing the entire work towards Baudrillard’s concept of simulacra. In his essay ‘The Precision of Simulacra’ Baudrillard maintains that simulation substitutes the signs of the real for the real; it threatens the difference between ‘true’ and ‘false’, between ‘real’ and ‘imaginary’, and ultimately, when changing to a simulacrum, not only masks the absence of a profound reality, but has no relation to any reality whatsoever. The simulacrum is, thus, a simulation that has lost all contact with its origin,a dn therefore functions as a copy without an original.

Thus, Weinstein’s ‘authentic’ or ‘natural’ use of the known qualities of his work materials (like the oxidation of steel wool) is not channeled towards the utopian, but rather functions as another stage in constructing the illusion between matter and form, an illusion that has been manifested in other works of his, such as Valley of Jezreel (Herzliya Museum of Art, 2002).

Situated at the center of the space, extending from floor to ceiling, Huliot continues the dialectic progression of Weinstein’s work, generating a cross between a sewage pipe and a lace table cloth. The work oscillates freely on the broad register between the aesthetic and the ironic, the purposeful and the far-fetched, serving as yet another example of the challenging of boundaries of possibility, which habitually dissolve in his work throughout the years.