tel-aviv

Mircea Cantor

Dvir Gallery | Tel Aviv

The melancholy that permeates Mircea Cantor’s work here stems from a mournfulness specific to our epoch’s need to capture every transaction, identity, and event in the sprawling prison of digital memory. We have lost not so much the ability to forget as the freedom to be forgotten. Yet in an Israeli context, the notion of memory also bears a more conventional and particular weight: the moral imperative of remembrance. Although several of the twenty-one works in Cantor’s show had previously been exhibited elsewhere, memory’s meanings became especially troubling in this setting. The centerpiece of the exhibition was Cantor’s eleven-minute film Tracking Happiness, 2009. Set to dreamy, chiming music by Adrian Gagiu, it shows a circle of seven women dressed in white walking round and round with a dancelike gait on a ground of sand, sweeping away one another’s footprints with brooms—mark and

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