The holy sewage (as it was called by the proponent of the Kidron River’s Rehabilitation Plan) which flows down the river is echoed in Maayan Shachar’s installation “Groundwater,” which brings the sewage into the gallery. The installation is a response to the duplicity that characterizes public discourse in which demand for political correctness and moral purity exists in a violent space, saturated with hatred and tension. “Hand-Cleaning,” which was embodied during the pandemic with the insistence on repeated hand-washing, met with the underground sewer and the human filth which is meant to be hidden from the public eye. In a fountain inside a manhole cover, upper water meets lower water, dirt rises to the surface and with it moral questions about the character of people and place.
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