Another way of bypassing the illusion of linear continuity and violating its regularity is by generating another illusion. The space of Orit Adar-Bechar’s video artwork Gateways is man-made, an architectonic space detached from nature. In contrast to the emptiness, which makes man manifest, the camera is dynamic, in constant motion, generating rhythm and life. The gap between space and motion generates an almost unbearable tension. In the background, a distorted voice comes out of a public sound system, constantly trying to deliver an emergency announcement.
This space is a lie: a giant, manipulative, and artificial miniature, which generates a historic memory devoid of any clear context. Our imagination quickly complements this phantasmagoria, turning into an essential part of it, despite it all being about a camera moving inside a miniature. Life is an ongoing process in which the subject attempts to reaffirm his spatial location, to deduce it from his relationship with the surrounding symbolic order, to adapt to it. We will never reach a full understanding of our place in the world, and our only option is an ongoing search, driven by anxiety.
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