The aesthetic strategy is constructed by the figures’ separation or clustering. In the past, Faytchevitz explored Jewish themes and mythologies that were processed into virtual reality and a digital setting. In his recent show at Tal Esther Gallery, Tel Aviv he used the golem figure, an image drawn from the silent film The Golem (How He Came into the World) (“Der Golem, wie er in die Welt kam”), 1920, directed by the German Paul Wegener who also played the lead role. By grafting the artist’s head onto the golem’s body, it is introduced into the futuristic world of artificial intelligence and genetic cloning. In this new, neutral reality, the reconstructed figure operates in a “non-place” in a way that endeavors to define and map the space, and emerge therefrom onto a painful Israeli political reality.

Less Reading...