Memorandum is about the fluidity and fallacy of memory. Itamar Inbar attempts to retrieve moments from collective memory and his own private history, using family albums, newspapers and online photo databases.
The painted memories are screened on the exhibition space walls leaving elusive and discontinuous traces. Delving deeper into the glass shards reveals that the beginning of one memory is intermixed with the end of another and that their combination creates a new story that perhaps never took place. The multiplicity and mobility of memories overwhelms any attempt to interpret them, raising the questions, what really happened and what is the meaning of memories that become increasingly hazy with time.
The brittle, lacerating, cracked glass serves as a metaphoric platform for the mnemonic sketches it carries. The technique of sketching over glass is reminiscent of comics and graffiti technique with its cut off contents, seemingly drawn hastily using acrylic paints and magic markers. Using glass shards charges the work with the tension between the delicate and dangerous.
Many shards remain on the floor, like vague memories seeking to be either raised or unconsciously repressed. From a broader perspective, the work may ponder the quality and limitations of human memory, the same subjective memory responsible among other things for structuring our collective history.