In a way, Harlap’s scaffolding bring back to life the Italian Renaissance preoccupation with architectural perspective and architectural tromp-l’oeil. But while the latter used to create the illusion of space spanning beyond the existing space, such as elevated ceilings, niches that do not exist in reality and decorations Harlap creates the illusion of a scaffolding – a temporary supplement to the actual structure, a non functional illusion.

The tension between the artistic illusion and aesthetic values of sincerity and directness attached to the simple scaffolding, intensifies due to the concrete wall alongside which the scaffolding was erected. The wall echoes the adjacent memorial structure of Yad-Labanim, around which the new museum was constructed, remnant of the Brutalist architecture typical of Israeli architecture in the second half of the 20th century. The raw concrete was adopted by Israeli architects, who ascribed it with values of ethics and aesthetics which seemed to mirror the forming figure of the Israeli Sabra: honest, sincere, direct, abrasive, and uncompromising.

The illusory scaffolding exposes the potential duplicity inherent in what presents itself as sincere and direct at the very same time deceptive and illusory.

Raanan Harlap (1957) born in Israel. Lives and Works in Tel Aviv.

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