Majuscule is a group project that revolves around different approaches to, and interpretations of the idea of reenactment, using it as a structure, a metaphor, or a social and cultural mode of operation. Treating the form of an existent narrative as a kind of material to work with, the artists in the show develop forms and situations that utilize and mutate linear movement into anatomies that operate independently, with a logic all their own.

Maria Antelman explores various social phenomena such as bodybuilding, war reenactments, rodeo culture, and extraterrestrial channeling. Her interest originates in the motives, fears and desires that underlie these very different subcultures and lifestyles, as well as the visual and linguistic rhetoric they utilize to further their cause. These realities offer fertile and diverse cultural eco-systems, rich in visual and textual matter, which proliferates each in its own community.

Sari Carel sifts through bits and pieces of narrative, events and images that are plucked out of their origin or sequence, and reinstated as part of a newly delineated interim territory. Working with painting, sculpture, new media and text, and using the mediums of film, fiction and journalistic reportage as disparate points of departure, the work circulates around ideas of translation, mutation and misinterpretation. Leaning on structural elements, such as editing, narrative and sequential development, the work tries to gauge the specific potency and residual mysteriousness that an image might retain, even while situated in an utterly saturated and discursively totalized world.

Anne Colvin’s work extends single moments of time, in effect punctuating an event from its temporal location and magnifying certain psychological aspects of its character. Sampled fragments of film, stills, voice and text are made eventful through Colvin’s temporal conceit. Abbreviated scenes become a preoccupation, unfinished thoughts run on repeat and their marks become trails, leaving the viewer to anticipate the next gesture. By constantly interrupting the narrative structure and repeatedly rupturing moments of recognition, the underlying tensions begin to unfold.

Liron Lupu brings to the forefront images and events, which tend to be ignored or have been forgotten. His work revolves around the mechanics in the structure of memory both individual and collective, concentrating on the way images tend to shift their meaning according to the way they are represented. Images of state-leaders, pets, sport events, musicians, family snapshots and violent or disturbing street scenes, are salvaged from found prints, old books, outdated calendars and magazines, perpetuating fragments, pieces of documents, and reality’s leftovers.

David Means is the author of Assorted Fire Events and The Secret Goldfish. His work has appeared in Harper’s, The New Yorker and Esquire among other magazines. His short stories lay out situations in which minute or dramatic violations, transgressions and unnoticed neglect serve as the centrifugal forces which propel the movement of narrative.

Ohad Meromi’s work uses local and universal myths such as Greek mythology and utopian theater. Working in a variety of mediums he lavishes attention on the imperfections generated by the hand – the blemishes, inaccuracies and inherent softness that is part of the homemade ethic that he follows, and with which he tackles obsolete ideologies and systems of ideas. Images drawn from discarded or bankrupt design languages hint at retro-futuristic environments and props, inspired by popular science-fiction television shows and movies from the 60s and 70s, as well as Modernist and utopian ambitions, both of which harbor an enthusiastic approach to a distant and mysterious future and past.

Organized by Sari Carel.