Expand Extract Repent Repeat

Expand Extract Repent Repeat

The exhibition Expand Extract Repent Repeat presents recent sculpture, photographs, and installation. The works in the exhibition reference flows of global capital, the writing and rewriting of history, cycles of debt, and architectures of occupation and expansion. Although Expand Extract Repent Repeat speaks to the context of contemporary Palestine, the exhibition does not focus on identity, but instead examines how social, political, environmental, economic, and political structures play out across national categories. Deriving its title from the biblical tale in which a whale devours the prophet Jonah for defaulting on his promise to god, the work Jonah’s Whale comprises a shipping container once used as an Israeli settler caravan and later repurposed as a Palestinian construction site office. Sinnokrot sliced the ready-made container into eleven cross-sections, revealing layers of steel, gypsum, insulation, wires, carpets, and a mattress. A mechanism of control and standardization, the shipping container is a form that regulates currents, whether natural, economic, or political.

With Jonah’s Whale and the photo series Caravan, named for both ancient Middle Eastern trading practices and contemporary pre-fab mobile home units, Sinnokrot shows how this trans-national symbol of global trade functions as a complex palimpsest of power and commerce within a regional context. Layered with history and patina, the structure is inscribed with traces of its journey from container to caravan to construction site office. A single-file line of anthropomorphic objects entitled Rubber-Coated Rock, All-Stars 02 flanks the corrugated steel “whale.” Assembled quickly from rubble, stone, discarded balls, and lashings collected around Jerusalem’s check-points, these hybrid projectiles precariously balance atop custom metal stands to confront the viewer at eye level. Extending Sinnokrot’s investigation of divine, commercial, and social debt, the reflective, anodized aluminum slats of Ya Ghanamati (Billboard no. 02) open and close to reveal strips of musty sheepskin. The sculpture adapts the form of the mechanical tri-louver billboard commonly seen advertising low-interest mortgages in the West Bank in an effort to coerce rural dwellers and nomadic communities into a system of commercial debt and real estate speculation. Both Whale and Billboard become emblems of the mechanisms of commercial debt. The sliced caravan as well as the perpetually rotating surfaces of polished aluminum and sheepskin figure the cycles fueling dreams of “Return” within the current landscape of consumer culture.

Exquisite Rotation consists of a gilded manuscript presented open on a lectern. A live feed captures and projects the flickering of the book’s empty pages, animated by periodic gusts of air from mechanically oscillating fans. Microphones encircle the book to amplify the sound of its fluttering pages, yet this accumulation of objects is at once beautiful and disquieting; their spindly bent forms hover over the manuscript like a huddled group of examiners autopsying a prone body—in this case, a history erased or yet to be written.

Expand Extract Repent Repeat

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