THE INCONCEIVABLE SIMPLY IS - 2013
THE INCONCEIVABLE SIMPLY IS - 2013
THE INCONCEIVABLE SIMPLY IS - 2013
THE INCONCEIVABLE SIMPLY IS - 2013
THE INCONCEIVABLE SIMPLY IS - 2013
THE INCONCEIVABLE SIMPLY IS - 2013
THE INCONCEIVABLE SIMPLY IS - 2013
THE INCONCEIVABLE SIMPLY IS - 2013
THE INCONCEIVABLE SIMPLY IS - 2013
THE INCONCEIVABLE SIMPLY IS - 2013
THE INCONCEIVABLE SIMPLY IS - 2013
THE INCONCEIVABLE SIMPLY IS - 2013
THE INCONCEIVABLE SIMPLY IS - 2013
THE INCONCEIVABLE SIMPLY IS - 2013
THE INCONCEIVABLE SIMPLY IS - 2013
THE INCONCEIVABLE SIMPLY IS - 2013
THE INCONCEIVABLE SIMPLY IS - 2013
THE INCONCEIVABLE SIMPLY IS - 2013
THE INCONCEIVABLE SIMPLY IS
Intimacy, parallel lives. Fear is part of responsibility.
L.T.
The experience that gave birth to the series The inconceivable simply is was a trip I took in 2003 to the concentration camp Auschwitz-Birkenau, and to Poland more broadly, as part of a group of Jewish Israelis, Muslim Palestinians, and Christian Palestinians. The etchings are based on images from my personal travel memoire, photographic testimonies and recordings, photographs of historical sites, and personal memories of other times.
In trying to establish the concept of the work, I needed distance from the experience. I got it through various tactics that mediated between the horror of Auschwitz and the final lithographs. I attacked the topic from unexpected angles, sudden swerves in meaning: instead of using images taken at the time or place “represented,” I used images alien to the lived experience: some authored by me (but in other moments), others “borrowed,” taken by others, about other lives. Nevertheless, several prints of the series do represent moments or scenes of the “real” of Auschwitz, as it was seen and lived by myself and my trip mates. The function of these images is to embody—to call the attention to—the ordinary, the indifferent, the amoral, that always surrounds horror.