almor's exhibition Makom(*) investigates three types of places: nature as the site of God, in the sense of the given world, architecturesóman-made placesóestablished but also demolished or abandoned by man; and finally, photography and etching as supports for language, as sites of representation. I say finally but I could also say initially, if we stand as perceivers before these images and take the inverse course to that taken by the artist (from her first encounter with the real, before she frames it with her camera, and long before she confronts it in her etching).

(...) If Talmor's structures have paid tribute to more fragmented spatial modalities, as in her previous series Password, Aguariacuar, and Horowitz, or in sculptural installations such as The Creativity of Evil, in the period following her voyage to India, the relationship to space has expanded visibly. If previously, tight close-ups and medium shots filled her work, now, in the face of this imposing nature, she has had to shift to dealing in immensities, to a new orientation of the gaze, the soul, technique. Following her pilgrimage through the mountains, new needs, new modes of language, emerge: she confronts these views with wide-open takesóthe long, wide shots which the vast mountains demand.

(*)Hamakom: "The Omnipresent" (literally, The Place) (Hebrew: המקום). Jewish tradition refers to God as "The Place" to signify that God is, so to speak, the address of all existence.

María Elena Ramos

August 2012