’Security comes before everything else’ has been a slogan which has accompanied the State of Israel throughout its history.
Research projects have analyzed the problematic military–civilian relationship in a number of areas, but have not dealt with the way in which this national priority has influenced the formation of the urban landscapes.
The phenomenon of providing a second life to military objects by installing them at playgrounds and other public spaces raises deeper questions about our society. What true meaning are they serving and how does one address them?
In my work I had realized that while there is an abundance of such true size and raw military objects installed in the urban space, the inhabitants of that local space demonstrate an indifference to the cultural significance of the monuments that symbolize glorification of the military.
I had also realized that these monuments require a certain blindness, a particular refusal to be aware of their true meaning.
The installation of these objects underlines how they remain unseen but for an artist's unflinching examination of the scene.
After all, these objects are innocent. Taken one by one they could so be constructed. Taken together they could be regarded as witness to an interpretative plot, innocence and arrogance in equal parts.
What is installed in front of us dictates the meaning.