TURNAROUND, Orit Hasson Walder’s new exhibition, is an installation built mostly from manipulated photographs representing the picture of a disturbing, troublesome world, without any cohesive time or place. The floor, ceiling, dark and threatening landscape, groups of people on their back, a blue “superhero” in mid-flight are only some of the images in the exhibition. Here, too, the exhibition attempts to unify and connect disparate worlds like a collage or the “cut and paste” action, are still visible and exist in between and within the other artworks.

The original was selected by Hasson Walder, appropriated, and discarded after it was manipulated. The photographs in the exhibition are a-hierarchical, sourced from the press, magazines, the internet and any other visual source. As in painting, this is a palette of images replacing the palette of paints. Hasson Walder adopts this image and revives it.

In the back and frontal works, Walder has placed photographed images exhibited on a body to create a foreign arena of events invading the photograph by means of various agents: a corn researcher; groups of medical researchers; a reunion of mountain climbers, and more. The back functions as a canvas, a platform, while the hands act as an easel.

The images in the exhibition simultaneously create a disturbance and the sensation of vertigo – all emanating from a large image on the main wall of the exhibition space of a “superhero” bursting into the gallery space in a circular movement. The trees are exhibited upside down on the gallery floor, while books from epoxy casts have been placed on bookshelf displays to expose the space/location with a diagonal tilt, disrupting the structured order of floor and ceiling.

The exhibition subverts the status quo. Time and place are reshuffled into a spiral state which is changing, dynamic, and infinite.