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The title of this densely packed exhibition comes from the first volume of Das Kapital, where Marx likens the factory to a stage, and the workers to players. The conflation of pleasure and production that this analogy represents gives form to Ohad Meromi’s latest show, where figurative sculptures, titled Gravediggers, act out the modernist dream of achieving utopia through the aestheticization of daily life. The factory is the titular work, a large installation of wooden circles and triangles that seemingly float in space—never fastened, just leaned against each other or temporarily held with clamps…

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