Endless 
Installation: 
A
 Ghost
 Story 
For 
Adults 
started 
out
 with
 a
 research 
into
 questions of architecture
 and
 the
 narrative
 of
 exhibition
 making,
 as
 well
 as
 definitions
 of
 authorship.
 It presents a 
spatial
confrontation
 between 
the 
work 
of 
three 
figures 
who 
have
 become
 particularly
 inspirational
 for
 this 
research:
 Frederick
 Kiesler,
 Aby 
Warburg, 
and
 Meir
 Agassi.

The
 Austrian‐American
 architect,
 sculptor,
 painter,
 designer,
 and 
art
 historian,
 Frederick 
Kiesler 
(1890–1965)
 was
 tireless
 in
 his
 pursuit
 of
 radical
 new
 concepts
 of
 interior
 spaces.
 For
 this
 project,
 we
 were
 inspired
 by 
his
 ideas
 that
 positioned
 new
 ways 
of
 coordinating
 architecture
 with
 paintings
 and
sculptures,
 expansion
 of
 art
 forms 
in
 the
 exhibition
 space,
 elimination
 of
 the
 frame,
 coordination
 of
 the
 spectator, 
and the
 idea
 of
 creating
 an
 endless
 sculpture.
 In
 our
 interpretation,
 the
 endless
 sculpture
 is translated
 into
 a
 search
 for 
forms
 that
 provides
 the
 basis
 for
 endless
 combinations
 of 
its 
building elements, 
being able 
to
 constantly 
shift 
perspective, 
create 
new
 configurations 
and 
narratives.
The
 narrative
 construction
 for
 the
 exhibition
 was
 further
 inspired
 by
 the
 work
 of
 the
 art
 historian 
Aby
 Warburg
 (1866–1929).
 Warburg
 consciously
 refused
 the
 approach
 of
 aestheticizing
 art
 history
 and
 a formal
 consideration
 of 
images.
 By
 placing 
together 
images
 from 
different
 historical
 periods
 and cultures
 on 
his
 famous
 panels,
 Warburg 
opened
 a
 new
 space
 in
 which
 to
 reflect
 on
 the
 human
 necessity
of
 visual
 expression.

Israeli‐born
 writer,
 critic,
 and
 artist
 Meir
 Agassi
 (1947–1998)
 developed
 a
 specific
 language during
 the
 last
 years
 of
 his
 life,
 coming
 from
 his
 impossibility
 of
 expressing
 himself
 in
 a
 united
 body
 of
 work
 as
 one
 artist.
 He
 created
 the
 Museum
 of
 Meir
 Agassi^® which
 hosted
 the
 work
 of
 various
 fictional
 artists,
urging
 us 
to 
re‐examine 
the 
common 
definitions
 of
 the
 author
 and
 authorship. 

Endless
 Installation:
 A
 Ghost
 Story
 For
 Adults created
 a
 non‐linear
 dialogue
 with
 exhibition
 visitors unfolding
 around
 the 
work 
of
 these 
remarkable 
individuals, 
becoming 
a 
fictional 
meeting 
point 
for
 their individual ‘universes.’ 
This 
fictional 
montage 
allowed 
to 
define 
junctures 
of 
their 
ideas 
as 
well
 as offering
 new
 readings
 on
 their 
individual 
practices.
 One 
of
 our
 principal
 guiding
 ideas
 when 
building 
installations 
is
 the 
specificity 
of
 the 
institutional
 and architectural
 context 
of
 the 
space 
in 
which 
our 
projects 
take 
place.
 For
 this
 project,
 we 
created
 different installations 
in
 four 
main
 exhibition
 spaces
 at SMART 
project 
space:
The
 first
 room
 was 
designed
 as 
an introduction 
or
 the
 entrance 
into
 the
 story 
and 
consisted
 of 
various 
photo copied 
images 
and 
quotes 
that inspired 
us 
during 
the
 process 
of
 working 
on 
the
 project. 
This
 was 
accompanied 
by 
a 
sound
 installation
in
 a
 form 
of
 a
 short 
radio 
drama 
in 
loop 
– 
made 
of 
several
 human 
voices
 reading 
short
 quotes 
and introducing
 in
 a 
poetic
 way 
the
 main
 framework
 of
 the
 exhibition.
In
 the
 second 
room,
 we 
created fictional
 encounters 
of
 our 
three 
main 
characters 
and 
photocopied 
images 
of 
their 
works 
we 
obtained 
at
their
 archives
 in 
Austria,
 Israel,
 and
 UK. 
This
 was 
also
 accompanied
 by 
various 
quotes 
coming 
from
their
 writings 
or
 texts
 by other
 people
 written 
about 
their
 works. 
We
 also 
produced
 a 
multichannel
sound installation in 
the 
same
 form
 as 
in 
the
 first 
room,
 only 
this
 time
 we 
used 
the 
quotes 
from 
their
writings
 and
 writings
 about
 their
 works.
 The 
sound was
 played 
from
 7
 different
 sources 
through
 7
 pairs
 of
 speakers, 
creating 
a 
particular
 movement
 in 
the 
space 
through 
sound.
The 
third
 room 
consisted 
of 
an installation 
created 
in 
a 
form 
to 
represent 
our 
symbolic
 act 
of 
giving 
to 
the 
visitor 
– 
offering 
three 
main lines
 of 
individual
 works 
of 
our 
three 
characters
 that 
were 
the 
most 
important 
for 
us 
at 
that 
moment.
The final 
point 
of 
our 
project 
was 
an 
architectural 
structure 
in 
the 
largest 
exhibition
 space, 
which simultaneously 
functioned 
as 
the 
end 
of 
our
 research 
and 
as
 the
 starting 
point 
for 
the 
exhibition. Conceived 
as 
the 
‘brain’
 of 
the 
project, 
it 
hosted 
our 
provisional 
archive 
with 
all 
the 
elements
 we collected during 
the 
tours 
and 
detours 
of 
the 
research. 
This 
structure 
also 
functioned
 as 
an 
amphitheatre where 
people 
could
 be
 seated
 and 
took
 part 
in 
lectures 
and
 debates.

For this project, we
 also
 produced
 a limited edition of 400
 copies
 of 
The 
Script
 of
 the 
project which is actually
 a transcript
 of
 the
 sound
 installation,
 accompanied
 by
 the
 selection
 of
 photos
 used
 in
 the installation.
 The
 Script
 was
 placed
 in
 the
 last
 room
 of
 the
 exhibition
 space
 and
 was
 to
 be
 taken
 by
 the
 visitors 
free 
of
charge.
 During
 five
 weeks
 of
 the
 project
 duration,
 we
 hosted
 five
 events
 with
 eight
 different
 lectures,
 twelve events
 of 
film
 screenings
 where 
we 
presented
 fifteen
 different
 films
 by
 Alexander
 Kluge 
and
 Jef Cornelis.