Literature

In the project gallery, the first chapter in a new series titled New Orders, references the fragility and fragmentation of the European Union by recreating, in three dimensions, an individual painting by historical and prominent still-life painters from various countries, beginning with Chardin, Zurbarán and Morandi. For Evertime, Gersht commissioned masterfully crafted replicas of the vessels and bottles found in Morandi’s paintings. After carefully arranging and lighting them in a resolved composition, he shot the delicate ceramics with an air rifle, while simultaneously recording the destruction and fragmentation of the objects with a high-resolution camera. Sequences of images and panoramas relay a cinematic unfolding of destruction and collapse, not otherwise visible in our normal experience of events. By selecting a single image from each event, which contains, within itself, an infinite number of possibilities, Gersht is attempting to mimic the nature of historical memory, where single moments are isolated and awarded with iconic status, whilst the rest go unnoticed and are consequently forgotten in the ocean of the passing time.