NOVEMBER 11 • 2021 | 59

Lynne Avadenka

 “We started talking over 
Zoom of what we might do 
together,
” Avadenka recalled. 
“We defined the size and the 
shape of the book pages and 
also built an online archive 
of imagery to show common 
visual elements of measuring. 
We were thinking of personal 
space, community space and 

cosmic space — all included 
in each of our works.
” 
Avadenka, whose projects 
over time have covered the 
physical and philosophical 
idea of the book, is represent-
ed across international collec-
tions, including the Library of 
Congress in Washington, D.C., 
the British Library in London 
and the Israel Museum in 
Jerusalem.
Arnovitz, who has created 
more than 25 artists’ books, 
also is represented in the 
Library of Congress as well 
as the National Library of 
Israel in Jerusalem and Yale 
University in New Haven. Her 
work challenges the boundar-
ies of what a book is, adding 
objects and materials.
Kupferminc, the daughter 
of Holocaust survivors, has 
addressed themes of exile, 
migration, human rights 
and memory through some 
100 solo exhibitions. Her 
works reach from the Library 
of Congress, through the 
Israel Museum and into the 

Shanghai National Museum.
“The artists gave visual form 
to the emotions engendered 
by the [COVID-19] crisis,
” 
Bilski said. “
As accomplished 
book artists, [they] under-
stood how the inherently col-
laborative qualities of the book 
format could be harnessed for 
their joint endeavor.
”
The artists’ collaboration 
started with weekly Zoom 
meetings before moving into 
discussions every other week. 
Alone in her studio, 
Avadenka lighted on the 
idea of four with her pages 
including images relating to 
the four seasons, four Jewish 
matriarchs and four phases of 
the moon. 
“I also have structures creat-
ed to look like kites,
” she said. 
“The idea was that they were 
four-sided figures open on the 
sides so you can have struc-
ture but you can also have 
freedom within the limited 
space provided to you.
”
In contrast, Arnovitz 
attached a paper-constructed 
form of a collapsible dwell-
ing, which requires reader 
assembly, and Kupferminc 
gave visual expression to shift-
ing perceptions through an 
accordion-like rendering of a 
domestic interior.
“What impressed me about 
working with Andi and Mirta 
is how very different their 
work is from mine and from 
each other’s,
” said Avadenka, 
whose team wants to use the 
award money to travel the 
exhibit after the Biennale. 
“While we began the project 
with shared maps, diagrams 
and shapes, they were used in 
different ways. This certainly 
links our work together, but 
our individual voices as artists 
remain distinct. This was the 
joy of the collaboration.
” 

PHOTO BY MATTHEW MURPHY

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