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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