Trrrraaaaaaaaannnsssssssssspooooooooooooorrrrt II

At a fair booth, which doubles as a mobile studio, the artist Noa Kurnick sculpts tiny clay figurines, one after the other. The subject of these sculptures is movement: the movement of the body and of the material. As time goes by, the figurines start to amass in large quantities. These are in fact touristic souvenirs that pile up like a stale shelf product, a surplus of excessive labor that echoes the underlying financial mechanisms of the tourism industry. The public is encouraged to take a sculpture home as a souvenir, but since it is made of unfired clay, it is doomed to crack and eventually crumble. The physical act of sculpting emphasizes the attempt to freeze the image, whose moment of sculpting also marks the