"In the geopolitcal context of the Holy Land, the combination of historical events, myths, and traditions has created a multiplicity of places, sacred to competing groups of religions, communities and affiliations"
"These in turn, have led to the formation of an extraordinary concentration of intricate spaces, fragmented and stratified both historically and physically. Through a delicate web of political negotiations and agreements, [...] each place preserves its own 'modus vivendi' while maintaining a meticulously performed protocol of daily activities, arrangements and rituals.", the curatorial team argue.
The exhibition of the Israel Pavilion "In Statu Quo: Architecture of Negotiation" focuses on five sacred sites: the Church of the Holy Sepulcher, the Western Wall, the Ascent of Mughrabi to the Temple Mount, the Tomb of Rachel (Bethlehem) and the Cave of the Patriarchs. Each of these places poses a different phenomenon, reflecting on the delicate system of coexistence and territorial dispute of Israel.
Floor to floor the exhibition moves visitors to each of these sacred sites. On the first floor, the exhibition shows the Church of the Holy Sepulcher through a 3D model made by the German architect Conrad Schick (1822-1901) which is color-coded. On the second floor and through an animated film, co-directed and illustrated by the artist David Polonsky, the Mughrabi Ascent is shown, the only non-Muslim entrance leading to the upper level of the Temple Mount. The proposals for the Western Wall are on the third floor, including Louis Kahn, Moshe Safdie and Superstudio. A video installation by the Israeli artist Nira Pereg shows the changes of the Cave of the Patriarchs. Finally a series of architectural drawings illustrate the Tomb of Rachel.
The exhibition is a journey through these places in which are followed the processes, decisions and actions through which the sacred places are configured.
"[In Statu Quo] suggests not only the instrumental use of architecture to establish claims in the conflict, but also its ability to negotiate between different identities through spatial occurrences and programmatic possibilities," the curators point out.
