Black Friday

The project unfolds as a cement miniature of a devastated urban landscape. Architecture is imploded volumes are collapsed geometry has lost its logic. Materials — sand PVC cement — are selected for their fragility. The scene appears stable but is programmed for collapse.

Above the composition hangs a clinical device a transparent IV bag filled with red fluid suspended like a judgment. Each drop that falls is not symbolic. It is an active force. A slow attack enacted in real time. This project does not depict violence. It performs it.

As the hours pass the synthetic blood begins to deform the landscape. It digs channels through the debris stains facades erodes matter. The structure dissolves in front of the viewer. By the end of the exhibition nothing remains. The entire intervention self-destructs.

Each installation is titled after a real Israeli airstrike on Gaza
Black Friday
Cast Lead
Protective Edge
Iron Swords
Guardian of the Walls
Breaking Dawn

These titles are not descriptive but lifted from the official language of military campaigns. The artist adopts them without rhetoric to reveal the bureaucratic detachment and impersonality of violence. Each intervention is visible only once. The red fluid is calibrated to complete the disintegration over the course of the exhibition.

After its disappearance only a video remains. That document becomes the work exhibited in the following show. It bears the name of the next attack. It is not an archive. It is a relic.

The intervention positions itself within the discourse on media representation of the Israeli Palestinian conflict. Images of bombings scroll across Western media like disposable content. Weik halts this flow with a gesture that is slow surgical and irreversible. Each drop dismantles matter and with it our ability to look away.

This project does not build. It corrodes.
It does not represent. It enacts.
It does not endure. It vanishes.