In Between Everything That Is
This group of works bares a transient utility and anticipated futility that put center stage a precarious temporality, appearing fleetingly as a mélange of "what will be" and "what has been". Each of the works envisions this fugacious temporal zone as a banal dreamspace of nonplaces and nonevents. From Berlowitz's investigation, the insignificant emerges as a space of possibility, opening up a tiny space for the materialization of reverie.
An Asian woman is playing with a wooden stick in an unremarkable natural setting, creating minimal dramatic action. A sense of strangeness emerges from the disjunction between the protagonist's fashionable attire and the forested backdrop. In this short-lived exile from her customary urban existence, the woman finds enchantment in the ordinary.
Another well-coutured young woman is standing on a nondescript country road, holding cards with pithy phrases that express the fragility of dreams. In this case, Berlowitz uses the stuff of fantasy to point out and to overcome its status as cliché.
Berlowitz's "Flag" is perhaps one of her strongest works of art, embodying and alluding to anemic cinema in the Duchampian sense. A solitary woman seen from afar is centrally positioned within the frame on a hazy winter's day. She is holding a white flag decorated with five black crosses in a slightly parched, open field, but it's completely unclear why she is doing so. There is both strength and vulnerability in this perplexing occupation - an unrecognizable symbol held by an anonymous citizen, asserting sovereignty over an utterly prosaic territory. Here, Berlowitz produces a situation that seems to slip out of her own control, like a defiant frame that escaped the logic of its apparatus.