Inventory

Inventory, a solo work choreographed and performed by Noa Dar, dives into the process of departure, in which there is a desire to hold onto what is concrete and tangible which indicating on what is lacking. The work is a tribute to the studio in which Dar created for the past fifteen years and which will soon be demolished. In “Inventory”, Noa is tracing the rapidly evaporating elements created within its four walls, while moving through labyrinthine and multi-layered space, composed of sets and props selected from works made over the course of twenty years. The wrappings that defined the spaces in which those works existed, are present as archaeological evidences to their vanished content and serve as a point of departure for a process that strives to find out its contemporary essence. The work moves between periods, vantage points and sites in which these creations are present in both personal and collective memory. The act of recalling is chaotic and fragmented, driven from memory’s fragility and multi-faceted nature, depending on the tangibility of physical materials to become an engine for an action in which the body of works is broken down to its component parts, which are shuffled and woven together to make a new creation.

Excerpts from critics:

“Dar, whose works have always included a very significant philosophical and theoretical side, manages in ‘Inventory’ to put body and material at the central place. The forced separation from her studio is not only a real estate issue, but also opens a series of questions about the relationship between the real and the creative, on the conditions without which art cannot be created, or maybe the art created under impossible conditions. As in ‘NoaNoa’, here too, it is a pleasure to watch her dancing, devoted entirely to choreography and movement. Hopefully, the expected evacuation will not stop her from creating.”
Tal Levin, Ha’aretz, November 5, 2019

“Most of all, she made an impression herself. What else can you aspire to? At the end of the piece, she covers all the decor with a huge canvas, as is customary to cover furniture for a long period of absence. Yes, it’s sad, but at the same time I thought what a wealth of great work hidden there. She challenged herself with a work that came from a place of much artistic honesty, and of course talent and knowledge that are a solid foundation for everything she created. Dar can look at the huge canvas that covers the decors of her works with satisfaction, comfort, and even happiness. Its seems that she didn’t say her last word yet.”
Ruth Eshel, ‘Dance’s diaries’ October 2019