"Yifat Gat, in the work 3,000 A Year, touches upon the act of commerce, importing 3,000 artifacts from Semionov, Russia, the town where in 1924 the first Matrioshka nesting doll was painted by a young girl. 3,000 – that is the inconceivable number of trafficked women smuggled into Israel each year. The Matrioshka embodies an archetype that is related "female craftsmanship"; the doll, an industrialized childish toy, expresses a primal, female desire for procreation. It brings the female act of reproduction to a grotesque, "industrialized" extreme – doll within doll within doll within doll… Endless containments and penetrations of girlish dolls. An ancient chronicle of women who are easily divided in two, turning into empty shells. Gat separates the dolls from each other and hangs each of them separately, endowing them with a new status of "wholeness" – closed and empty. Facing this enormous display of anonymity, a closer, more observant look is necessary in order to note each doll's particular nuances: facial features, the eyes, a smile. The smaller the doll, the less details are painted on. Gone are the flower, the tie, the apron. On the smallest doll only a leaf remains. This hierarchy is also typical of the traffic in children, who are trained by older, more experienced "tutors". The Matrioshkas are hung from strings, creating a colorful "bead curtain" – a common item in every brothel, semi-transparent, intriguing and inviting. But Gat's curtain is almost fascistic in its dimensions, dwarfing the viewer."
Text by curator: Revital Ben-Asher Peretz
High Heels in the Sand 2005 @ Petach Tikva Museum, Israel
Trafficking 2006 @ The national Museum of World Culture, Gothenburg, Sweden