Israeli . He adopted the name Absalon on his arrival in Paris in the late 1980s. During his short career he achieved widespread recognition for the 1:1 scale architectural models that he constructed of idealised living units. These wooden models, painted white, demonstrate an obsession with order, arrangement and containment, and have associations both of protective shelters and monastic cells. They were designed to be placed in several cities and to function as living-pods for the artist as he travelled. Exhibiting a series of six ‘cellules' in Paris in 1993, he described how they were fitted both to his body and to his mental space, but were also able to condition the movements of his body in line with their idealised architecture. Although he denied their apparent utopianism, the sculptures can be viewed as the reduction of the utopian aims of early modern architecture (as seen in the work of the , and Le Corbusier) to the level of individual subjectivity. This suggests both the failure of architectural social engineering and its inevitable basis in subjective, anti-social vision. Absalon's habitational units also have an element of protest. In an interview for the Cellules
exhibition he stated: ‘These homes will be a means of resistance to a society that keeps me from becoming what I must become'.
Cellules (exh. cat., essay B. Parent, Paris, Mus. A. Mod. Ville Paris, 1993)
Absalon (exh. cat., essays B. Marcadé and J.-P. Bordaz, Zurich, Ksthalle, 1997)
10 December 2000