Memory, in the work of Lee Yanor, does not content itself with documenting, preserving and commemorating reality. It calls for a much more substantial form of action. It urges us to revitalize the frozen image; to denude the figurative and the taken-for-granted; and to dive into a private and collective world of associations, in which reality is composed of an abstract, alternative language of symbols and unifying signs. In the exhibition "Memory Fields," Yanor creates a kind of monumental and infinitely layered memory game, which weaves together a multitude of images and associations. She draws together, exposes and conceals memory images from numerous places and periods – transforming them into a unified whole. She reexamines the right to freeze movement and to break it down into individual components. At the same time, Yanor wishes to examine the ability to recompose the frozen image-fragments into a vital flow. "Memory Fields," the title of this exhibition, also alludes to the ultimate sensory experience that is supposed to accompany the observation of the perfect life cycle. The seasons of the year follow one another in a symmetrical order, sublime beauty surrounds the viewer on all sides and aesthetic perfection flickers upon the nine inflated screens and through the ethereal photographs. Yet the title also hints ironically at the ephemerality of happiness – since at any moment clouds may gather in the sky, leaving the viewer with nothing but frozen fragments of memory and a shattered dream.