Ilit Azoulay: No Single View: Solo Exhibition at Museum Villa Stuck, Munich

No Single View explores how histories are formed through perspective. Rather than presenting a single, fixed narrative, Ilit Azoulay approaches memory as something mobile, shaped by processes of selection, isolation, and arrangement.

 

At the center of the project is the figure of Mary Stuck, the only daughter of the painter Franz von Stuck. In Azoulay's film Mary, seventy-seven actresses embody the same character in a fictional interview. Through these shifting voices, Mary appears not as a stable identity but as a composite presence, fragmented, contradictory, and continuously reimagined.

 

From this inquiry, Azoulay develops a series of photographic works and sculptural photo-collages. Using macro photography, she focuses on overlooked details and material traces, assembling them into layered compositions where images, texts, and fragments coexist without forming a linear narrative. These works do not attempt to reproduce reality but function more like a form of visual cartography, mapping relations between objects, memories, and perspectives.

 

Rather than building an inventory of the past, Azoulay creates spaces in which meanings unfold, intersect, and shift. The works operate through hypotheses and temporary constellations, allowing different narrative strands to appear side by side. In No Single View, Azoulay proposes that history is never singular. Each work becomes a constellation of possible readings, inviting viewers to navigate fragments and recognize that every narrative is shaped by where we stand to see it.

 

The project includes 18 works: six large-scale photomontage sculptures in MDF frames with engraved text, titled Reports; eleven small-scale sculptural works in MDF frames with engraved text, titled Records; and the three-channel video installation Mary.