Her heartbeat is wired to forty-five charges.
Near the Egyptian border, the artist built a temporary structure sized to the dimensions of the gallery that would later hold its recording, and buried forty-five explosive charges between its blocks. An ECG monitor reads her heartbeat and the system fires one charge every six heartbeats. She waits a few dozen metres away and attempts to stay calm while the building she made with her own hands is destroyed by her own body.
The more the explosions multiplied, the more agitated she became; the faster her heart beat, the faster they came. Composure is the only instrument she has, and it is not sufficient. The building is recorded from five angles and projected back into the gallery as a synchronised loop that surrounds the visitor — a room that collapses and rebuilds itself without end. Hammer takes as its starting point a drawing by Leonardo da Vinci, The Hammer, in which a mechanism strikes on its own.