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May
30 , Thursday, 8PM, 2002
Experimental
Films and Videos from Israel |
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As the current Middle East situation escalates, the
international media tends to focus on the political
aspects of Israel, rarely covering its culture. Tonight's
Israeli Experimental Film and Video program is
a rare opportunity for Boston audiences to get a glimpse
of Israel and Israeli culture from the perspective
of several of Israels emerging artists. We hope
this program will acquaint you with a fresh perspective
on Israeli art and culture amidst the challenges that
surround the region. Among the award wining artist
included in the program are: Avi Setton, Zoya Cherkassky,
Ruti Nemet, Tami Marks, Sharon Balaban, Avner Ben-Gal,
Lior Shvil, Boaz Arad, Nurit
Bar-Shai, Ayelet Ben-Porat, Eli Petel, and Adam Rabinowitz.
Several
artists will be in attendance at the show including
Adam Rabinowitz, Ruti Nemet, Tami Marks, Nurit
Bar-Shai and guest curator Karin Segal.
Our
Balagan special guest curator for this show, Karin
Segal, is an Israeli artist living in Tel-Aviv
and Boston. For the past three years Karin has been
involved in programming film and video works for the
Boston Jewish Film Festival and as a programming Assistant
and in publicity at the Harvard Film Archive. We are
honored to have Karin bring us this special Israeli
program.
TOY-TECH
MULTIMEDIA GROUP PROJECT 4min, video,
2000
Sculptor and Initiator: Avi Setton
(Video Art: ShortCut, Multimedia: Sub-Res,
Shortcut, GroovAbility; Art Director & Designer:
Yaron Shitrit; Original Sound Track: Grundik
+ Slava (Earsay))
Avi
Settons tiny metal sculptures in the TOY-TECH
series are aerodynamically shaped with well-defined
direction and movement. The first impression one
receives is of images borrowed from an advanced
technological world. This impression is both enticing
and deceptive, as Setton has gone back in time,
transplanting a spring in the bowels of his creations
- the type of spring that is found in tin toys,
using technology that has been around for hundreds
of years. In the heart of the creations beat engines
that are clearly low-tech.
After
winding their internal spring, the sculptures try
to take off in an attempt to realize the movement
that is inherent in their shape, but all their attempts
are in vain. Transplanted in the center of the seemingly
advanced machine is a mechanism that ultimately
leads to spasms and death. The shape that simulates
climbing actually involves crashing.
Do
Settons sculptures deal in the wretchedness
of advanced technology and its demise? Is this a
romantic challenge (that is aware of its failure)
of the mechanical, monotonous, hi-tech world? What
would happen to the sculptures if they were run
by hi-tech, nuclear, super-functional engines? What
would happen if we removed the technological restraints?
How would these sculptures behave?
This
project has taken the high-tech / low-tech conflict
in the sculptures and turned it into a multi-media
presentation. With the aide of digital technology
and computerized manipulations, they were given
new, virtual lives.
Statistim
3min, video,1999
Le Bel Indifferent 4min, animation, 2001
Director: Zoya Cherkassky and Ruti Nemet
Statistim,
an animation film (stills animation), was originally
projected on the display window on the second floor
of the gallery located on one of the main streets.
The audience was invited to watch the film from outside
as if to pick through the window into a family's living
room. To preserve the spectators' point of view the
entire film is shot with a static camera and from
the same position and angle. The sets are constructed
as a 1:10 model of a home interior, while the characters
(mother, father and son) are composed out of the photos
of the real people and crafted figurines.
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Similarly
to Statistim, in Le Bel Indifferent (named
after a play by Jean Cocteau) the sets are constructed
as a 1:10 model. The characters were photographed
separately. The film takes place in a cheap hotel
room where the two characters - a singer and her
lover, are having some kind of interaction. The
theatrical gestures of the acting, the decor of
the room, the look of the characters, and the soundtrack,
refer to the silent films of the twenties.
Ruti
Nemet (born in 1977, Tel-Aviv, Israel) &
Zoya Cherkassky (born in 1976, Kiev, Ukraine)
have been working together since 1996. Unlike other
artists partners such as Gilbert & George for
instance, their artistic union is not a homogeneous
entity but rather a collaboration of two opposite
temperaments. For most of their works, Zoya creates
figurines and sculptures, and Ruti does photography
and paintings. Both of them work on the interior
models. Through
collaboration, they have received many awards and
scholarships including prestigious Ingeborg Bachman
Scholarship established by Anselm Kiefer, Wolf Foundation.
Miss
Lucy 7min, video, 2001
Director: Tami
Marks
The
name, Miss Lucy, is derived from the sacred
and the profanebeing both the name of a Christian
saint and of an Israeli hot dog company. Lucy is
no bland woman of the fast food culture, neither
is she a martyr willing to pluck out her eyes to
preserve herself for Christ. She is a contemporary
Miss looking at herself and at the world
around her, dealing with issues of femininity, faith,
ritual, art, sacrifice and madness. Lucy is simultaneously
funny, pathetic, and painful, and therefore sometimes
hard to digest.
Tami
Marks is currently an MFA student at the School
of the Museum of Fine Arts. In 1998, she obtained
her BFA degree at the Bezalel Academy of Art and
Design in Jerusalem, Israel. Her works have been
screened both nationally and internationally including
Video Space screenings at the Coolidge Corner Theatre,
Harvard University, Guangiu Biennale (Korea), Tel-Aviv
Cinematheque in Jerusalem (Israel), and others.
George
5.5min, video, 2000
The Iron 1min, video, 1997
Director: Sharon Balaban
Seen
from the rear, a naked male figure gyrates to the
beat of George Michaels FAST LOVE. This
video image is a tightly shot form and wrist that
mimic a human torso, engaged in sensuous dance moves.
Impersonating body parts are a simple visual trick
performed under effective lighting that produces alarmingly
sexy and utterly hilarious effects. Balabans
smart portrayal of the sensationalized body mocks
societys excessive preoccupation with sexuality
and physical appearance. - Hitomi Iwasaki,
Associate Curator Queens Museum of Art
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Iron
- encounters between body and object, modifying one
another's function and significance.
In my work I undertake a detailed examination
of the body, as it communicates with and reflects
the environment in which it moves. I examine its familiar
and unfamiliar, organic and artificial facets, its
motions, voluntary and involuntary, its endless possibilities.
The video camera allows me to examine the results
of focusing on a certain bodily movement when it is
isolated from the body itself; self activated, or
otherwise stimulated. There are some vulnerable spots
in the body where I detect layers of civilized existence
as compared to basic animal existence. Through sexuality,
I examine how under the double constraint of biology
and culture - erotica, power play, the grotesque and
helplessness, interrelate. I test the sexual as the
space where the animal and the base in human existence
are most emphatically displayed, and where cultural
structures are revealed at their most absurd.-
Sharon Balaban
RAMAYAMA-A
THIEVE MONKEY 1min, video, 1998
Director: Avner Ben-Gal
RAMAYAMA-A
THIEVE MONKEY, a short fast paced film, is a
day from the life of Ramayama who was born and raised
in India. Constructed as a classic exotic eastern
tale, the film is full of appropriated images including
footage of monkeys from different sources such as
National Geographic documentaries and others.
Yosef
7.5 min, video
Director: Lior Shvil (born in 1971, Tel-Aviv),
Music: Aharon Dezorayev
Yosef
is based on an autobiographic story of the artists
grandfather and on the legend of Yosef Troompeldor,
soldier and early pioneer-settler in the land of
Israel. Troompeldor was the commander of the artist's
grandfather in the Mule Brigade. The
floating image of the heroic stories used as an
illustration, is a story of the passion of a child
who identifies himself with the heroes, appropriates
their image and tries to live this image through
his actions. The
film raises problematic issues of admiration, mistrust,
passion and cynicism around the heroic stories that
we grew up with.
After
graduating from The Architecture Department at Bezalel
Academy Of Art And Design, Jerusalem, Lior Shvil
spent a post-graduate year at the Hamidrasha School
Of Art, Bet Berl. He Exhibited at The Gallery Hamidrasha
Of Art In Tel Aviv and at The Gallery Of The Post
Graduate Studies Of Fine Art, Bezalel In Tel Aviv.
I
cant say that I can distinguish a single path,
a medium or a concept in my work. I see my work
as a long search for an exact structure wherein
this structure gets its shape in video, photography
or other mediums. I can identify myself with a Jester
- a confusing character of an Idiot, who transforms
into something different every time. He
provokes a subversive roll of fun and amusement,
but his actions are much more fundamental. He builds
another image of reality by combining mythological
icons and simple life stories in the allegoric way.
For me, Jester represents an artist who operates
outside of the cultural structure but at the same
time acts and lives inside of it. The artist is
like an agent of low and high, vulgar and ideal....
- Lior Shvil
100
Beats
1min, video, 1999
Marcel, Marcel 1min, video, 2000
Director: Boaz Arad
100
Beats is an attempt to chaplinize Hitler, to
make him human, to control him like a puppet.
Marcel
Marcel is about the ways one creates an image.
The artist modifies Hitler's portrait by changing
the position of his moustache and as a result, constructs
a different connotation every time.
Boaz
Arad was born in Israel. He studied art at Avny
Institute of Fine Arts (1978-82) and at the Camera
Obscura - "The new seminar" (1995-96).
He has been teaching art in "Telma Yelin",
"Hamidrasha-Beit Berl"and "Camera
Obscura".
His video piece "Hebrew Lesson" is currently
on display as a part of the show "Mirroring
Evil" at the Jewish Museum in New York.
T.M.B
4.5min, video, 7.5 min, 2001
Director: Ayelet Ben-Porat (b. 1976)
Creating
recurrent rhythmic images is a popular method for
deflating heavily-charged images. T.M.B is
a techno piece consisting of images taken from early
Israeli archival film footage.
Eli
Eli 3min, video, 2000
Director: Eli Petel (b. 1974)
"The
footage is taken from a TV series called
Debby In The Hospital, an English teaching
series produced for the Israeli Educational Channel
in the 1970's and broadcast during daytime in the
1970s and 1980s. I remember this specific
episode form false and real sick days when I happily
stayed at home. Except for the opening and closing
scenes of the piece and my brief appearance in it,
(shot in the secher- a sewage basin/
water reservoir in the outskirts of Jerusalem, my
hometown) the film is constructed out of three scenes
from the episode titled Pollution that
deals with Environmental conservation issues.
The
video deals with three subject matters:
- The relation between art and the Academy
(the piece was first exhibited at Bezalel Academy
of Art, Jerusalem): meeting, urging, persuasion,
and jumping into the dip water of the exposure
of the art product. In relation to the exposure,
it is worthy of mentioning the effect that connects
the physical disappearance of the drowning body
in exchange to the exposure of the name. The name
(my name Eli) is being cried out and acts
as kind of a commercial repeating the brand
name Eli, Eli, Eli
- The social level: the relation between the
blonde Uri - The zabar figure, the typycal Ashkenazi
and Eli (the Sephardicloser) who is urged to get
involved in the experience of the Zionist ethos:
adventure, courage and physicality (sports) in
supposedly enlightened context of the learning
of a western language.
- The biblical aspect: the name Eli in the
Hebrew language is the popular shortness of the
biblical name Aliaho and it also means my G-D,
and so My G-d, my G-d, why hast Thou forsaken
me, and art far from my help at the words of my
cry? ( Book of Psalms (Chapter 22))
The repetition of the name comes from the great
excitement of despair. A pathos that emphasizes
the complaint and gets stronger in the fact that
the speaker feels abundant although he doesnt
give up or leaves. This brings together the rare
moments of grace of art-making with the question
of the authenticity of what was made. This biblical
question opens the discussion about the connection
between truth, muse and the social subject.
"
--
Eli Petel
What
Is Happy Baby 7min, video, 2002
Director: Nurit Bar-Shai
What
Is Happy Baby is a video that observes laborious
sequences of actions taken in an office-like environment.
These actions describe similarly repetitive and meaningless
activities that no longer relate to their origins.
This video performance of obsessive repetitive and
familiar actions, performed by a female, is exploring
a freedom of action behavior and how it is given and
dependent on the action itself. Nurit Bar-Shai
lives
and works in NY since August 2000
Untitled 3min, s8mm, 1999
Director: Adam Rabinowitz
"Frame-by-frame
animation, using tens of thousands of stickers on
thousands of standard A4 papers.
When Albers meets Disney, The Kibbutz and The Israeli
Military Prison No.4.
The work of the Bauhaus student is a hollow and
anemic replica of the masters work.
The masters work, duplicated and blown up
will travel to the realms of the psychedelic.
The idea of the Modern, as understood and practiced
in peripheral Israel of the 1950s and 60s,
far away from its cultural centers in Europe
and North America, tried to reflect the Zionist
values in a brutal and clear sense. Once practiced
outside of the Zionist system, a stew of anemia
and psychedelia has emerged to form a melancholic
collective image, forever longing its cultural foundations,
which have been victimized by blindness, brutality
and a very hot climate."-Adam Rabinowitz
Adam Rabinowitz, born in Israel in 1973, lives
and works in Tel-Aviv. Graduated from the Bezalel
Academy of Art, Jerusalem (Department of Fine Arts)
in 1998. Solo Exhibitions at Mary Faouzy Gallery,
Jaffa, Dvir Gallery, Tel-Aviv, The Midrasha Gallery,
Kalmania. Participated in numerous group exhibitions
in major museums in Israel, and in several second
rate museums in Argentina, Italy and Germany.
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