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The video installation ‘nothing to write home about’ is filmed in a small apartment - the artists home. In the 8 video segments the artist disguises herself, becoming different household objects: In one of the videos the artist becomes a table, in another a coat hanger. Perhaps a better word for the disguising process in each video is camouflage. Each video ends with the artist camouflaged as an object in the seemingly still and empty room. The word camouflage is in fact better for another reason: camouflage methods are used for opposite intentions, for protection and assault. Both options arise and as the video progresses, the questions who is the addressee? and will someone enter the room? - become more and more urgent. 
The Video installation ‘nothing to write home about’ shifts through contradictory moods. The melancholic drive to disappear is accompanied by an unexpected joy of becoming an object. The presence of the living artist body becomes a functional object in a still image as the young woman on screen is literally reduced to an object. But in a peculiar manner this does not seem only tragic or abusive, but also productive and libidinal, filled with hidden pleasure. Another perplexity in this video - the hiding  is also what makes the artist so visible.

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 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
 

Nothing to Write Home About (8 channel preview)

The video installation ‘nothing to write home about’ is filmed in a small apartment - the artists home. In the 8 video segments the artist disguises herself, becoming different household objects: In one of the videos the artist becomes a table, in another a coat hanger. Perhaps a better word for the disguising process in each video is camouflage. Each video ends with the artist camouflaged as an object in the seemingly still and empty room. The word camouflage is in fact better for another reason: camouflage methods are used for opposite intentions, for protection and assault. Both options arise and as the video progresses, the questions who is the addressee? and will someone enter the room? - become more and more urgent. 
The Video installation ‘nothing to write home about’ shifts through contradictory moods. The melancholic drive to disappear is accompanied by an unexpected joy of becoming an object. The presence of the living artist body becomes a functional object in a still image as the young woman on screen is literally reduced to an object. But in a peculiar manner this does not seem only tragic or abusive, but also productive and libidinal, filled with hidden pleasure. Another perplexity in this video - the hiding  is also what makes the artist so visible.

 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
 

 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
 

Passover in Max Machines and Crafts