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In this work Doron Solomons ridicules the materialistic, possessive urges that characterize the bourgeois family. This video, part of a body of works in which he examines his own behavior as an artist and father, reveals his critical approach to the power relations between men and women. Solomons ironically conducts a four-minute-long inventory of all of his worldly assets - ranging from dishes, CDs, TV sets, books, video and DVD players, clothes and shoes to his wife, two daughters (his youngest son had not yet been born), dog and so forth - without any hierarchical distinctions. He reads a list of every one of his possessions, thus defining his habitat and his identity. This act of cataloguing and classifying is delivered in an objective manner devoid of emotion, and is amplified by his dry archival tone. 

When the inventory is complete, Solomons once again shows viewers his possessions, this time without a soundtrack - as if engaging in a desperate or ironical attempt to bolster his identity by means of his belongings. The video work functions as the artist’s certificate of ownership for all the banal and lackluster "things" he possesses, while the viewer peers into his intimate world and wonders whether a person can be broken down into the sum of objects in his possession. 

 

Catalogue No. 468

File: S

Catalogue No. 651

File: The Archive

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

Inventory

In this work Doron Solomons ridicules the materialistic, possessive urges that characterize the bourgeois family. This video, part of a body of works in which he examines his own behavior as an artist and father, reveals his critical approach to the power relations between men and women. Solomons ironically conducts a four-minute-long inventory of all of his worldly assets - ranging from dishes, CDs, TV sets, books, video and DVD players, clothes and shoes to his wife, two daughters (his youngest son had not yet been born), dog and so forth - without any hierarchical distinctions. He reads a list of every one of his possessions, thus defining his habitat and his identity. This act of cataloguing and classifying is delivered in an objective manner devoid of emotion, and is amplified by his dry archival tone. 

When the inventory is complete, Solomons once again shows viewers his possessions, this time without a soundtrack - as if engaging in a desperate or ironical attempt to bolster his identity by means of his belongings. The video work functions as the artist’s certificate of ownership for all the banal and lackluster "things" he possesses, while the viewer peers into his intimate world and wonders whether a person can be broken down into the sum of objects in his possession. 

 

Catalogue No. 468

File: S

Catalogue No. 651

File: The Archive

 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