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Ligne Verte
Cataloger
catalog number
Catalogue no. 629 File: M
Medium
Length
4:04 min.
Video Type
Year
2005
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At the foreground of Work ’Ligne Verte’ (Green Line) is the Separation Wall between Israel and Palestine.  In the background are frenetic sounds of heavy construction.  The video shifts from documentary footage to animation, between landscapes of homes and hills to painted depictions of landscapes on the Wall concealing them.
A panning shot follows the wall painting; it functions as a ‘trompe l’oeil’ representing the landscape beyond the Wall. Slowly it turns to life, the concrete trembles as if the painted plants are emerging from it.  The animation tends to overrun the documentary footage and offers an alternative, imagined portrayal of reality. For a fleeting moment reality becomes animated depiction and the animation becomes poetry — until the lull is broken and reality returns in full force.  In addition to examining the boundaries between reality and representation, between documentary and animation, Mareschal also scorns the various attempts to paint the Separation Wall, alluding in this work to the attempts to aestheticize and naturalize it.

 

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

Ligne Verte

At the foreground of Work ’Ligne Verte’ (Green Line) is the Separation Wall between Israel and Palestine.  In the background are frenetic sounds of heavy construction.  The video shifts from documentary footage to animation, between landscapes of homes and hills to painted depictions of landscapes on the Wall concealing them.
A panning shot follows the wall painting; it functions as a ‘trompe l’oeil’ representing the landscape beyond the Wall. Slowly it turns to life, the concrete trembles as if the painted plants are emerging from it.  The animation tends to overrun the documentary footage and offers an alternative, imagined portrayal of reality. For a fleeting moment reality becomes animated depiction and the animation becomes poetry — until the lull is broken and reality returns in full force.  In addition to examining the boundaries between reality and representation, between documentary and animation, Mareschal also scorns the various attempts to paint the Separation Wall, alluding in this work to the attempts to aestheticize and naturalize it.

 

 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
 

Laurent Mareschal & Tami Nozani
Twisted Reality
Irena Gordon
Yoav Raban