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Hila Lulu Lin presents the work Ein- Gabot (No Eyebrows).

I Thought I Forgot About It - Winter 96

Peeling skin into myself
Countless layers of shame
Splitting my skull self
Countless pus lumps
Caressing my light self
Muscles silenced tight
Weakness, teeth falling

What’s sweet, so sweet, so

Bathroom closet, white Formica, two doors with a mirror, two small drawers. With the opening of the doors a woman becomes visible inside. She is concentrated in performing an intimate task – unveiling the face of its two eyebrows, two mustaches, using a sharp knife, with measured movements, one after the other. The eyes remain wide open in the shaved face. The two small drawers are almost overflowing with coarse, dry, lit and gleaming salt.

Video photography: Nilly Atzlan
Photography: Rinat Kotler, Tami Horovitz
Equipment: The Israeli Center for Digital Art, Holon
Courtesy of: Suck My Heart Productions.

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

Ein- Gabot #2 (No Eyebrows)

Hila Lulu Lin presents the work Ein- Gabot (No Eyebrows).

I Thought I Forgot About It - Winter 96

Peeling skin into myself
Countless layers of shame
Splitting my skull self
Countless pus lumps
Caressing my light self
Muscles silenced tight
Weakness, teeth falling

What’s sweet, so sweet, so

Bathroom closet, white Formica, two doors with a mirror, two small drawers. With the opening of the doors a woman becomes visible inside. She is concentrated in performing an intimate task – unveiling the face of its two eyebrows, two mustaches, using a sharp knife, with measured movements, one after the other. The eyes remain wide open in the shaved face. The two small drawers are almost overflowing with coarse, dry, lit and gleaming salt.

Video photography: Nilly Atzlan
Photography: Rinat Kotler, Tami Horovitz
Equipment: The Israeli Center for Digital Art, Holon
Courtesy of: Suck My Heart Productions.

 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