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Following You Following Myself is the title of two video works; the duration of one is 10 minutes and the second is 5 minutes. The point of departure for the making of both of the videos is the relation between the camera movement and the image of the photographed object; in its peak, a reversal of movement is created between the subject and object. The photographed artist becomes passive, mannequin-like, while the camera becomes animated. These works can be presented as a series composed of two works or as two separate, individual works.

In a dark studio, the artist paces on a conveyor-belt unseen to the viewer. A camera is prompted on a dolly, limited to move forward and backward only, creating the illusion that the artist is moving. The repetitive movement of the camera, in this 10 minute video, is likened to an attempt to maintain the memory of someone who was, and is no longer.

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

Following You Following Me No.2

Following You Following Myself is the title of two video works; the duration of one is 10 minutes and the second is 5 minutes. The point of departure for the making of both of the videos is the relation between the camera movement and the image of the photographed object; in its peak, a reversal of movement is created between the subject and object. The photographed artist becomes passive, mannequin-like, while the camera becomes animated. These works can be presented as a series composed of two works or as two separate, individual works.

In a dark studio, the artist paces on a conveyor-belt unseen to the viewer. A camera is prompted on a dolly, limited to move forward and backward only, creating the illusion that the artist is moving. The repetitive movement of the camera, in this 10 minute video, is likened to an attempt to maintain the memory of someone who was, and is no longer.

 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