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Toward the end of his studies at Hamidrasha Art Teachers’ College, Ramat Hasharon, in 1994, Solomons started his apprenticeship as an editor in the news department of Israel’s first private television station which had just started broadcasting in November 1993. 

 

Solomons’ first video works can, in fact, be regarded as part of this apprenticeship, as exercises in editing and meaning. The three works comprising this first group are simple "sentences": I Love You (Ani Ohev Otakh), It is Good to Die for Our Country (Tov Lamut Be’ad Artzenu), and I Think Therefore I Am (Ani Hoshev Mashma Ani Kayam). 

 

These texts are composed – or rather de-composed – of the most banal televised images. Solomons takes the shortest possible footage ’syllable," extracting the sound from the image it accompanies in order to form a sentence that assumes meaning from both the emotional charge inherent in a text, and the dislocated, at times deliberately contradictory image. Solomons is interested in the interstices: in the gaps between the action and the viewer’s attention, the discarded footage, the insignificant as revealing and charged with meaning, but also – in meaningful images emptied of meaning. (Sergio Edelsztein)

Deconstruction         Language         Power         Appropriation         Found-footage         Love         Mass Media

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

I Love You

Toward the end of his studies at Hamidrasha Art Teachers’ College, Ramat Hasharon, in 1994, Solomons started his apprenticeship as an editor in the news department of Israel’s first private television station which had just started broadcasting in November 1993. 

 

Solomons’ first video works can, in fact, be regarded as part of this apprenticeship, as exercises in editing and meaning. The three works comprising this first group are simple "sentences": I Love You (Ani Ohev Otakh), It is Good to Die for Our Country (Tov Lamut Be’ad Artzenu), and I Think Therefore I Am (Ani Hoshev Mashma Ani Kayam). 

 

These texts are composed – or rather de-composed – of the most banal televised images. Solomons takes the shortest possible footage ’syllable," extracting the sound from the image it accompanies in order to form a sentence that assumes meaning from both the emotional charge inherent in a text, and the dislocated, at times deliberately contradictory image. Solomons is interested in the interstices: in the gaps between the action and the viewer’s attention, the discarded footage, the insignificant as revealing and charged with meaning, but also – in meaningful images emptied of meaning. (Sergio Edelsztein)

Deconstruction         Language         Power         Appropriation         Found-footage         Love         Mass Media

 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