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Fear and Might | 00:21:56 (English version) 

Tamar Getter , October 2018

processed photos, stills, found footage (including Ryszard Cieslak in class at the Jerzy Grotowski experimental Theater), filmed sequences, paintings and drawings stills. Sound: waves and seagulls, and a Cossacks' song sung by Yoram Gozansky.  

text, directing, photos, filming, process sound and editing, Tamar Getter,  2018

 

►A woman narrator tells seven short stories describing a series of independent situations. Together they form a conceptual-poem sequence that deals with physical postures of fear (freezing in place, trembling, stupefaction, shock, etc.). 

►Four stories deal with animals and three with people. 

►The text tells and describes pictures on the screen and others that are not visible. The reverse of this is conveyed through additional pictures, at times the same ones newly processed, clearly distorted, which in the way they are made and concatenated affect the preceding or postponing of what the text tells or will tell later.

 ►Duo sequences form a break between the seven stories. One is a primitive animation made from a single still photograph of a giant tsunami wave crashing on the shore, and the second is sort-of pantomime showing a hand playing with a metal ball. The overall structure, the order of the stories, and their content slowly unravel towards the end.

►Rapid flickering, the overall optical configuration dominating this work, offers some relation to the experience of looking at pictures in terms of a question on meaning: what invites what; What precedes, what delays, what describes, what enables, what remembers what: the pictures the words or the words the pictures.

►The imaginary time of the work, a blend of present, past, and mythical time, stems from this indecisive ‎movement. There is the direct observation present when the text points to a ‎concrete picture that appears on the screen, and then, there are all other speculative spaces, times, and places required by the characterization of the fear postures described.

►As I write stories too, without visuals, it might be proper to say that this video-‎work reflects how my Imagism works while I am writing a song or a story. 

 

seven stories: 

1. LION

2. HARE AND ACORN

3. August Sander, Victim of Persecution 

4. THE EAGLE AND THE SNAKE 

5. AURORA

6. ISAAC AND THE COSSACKS

7. GRANDPA

 

all titles on screen:

1. Fear and Might   

 

2. To anonymous woman, victim of persecution 1938

   To Isaac Babel 1940

   To Ahed Tamimi 2018

 3.  Tamar Getter 2018

 

4. 1. LION

5. The paws:- each claw a truncated turret

6. The skin

7. its wrinkles

8. the muscles and the bones seen through

9. The fat, the hair

10. He squats, plainly, every part of his body  - full in sight 

11. A formidable cat

12. Yet, not this causes my pupils to contract

13. It is a panic apart of his presence

14. growing the pupils smaller and smaller

15. He – he is all watch and ambush

16. But that too is not the thing

17. It is the loom: my pupils so hard by his

18. That's the thing

19. When his black twin rhombi transfix my black balls

20. His eyelids fixt up on _ _ my own - drop-off

21. me, along with

22. into the blackout behind

23. where, bodiless and boundless, he expanses in me

24. My eyes are lion-loaded

 

25. 2. HARE AND ACORN

26. I saw her

27. from the end of my days

28. Her two front teeth were very brown

29. Her claws too were brown

30. The brown acorn, rotten-brown inside too, 

     was pinched between her teeth and claws

31. The teeth, claws and acorn were hardly distinct

32. They all shined as if polished, and shivered in terrible speed

33. The fluffy fur shivered with it. It was brown, all of it

 

34. 3. August Sander

35.  Victim of Persecution, ca, 1938

    Gelatin silver Print

     25 x 17 cm.

    Edition of 12

36. Like most women, even if never schooled or skilled facing the cameras

37. she can, during the idle shooting time, fully stop her brain-work

38. like a cobra facing fakir, or like a fakir facing a cobra

39. In these happy moments free of thought

40. she shocks the entire worn-out machinery

41. A mighty heart rises _ _ bitter

42. It knows its fleeting might

43. She would not scold a soul, never slander, never denounce, never curse

44. If she were to ride, her seat was a horse

45. A beautiful horse

46.  an English-Arabic Horse, once a Circus-Horse, perhaps…

47. and she , as chief-jockey, was red-skinned

48. …her glorious mustache – white

 

49. 4. THE EAGLE AND THE SNAKE

50. Soaring to heights with his prey, he got bitten

51. Tail-spinning, he crashed hitting the ground with a bang

 

52. 5. AURORA 

53. While the serpent was plotting to swallow the eagle

54. The doe screeched as she was crouching in labor

55. Her womb was too narrow and blocked

56. The vulva too, was locked

57. A passing dragon-snake bit her

58. Once the vulva relaxed – she delivered!

59. A moment too early, or one too late

60. The vulva would have shut, the fawn'd been dead, and the doe too, dead

61. She is Aurora

 

62. 6. ISAAC AND THE COSSACKS 

63. Great joy tonight

64. From the end of my days

65. Had there been no hares infesting my drawers 

66. Had the eagle heart not been exalted

67. Had the heart of Sander's girl been not downcast forever

68. Had the fawn been not bitten into life

69. how'd I… what now, do I remember?

70. No, the Babel story I cannot recall

71. But the feel… the effort… what's it to win the Cossacks' heart 

72. and the price

73. to murder for sport

74. to slaughter a goose with bare hands

75. to seem just like one of the guys

76. sport was the small part of it, the short…

77. slaughtering, that is…

78. horrendous as much as it was

79. but what's to spare with sports?

80. the effort to be sportive - - -

81. before and after

82. this was nasty

83. it implied that Cossacks were not murdering sportily

84. they murder

85. and then, sing and dance

86. fat chance for Isaac to have succeeded

87. "Blind Cow" was the favorite game

88. of Isaac's jailers

89. to ease off the real tortures

90. but his eyes remained clear

91. and his mouth corners

92. a kiss

93. When asked for his last request before being executed

94. he said: Let me finish my work

95. Over rivers of blood

96. and mountains of corpses

97. Commander Semyon Budyonny raised up - up – up

98. and became a star

 

99. 7. GRANDPA

100. Yoram Gozansky sings the first two stanzas of the  Bank"i version

101. At the foot of my grandpa's hanged body, 

             I leaf through my urine-stained Babel book

102. …the fields, the heavens, the sun, the moon, the clouds, and the atrocities

103. "My First Goose" - - soiled… how very much did Babel want...

104. ...wanted - - with the good guys - - who all failed 

          - - and massacred many - - 

105. My grandpa too - - - wanted - 

106. Had we not drown already in the erotics of destruction – ‎ we shall have been   

    drowned

107. If there had been no lion to have loaded my eyes with

108. If there had been no hares to have dominated my desk 

109. Had sander's girl not been silent

110. Had the eagle not lifted his dinner to the heights – and crashed

111. Had the dragon not delivered a fawn

112. Had the dawn not raised always

113. Could I see the vast view?

114. "Such as the one cast at the floors of my eyes, 

        like a gorgeous pile of waste - - -" 

 

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

Fear and Might

Fear and Might | 00:21:56 (English version) 

Tamar Getter , October 2018

processed photos, stills, found footage (including Ryszard Cieslak in class at the Jerzy Grotowski experimental Theater), filmed sequences, paintings and drawings stills. Sound: waves and seagulls, and a Cossacks' song sung by Yoram Gozansky.  

text, directing, photos, filming, process sound and editing, Tamar Getter,  2018

 

►A woman narrator tells seven short stories describing a series of independent situations. Together they form a conceptual-poem sequence that deals with physical postures of fear (freezing in place, trembling, stupefaction, shock, etc.). 

►Four stories deal with animals and three with people. 

►The text tells and describes pictures on the screen and others that are not visible. The reverse of this is conveyed through additional pictures, at times the same ones newly processed, clearly distorted, which in the way they are made and concatenated affect the preceding or postponing of what the text tells or will tell later.

 ►Duo sequences form a break between the seven stories. One is a primitive animation made from a single still photograph of a giant tsunami wave crashing on the shore, and the second is sort-of pantomime showing a hand playing with a metal ball. The overall structure, the order of the stories, and their content slowly unravel towards the end.

►Rapid flickering, the overall optical configuration dominating this work, offers some relation to the experience of looking at pictures in terms of a question on meaning: what invites what; What precedes, what delays, what describes, what enables, what remembers what: the pictures the words or the words the pictures.

►The imaginary time of the work, a blend of present, past, and mythical time, stems from this indecisive ‎movement. There is the direct observation present when the text points to a ‎concrete picture that appears on the screen, and then, there are all other speculative spaces, times, and places required by the characterization of the fear postures described.

►As I write stories too, without visuals, it might be proper to say that this video-‎work reflects how my Imagism works while I am writing a song or a story. 

 

seven stories: 

1. LION

2. HARE AND ACORN

3. August Sander, Victim of Persecution 

4. THE EAGLE AND THE SNAKE 

5. AURORA

6. ISAAC AND THE COSSACKS

7. GRANDPA

 

all titles on screen:

1. Fear and Might   

 

2. To anonymous woman, victim of persecution 1938

   To Isaac Babel 1940

   To Ahed Tamimi 2018

 3.  Tamar Getter 2018

 

4. 1. LION

5. The paws:- each claw a truncated turret

6. The skin

7. its wrinkles

8. the muscles and the bones seen through

9. The fat, the hair

10. He squats, plainly, every part of his body  - full in sight 

11. A formidable cat

12. Yet, not this causes my pupils to contract

13. It is a panic apart of his presence

14. growing the pupils smaller and smaller

15. He – he is all watch and ambush

16. But that too is not the thing

17. It is the loom: my pupils so hard by his

18. That's the thing

19. When his black twin rhombi transfix my black balls

20. His eyelids fixt up on _ _ my own - drop-off

21. me, along with

22. into the blackout behind

23. where, bodiless and boundless, he expanses in me

24. My eyes are lion-loaded

 

25. 2. HARE AND ACORN

26. I saw her

27. from the end of my days

28. Her two front teeth were very brown

29. Her claws too were brown

30. The brown acorn, rotten-brown inside too, 

     was pinched between her teeth and claws

31. The teeth, claws and acorn were hardly distinct

32. They all shined as if polished, and shivered in terrible speed

33. The fluffy fur shivered with it. It was brown, all of it

 

34. 3. August Sander

35.  Victim of Persecution, ca, 1938

    Gelatin silver Print

     25 x 17 cm.

    Edition of 12

36. Like most women, even if never schooled or skilled facing the cameras

37. she can, during the idle shooting time, fully stop her brain-work

38. like a cobra facing fakir, or like a fakir facing a cobra

39. In these happy moments free of thought

40. she shocks the entire worn-out machinery

41. A mighty heart rises _ _ bitter

42. It knows its fleeting might

43. She would not scold a soul, never slander, never denounce, never curse

44. If she were to ride, her seat was a horse

45. A beautiful horse

46.  an English-Arabic Horse, once a Circus-Horse, perhaps…

47. and she , as chief-jockey, was red-skinned

48. …her glorious mustache – white

 

49. 4. THE EAGLE AND THE SNAKE

50. Soaring to heights with his prey, he got bitten

51. Tail-spinning, he crashed hitting the ground with a bang

 

52. 5. AURORA 

53. While the serpent was plotting to swallow the eagle

54. The doe screeched as she was crouching in labor

55. Her womb was too narrow and blocked

56. The vulva too, was locked

57. A passing dragon-snake bit her

58. Once the vulva relaxed – she delivered!

59. A moment too early, or one too late

60. The vulva would have shut, the fawn'd been dead, and the doe too, dead

61. She is Aurora

 

62. 6. ISAAC AND THE COSSACKS 

63. Great joy tonight

64. From the end of my days

65. Had there been no hares infesting my drawers 

66. Had the eagle heart not been exalted

67. Had the heart of Sander's girl been not downcast forever

68. Had the fawn been not bitten into life

69. how'd I… what now, do I remember?

70. No, the Babel story I cannot recall

71. But the feel… the effort… what's it to win the Cossacks' heart 

72. and the price

73. to murder for sport

74. to slaughter a goose with bare hands

75. to seem just like one of the guys

76. sport was the small part of it, the short…

77. slaughtering, that is…

78. horrendous as much as it was

79. but what's to spare with sports?

80. the effort to be sportive - - -

81. before and after

82. this was nasty

83. it implied that Cossacks were not murdering sportily

84. they murder

85. and then, sing and dance

86. fat chance for Isaac to have succeeded

87. "Blind Cow" was the favorite game

88. of Isaac's jailers

89. to ease off the real tortures

90. but his eyes remained clear

91. and his mouth corners

92. a kiss

93. When asked for his last request before being executed

94. he said: Let me finish my work

95. Over rivers of blood

96. and mountains of corpses

97. Commander Semyon Budyonny raised up - up – up

98. and became a star

 

99. 7. GRANDPA

100. Yoram Gozansky sings the first two stanzas of the  Bank"i version

101. At the foot of my grandpa's hanged body, 

             I leaf through my urine-stained Babel book

102. …the fields, the heavens, the sun, the moon, the clouds, and the atrocities

103. "My First Goose" - - soiled… how very much did Babel want...

104. ...wanted - - with the good guys - - who all failed 

          - - and massacred many - - 

105. My grandpa too - - - wanted - 

106. Had we not drown already in the erotics of destruction – ‎ we shall have been   

    drowned

107. If there had been no lion to have loaded my eyes with

108. If there had been no hares to have dominated my desk 

109. Had sander's girl not been silent

110. Had the eagle not lifted his dinner to the heights – and crashed

111. Had the dragon not delivered a fawn

112. Had the dawn not raised always

113. Could I see the vast view?

114. "Such as the one cast at the floors of my eyes, 

        like a gorgeous pile of waste - - -" 

 

 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
 

3 ב 10
Tal Ben-Zvi