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"Blue Blue" was shown at the 1981 video art marathon at the Tel-Aviv Museum, at the exhibition "Here and Now ", at the Israel Museum Jerusalem in 1982, and at "Errors in Communication" in 2003 at the Haifa Museum.

 

Roni Shar wrote in the Israeli weekly paper "Ha'ir", October 1981:

"…though he that is willing to accept the terms of the game may mostly end up loosing, he sometimes comes out very much rewarded. Miri Nishri's "Blue" belongs to this "sometimes". The movie, simultaneously show on two television screens, is a complex artwork which uses plane configurational elements -  various repetitions and duplications, sorts of video equipment glitches and scholar musical and literary quotes. Unlike Rafi Lavie's "Hevel", this piece successfully demonstrates the visual and cinematic traditions it follows. Not only those of the 1960's American avant-garde, but mostly the ones which followed.

 

"Blue" reminds me of Jean-Luc Godard's "מספר שנים", in the sense of structure and way of presentation, despite the obvious differences between the two works. It makes no difference whether this was a conscious influence or not. What Godard and the modern avant-garde have in common is the basic artistic concept: dealing with the world through self contemplation. Self reflection by making a film on filmmaking, as the main subject of the artistic pursuit.

 

Miri Nishri's "Blue" has rhythm and visual beauty and its main strength comes from the fascinating and enlightening intellectual inquiry."   

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

Blue Blue

"Blue Blue" was shown at the 1981 video art marathon at the Tel-Aviv Museum, at the exhibition "Here and Now ", at the Israel Museum Jerusalem in 1982, and at "Errors in Communication" in 2003 at the Haifa Museum.

 

Roni Shar wrote in the Israeli weekly paper "Ha'ir", October 1981:

"…though he that is willing to accept the terms of the game may mostly end up loosing, he sometimes comes out very much rewarded. Miri Nishri's "Blue" belongs to this "sometimes". The movie, simultaneously show on two television screens, is a complex artwork which uses plane configurational elements -  various repetitions and duplications, sorts of video equipment glitches and scholar musical and literary quotes. Unlike Rafi Lavie's "Hevel", this piece successfully demonstrates the visual and cinematic traditions it follows. Not only those of the 1960's American avant-garde, but mostly the ones which followed.

 

"Blue" reminds me of Jean-Luc Godard's "מספר שנים", in the sense of structure and way of presentation, despite the obvious differences between the two works. It makes no difference whether this was a conscious influence or not. What Godard and the modern avant-garde have in common is the basic artistic concept: dealing with the world through self contemplation. Self reflection by making a film on filmmaking, as the main subject of the artistic pursuit.

 

Miri Nishri's "Blue" has rhythm and visual beauty and its main strength comes from the fascinating and enlightening intellectual inquiry."   

 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