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The work resembles a karaoke screen with subtitles, while Sela and Amir sing two verses of a song over and over into an echoing mic.

The work is found on the compilation "A Video Night Without Video Art 1 and 2" curated by Eitan Buganim. An evening series of video without video art examines the relation between contemporary Israeli video art and the film medium. The series sets as its first condition an attempt to employ the basic assumptions of the cinema and its unique linguistic elements. The movies were edited into a collection in which all the films serve as a single unit and simultaneously as separate entities while consciously adhering to the clichés and insights created by the cinematic medium. The emphasis in the first program is on the play of time, place, and illusion. The emphasis in the second program is the dialectical relationship between the sound track and the image.

 

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

The One Who Would Kill, Kill Him First

The work resembles a karaoke screen with subtitles, while Sela and Amir sing two verses of a song over and over into an echoing mic.

The work is found on the compilation "A Video Night Without Video Art 1 and 2" curated by Eitan Buganim. An evening series of video without video art examines the relation between contemporary Israeli video art and the film medium. The series sets as its first condition an attempt to employ the basic assumptions of the cinema and its unique linguistic elements. The movies were edited into a collection in which all the films serve as a single unit and simultaneously as separate entities while consciously adhering to the clichés and insights created by the cinematic medium. The emphasis in the first program is on the play of time, place, and illusion. The emphasis in the second program is the dialectical relationship between the sound track and the image.

 

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