to sleep
golem detaches
gathers its gaze
within a vision field
something appears
from time to time
yet could have been
the search of
a passage towards
continues
soon
Kidmat Eden gallery, Tel aviv 1995
soon, video 02:28 min, loop, mute
photograms on aluminum, wood
30X25X9 cm. Edition of 5
Amos Shoken, private collection
soon
i see them
moving further away in a field
voices scatter
reality penetrates
you say remove
the skin condemned
to wander on the edge
wrapped she flies
fast under the ground
captured by split
voices in a cyclical track
eyes illuminate
waxed walls
hold on
The Artists House, Jerusalem 1996
Artfocus 1, International Art Biennial
On entering the space one may collect and keep semi-transparent, white word 'talismans', derived from the video films.
Hold On is a mind – womb zone of a no – win – war.
Six monitors facing the ceiling, transmit acts, each indicate a possible escape – hatchways. The flow rhythm is synchronized, but is incessantly interrupted by flashing word fragments. This succession of word-images creates an additional allegedly decoding track of perception.
On the opposite side of the arc, a single monitor transmits a white image playing a recording of dream-tellers, each in her/his mother tongue. Their fragmentary voices are heard through earphones.
The space window is blocked by raw shellac flakes, that are periodically illuminated by a spotlight.
hold on
she goes there and comes back in order to go
on junctions
children abducted
xtrapped in words
gives birth to
a giant peasant
makes sex with him
flies fast
under the ground
seeds in pits
concrete sun
out of city
missing fish
sea retreats
in silence
amber light
on sea bed
naked girl
dances on
stone jellyfish
someone marks
a name
refugees in Lapland
vomits into
his mouth
burnt forest
soldiers in robes
marching
towards west
wants to sleep
an army
spread over
wait in silence
she burns clothes
black sun
dear cloud collector
white pages
through mist
hole
sees them
getting further
cold light
you say no way
war songs within
transparent corridor
stop talking
has been teaching
you to fly for
a long time
north cut
Kibbutz Gallery, Tel Aviv 1998
A laundry-soap sculpture splits the entrance verge and envelopes the viewer with its strong smell
Fata Morgana of psycho-physical geography, an environment of sober reconstruction. North Cut sabotages its components by transforming the physical phenomena; such as light, sound, image, and matter into a dualistic entity.
Where would you want to be? Recorded answers are played and since the space is relatively empty, echoed voices transform the actual dimensions into an immeasurable space.
A platform of crashed glass is located on the floor. Dissolved images of Nordic landscapes and dream-texts are projected upon it. There are magic inter-projections of ice light bits of glass, which eventually cease to seduce and begin to cut.
Another video transmits a perpetual act of licking a glass board, as of an animal attempting to heal or clean its wound.
📎 http://talitamir.com/catalog/album/43
north cut
North Cut, video 02:54 min, loop
vector still
Camera Obscura Gallery, Tel Aviv 1999
At the entrance a 10” monitor transmits documentation of E.E.G shot during my sleep in a cell at the Institute for Sleep Research. The floor of an eye-shaped space is covered by a thick layer of rough salt. Neon light traps contain abstract, semi organic images, traces from far away, perhaps neglected primes. Simultaneously the images suggest a futuristic testimony of a living presence, a memorial preserved in a salt cell.
“Guide me to the northern exit of the city”. Recorded instructions are heard, but an irrelevant name of a street, square…
is integrated into each instruction; thus, finding a way out is being undermined. sound of viewer’s movement on the rough salt, mingled with the recorded voices, creates a noise trapped within the space. The viewer, whose presence alters the topography, while salt darkens and its surface is disturbed – falls prey to disorientation.
A city, traditionally perceived as a network of cultural systems and as the opposed to nature, ceases to shelter the present mind.
The installation, by its heterogeneous codes, point to uncertainty regarding coherent interpretation. An experience of violent-poetic disorientation is outlined. Within this labyrinth, one is obliged to wander about the riddle tracks of perception.
The vector points to a delay, freeze or to a possible reconstruction of the immanent map.
Poetry is an ultimate survival-zone, in spite of the absent northern exit and a redeeming sphere beyond it. Still.
vector still
series of 17 objects, 18 X 30 X 12 cm
video, 02:36, min
to sleep
golem detaches
gathers its gaze
within a vision field
something appears
from time to time
yet could have been
the search of
a passage towards
continues
interval
Tel Aviv museum of Art, 2000
photograms on aluminum, wood
30X25X9 cm. Edition of 5
Amos Shoken, private collection
soon
to sleep
golem detaches
gathers its gaze
within a vision field
something appears
from time to time
yet could have been
the search of
a passage towards
continues
soon
Kidmat Eden gallery, Tel aviv 1995
soon, video 02:28 min, loop, mute
photograms on aluminum, wood
30X25X9 cm. Edition of 5
Amos Shoken, private collection
soon
לורם איפסום דולור סיט אמט, קונסקטורר אדיפיסינג אלית לפרומי בלוף קינץ תתיח לרעח. לת צשחמי צש בליא, מנסוטו צמלח לביקו ננבי, צמוקו בלוקריה.
לורם איפסום דולור סיט אמט, קונסקטורר אדיפיסינג אלית לפרומי בלוף קינץ תתיח לרעח. לת צשחמי צש בליא, מנסוטו צמלח לביקו ננבי, צמוקו בלוקריה.
לורם איפסום דולור סיט אמט, קונסקטורר אדיפיסינג אלית לפרומי בלוף קינץ תתיח לרעח. לת צשחמי צש בליא, מנסוטו צמלח לביקו ננבי, צמוקו בלוקריה.
לורם איפסום דולור סיט אמט, קונסקטורר אדיפיסינג אלית לפרומי בלוף קינץ תתיח לרעח. לת צשחמי צש בליא, מנסוטו צמלח לביקו ננבי, צמוקו בלוקריה.
לורם איפסום דולור סיט אמט, קונסקטורר אדיפיסינג אלית לפרומי בלוף קינץ תתיח לרעח. לת צשחמי צש בליא, מנסוטו צמלח לביקו ננבי, צמוקו בלוקריה.