٠ The political function of landscape-family photographs in the context of the Israeli–Palestinian conflict ٠

© Gil Pasternak, Esther Pasternak, 1970s. Esther Pasternak collection of family photographs, 1946–99. Description: The defiant lion is a tombstone monument erected in 1932 to commemorate a group of eight Jewish pioneer settlers who, as the Israeli version of the … Continue reading ٠ The political function of landscape-family photographs in the context of the Israeli–Palestinian conflict ٠

٠ The photo-finders as the inauthentic photographers ٠

Le Fabuleux album d’Amélie Poulain […] The photo-finders will refer to themselves as artists or curators, editors or collectors—often, as an unclassifiable mixture. Depending on their self-described status, the archives of found, anonymous photographs they produce will be labeled works … Continue reading ٠ The photo-finders as the inauthentic photographers ٠

┐ Heather Cassils, this is what a durational re-performance looks like └

© Heather Cassils, Day 1, 02-20-10, 2011 © Heather Cassils, Day 140, 07-20-10, 2011. © Heather Cassils “There are two constants in my life: art and exercise. Art started first, then after a serious childhood illness I discovered my body through lifting weights. I am now a visual artist and a personal trainer. My brush with mortality is something I see in the clients that come to me on a daily basis. Whether it’s recovering from heart surgery or bringing news of a brand new osteoporosis diagnosis, many of these people have come face to face with the limits of … Continue reading ┐ Heather Cassils, this is what a durational re-performance looks like └

┐ Shira Klasmer – Walk the Line └

© Shira Klasmer, Walking the Line, 2012. 10’34” in loop “The ‘painting’ is performed by the artist holding a ‘brush’ made up of a line of LED lights. The act (of painting) is photographed by two still digital cameras creating a single still frame of long exposure, capturing the traces of the action on to the camera’s sensor. A sequence of frames is edited to a video format, where each frame is the recording of one act of ‘painting’. Transforming the still frames into a video format was done by exposing; scanning each frame from left to right, similar to … Continue reading ┐ Shira Klasmer – Walk the Line └

┐ Assaf Shaham – in the gap between the comma and its following letter └

© Assaf Shaham, Untitled, from the series Time After Time and Again “The work Time after Time and Again deconstructs photography into its components and reassembles them on one surface that encompasses the essence of the photographic act, the fundamentals of color photography, and the marvel that combines light and time into a photograph. At the same time, in a kind of an aside, Shaham also subverts the concept of freezing the moment which religiously accompanies photography and differentiates it from cinema. In a simple but not innocent still photograph, Shaham records movement on a timeline: a landscape depicting a … Continue reading ┐ Assaf Shaham – in the gap between the comma and its following letter └

┐ Harmut Lerch & Claus Holtz – 36976 portraits└

“The theme of dehumanization was the subject matter of many works in a variety of media. None was clearer or more appropriate to the exhibition than Portrait, a video tape by Harmut Lerch and Claus Holtz which consists of 100,000 photographic portraits viewed consecutively at a gradually increasing rate, up to 20,000 faces per second. As the photographs (which share a common eye level) are shown more and more rapidly, they gradually blur together into one homogenized image, a sexless, expressionless face neither beautiful nor ugly. This is a straightforward work about conformity and lack of uniqueness, yet its simplicity … Continue reading ┐ Harmut Lerch & Claus Holtz – 36976 portraits└

┐ Tobias Kruse └

© Tobias Kruse, Untitled, from the series The Parting, 2007 Graduation trip of the Carl-von-Ossietzky-Gymnasium examination year 2007, at Lake Balaton, Hungary “Alcoholism extends the impersonal and transcendental event of the ‘crack up’ across a life by way of a caesura of time. Alcoholism, Deleuze writes, ‘hardens’ the present (Deleuze 1990: 158). In Fitzgerald, alcoholism’s temporality is that of the past perfect – I have-acted, I have-broken, I have-touched – where the present auxiliary is the hardened present and the past participle the volatile, churning real it extends across and holds in its entirety: a volcano held in porcelain. Still, … Continue reading ┐ Tobias Kruse └