video-works

Imageoreet ashery + plinio avila + michele chiossi + jose alfredo elias dabdoub + oded hirsch + walterio iraheta + anna jermolaewa + teresa serrano

 

The group exhibition ”video-works” is formed by the work of eight international Artists. This audiovisual show stands the aesthetic and invokes the contemplation on the reactivation of identity, culture and romance. Explores values from different icons, such as, “La Pietà”, Mickey and Minnie, Heaven landscape, the Bible and their increasing form of annulation at a time when the combination of immigration, consumption and globalization, it is interesting to look critically at these proposals. The audiovisuals setting, plays a second roll in this show in order to encouraging the collection for video work, which runs from a microdisplay to a high definition projector.
 Oreet Ashery was born into a Jewish family in Jerusalem. At the age of 19 she left her home and moved to the United Kingdom, where she now lives and works. Her work is not just about personal experience however; she is also concerned with the conflict and reconciliation between personal narratives and political realities. She applies shifts in personal identities to wider social paradigm shifts regarding matters such as political truth. In 2003, Ashery performed her piece Occupation I, II which comprised of her wearing a rabbit mask and masturbating in a gallery space while viewing a collection of both pornographic images and scenes of military occupation, particularly of those in Palestine. () The piece explores the relationship between desire and stimulation and can be considered in terms of the individual connotations but also applied to wider social situations. () … In terms of desire, this could be taken as the desire for personal pleasure but also the desire for political and religious groups to occupy a place. () Conversely, her piece also addresses the indifference that can result from the over-viewing of images such as these, which Ashery deems a symptom of our ‘over-saturated information culture’.  (from: Oreet Ashery and her work by Bethan Troakes)
Plinio Avila. Lives and works in Brussels, Belgium and Zacatecas, México. His work can be seen as a series of strategies to overcome loosing his faith in both religion and art. His work is identified more by a nostalgic-humoristic personality than for an specific technique or style. They can be interpreted as metaphors between the physical and metaphysical, the secular and the divine. Plinio creates a contemporary iconography for a personal faith, his own barrack in the supernatural world and the art world. His main supports are painting, drawing, textworks, photography, sculpture, video and new media
Los Libros del Libro (Books of the Book) is a video that explores the learning systems of faith. A disturbing mix of learning and pleasure. A child tries to memorize the books of the Bible. A proposal of great simplicity, yet strong in its essence and in its acute social reality present.
Jose Alfredo Elias Dabdoub, was born in Culiacan, Sinaloa, MX, as an audiovisual artist and farmer, in both fields he maintains a mystical-systematic insistence, where he marks a frontier between “trickster” and “the vision of an specialist of knowledge”. His pieces generate mathematical topological models and models of non-linear, chaotic, stochastic and fractal mathematical induction
400 frames. The animation of 400 frames. A man waving his hand in some form of a salute (the more complex the salute, the more exclusive). I shot a salute in 400 frames to make it more exclusive.
Oded Hirsch, was born in Kibbutz Afikin, Israel. Over the past two years, Oded has been crafting video works that interpret Biblical stories through their connection to contemporary reality. There is Nothing New (EnKhadash) will depict the massive efforts of an entire society to rescue a person whose parachute is caught in electrical wires in a desolate open field. Inspired by an early short story by Amos Oz and the Parasha of the Golden Calf, this video work will reconstruct the community of the Kibbutz drawing from the ideas of Zionist ideology and Jewish pioneering. Oded’s work connects ancient Jewish texts and more contemporary Israeli literature to emphasize the contemporary relevance of these founding texts to Jewish and Israeli society.
Walterio Iraheta studied plastic arts, design and experimental engraving and was already known as a painter and author of installations before devoting himself to photography. His exhibit El lado olvidado del corazón (The Forgotten Side of the Heart) (2001) contained documents, printed pages and photographs, mixed with a sense of assembly that he still kept as a reference, even if it were to transgress it, the materiality and bi-dimensionality of painting.
Landschaft (2008) shares the preference for symbolic re-elaborations in an everyday context with the previous series. These are works that focus specially on forms and structures, occasionally opening up to certain lyric hues that are recurrent in Iraheta’s work. On the other hand, these photographs seem to originate in an observation exercise that is re-elaborated as an aesthetic gesture. They could refer to a quality of things, but deep down they make us pay attention to a way of looking at things.
Representation here is a way of codifying the author’s look, more than a support for the discourse. Even when Walterio Iraheta insisted on the social implications of this reflection on the tension between nature and culture (a topic which continues being important for many contemporary artists), as well as its ecological implications, he would not be able to divert us from the fact that we are before a representation exercise which is intensely concentrated on the aesthetic re-elaboration of forms. In a few words, the combination between rhetoric, dramatic character, and discourse in these (photographs) video, may be interpreted as a personal way to relate with beauty. And of inciting a perception of beauty as something common and immediate.  (Fragment of a Text By Juan Antonio Molina (translated by Leticia Consuegra)
Anna Jermolaewa Born in St. Petersburg, Russia in 1970. Living in Vienna, Austria since 1989. In her video Kiss (2006), Jermolaewa lets love play in the shape of two Mickey Mouse masks, who, initially kissing each other fondly, start, with growing exuberance, biting off little bits from the others’ faces until eventually they tear whole pieces from the others’ bodies. A process of loving, opening-up, producing dependencies, and consequent possibilities of hurting or getting hurt is emotionally dissected trough a concentrated use of imagery. (Excerpts from the texts by Karin Pernegger and Lene Leicht, 2006)
Teresa Serrano (Mexico), EFECTO CAMALEON, This video explores the transformation of cultural identity. Staged as a fashion Photo set, the video consists of 2300 still photographs animated into 2 minutes of duration. The specificity of the medium borrows from scientific documentary strategies of representation and points to the indiisible logic of the still iage as the idexical register of a single momento in the process of transformation of the subject. The images document the dressing and undressing of a Japanese woman who adopst foreign styles.
Michele Chiossi, Theory of Colors is an homage video to the homonym essay by Goethe (1808), the scientific text on colors and on chromatic effects.Through the holy iconography of the Pietà by Michelangelo, now realized in an ice cream’s sculpture, Michele Chiossi expressed the melting feeling of the pietas so that it matches with the Theory of Colors itself, from white to black, via the three primaries: yellow (eggnog), red (raspberry) and blue (curaçao). A video which is an allegorical and symbolic vanitas through the subject itself: the ice cream.

 

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