Hinda Weiss “Whose Feminism Is It Anyway?”
Andrew Kreps Gallery
This event has ended.
Tel Aviv-based artist Hinda Weiss (b.1980) re-composes documentary footage into a surreal essay of observance, taking as inspiration and emulation in formation Colonial depictions of the Middle East. Her video collage Postcard from Tel Aviv, is a poetic impasse that teases out the connection between 19th century colonialism and the colonial appetite of contemporary economic forces.
Documentation of Colonialism is further explored through Michal Bar-Or’s (b.1984) appropriation of imagery found in the archives of the Palestinian exploration Fund in London- known to be the first Colonial archive. In The Ruler, Bar-Or plays on questions of scale, point of view and architectonic space to raise questions on inherited histories, lost narratives and the ways of disseminating prescribed knowledge.
In her interventions on documented landscapes, New York artist Dana Levy presents a video installation that incorporates footage of her 2015 excursions to the Dead Sea with found materials. Bringing a breath of life to a space considered as utterly dead, Levy’s Monoliths invokes a sense of fiction. While fellow New York artist Keren Benbenisty (b.1977) uses documentation of fiction as if it was objective fact. Her hand-painted flags and invented maps defy our constant need for context. Mimicking nationalistic symbols, yet avoiding any attempt of categorization, Benbenisty’s work is a collection of consonances that refuse to amount to a musical score.
In our time of visual super-habit it seems like only crude, direct images can perform and generate political action. However, within an increasingly tense cultural reality, in which every action has to be meditated, the poetic might present a vehicle to transmit a message where straight documentation will be silenced.
Media
Schedule
from February 18, 2016 to March 26, 2016
Opening Reception on 2016-02-18 from 18:00 to 20:00