Event Date: January through February 2019

Courtesy of Yair Barak, The Mansion

List of works, in order of appearance:

1. Hinda Weiss

After the Desert Goat, 14:06 min.

2. Arnon Rabin

Deceased no. 57, 08:14 min.

3. Yair Barak

Ein Groses Haus, 05:27 min.

4. Arnon Rabin

November 8 th , 13:00 min.

5. Hinda Weiss

Postcard from Tel Aviv, 08:24 min.

6. Ira Eduardovna

Princess or Tiger, 06:21 min.

7. Dana Levy

Silent Among Us, 06:21 min.

8. Yair Barak

The Mansion, 04:32 min.

9. Dana Levy

The Wake, 04:53 min.

This program of video art at Parallel brings together works which take on the topic of nature through a variety of approaches and means; Each video articulates its own position and point of view in relation to nature, as a site, a place, as reality or as concept.

Hinda Weiss works with two natural territories – the sea and the desert – as she questions the place of mankind in relation to each site. Through the technique of digital montage, the juxtaposition of images and sounds, she creates surprising connections as she weaves together still-image and film, silence and noise, the city and nature. In Postcard from Tel-Aviv the idea – and possible reality – of rising sea-levels is played out in a playful manner as the sea floods the streets of the city, to create a romantic view of the landscape. In her After the Desert Goat, Weiss uses her technique to create symbolic atmosphere as the arid landscape of the desert is depicted as a wasteland with emblematic associations.

Ira Eduardovna returns to the same topic but utilizes fragmented narrative in her work. In Princess or Tiger, a narrative of eight repetitive journeys is enfolds through multiple simultaneous shots, each showing a slightly different angle. The main figure’s story takes place in a forest, which functions as a background to her activity yet, as the narrative progresses, engulfs her and becomes the story’s essence.

Arnon Rabin’s November 8th displays a crisp black-and-white film to unravel a fragmented narrative. But unlike Eduardovna, whose Tiger or Princess comes together in a clear, if mysterious, story, Rabin here uses the split-screen technique to articulate an associative narrative which integrates the relationship between culture and nature as a recurring motif. Deceased no. 57 is filmed in a single shot beginning indoors and moving outdoors, a journey which ends with an activity that connects the two environments, the cutting down of a large tree with a chainsaw.

Dana Levy posits a different relationship between nature and culture; the artist’s two video works – Silent Among Us and The Wake – present a similar scenario: what happens when nature takes over the sterile space of the natural history museum and its archive. Through the seemingly simple action of releasing live pigeons (in Silent Among Us) and butterflies (in The Wake), the stability of the museum is undermined, as it is revealed as a construct and artifice.

Yair Barak contributes two related works which explore the role of architecture in taking over natural landscape. In The Mansion and Ein Grosses Haus (German for “a large home”) the buildings –and those who inhibit them– appear at times as disrupting the peaceful landscape and in others as seamlessly integrated in it.

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