Past SCREENINGS  

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WE ARE FOREIGNERS

BY RUTH PATIR

FEBRUARY 25, 2015

CURATED BY MARION GUIRAUD

The Hollows is pleased to present We Are Foreigners a series of short films by Israeli artist, Ruth Patir. Patir’s videos share an uncanny imbrication of fictional and factual elements, impeding strict classification and categorization. Her videos borrow from documentary strategies but deviate from the genre as re-enacted, scripted, and dreamed situations invade the narrative plots and question the cinematographic truth. Interlacing multiple plans of narration, reality, and fiction, Patir plays with the confusion that her videos initiate to interrogate notions of labor, patriarchy, identity, locality, politics and dimensions of (dis)beliefs. 

In Law And Order (The painting made me do it), (2015) Patir re-enacts an episode of the well-known New York T.V show “Law and Order,” in which a philanthropist is murdered because of her affiliation with a famous painter. As a mise en abyme of the art world, the video is acted by Columbia M.F.A. students, provoking a mirroring effect through which the actors lose self-consciousness, while the original plot is humored and satirized. 

The Sleepers (2016) is drawn from a dream the artist had about Barack Obama, during which the President was quietly shaping clay and making pots. Troubled by her own subconscious, Patir interviewed celebrity dream interpreter Lauren Lawrence, who taught the artist about dreaming as a tool for prophecy. What started as a singular dream became a long-term investigation about (political) dreams and dream therapy, leading the artist to regularly participate in “MeetUp Dreaming Groups.” Inspired by these experiences, The Sleepers poetically draws a dystopian landscape of our capitalistic contemporary culture where the act of dreaming has became a mechanical labor, a lost paradise synonymous to frustrations and failures. The Sleepers is at a crossroads between life-experiments, visionary dreams, and documentary research that reflect on political imagery and issues of identity. 

Shlomo X (2014) tells the story of a car mechanic who takes care of people and cars with the help of demons he communicates with. The story takes as a starting point the main character's interview by the artist, through which he intimately unveils his surreal powers. Furthering the man's statement, Patir built a narrative that brings the fantastical testimony to the fictional realm, crossing filmic genres and beliefs to seemingly create a shamanic experience that takes place in a parking lot. 

Videos:
Law And Order (The painting made me do it), HD video, 2015, 11:00 min.
The Sleepers, HD video, 2016, 6:58 min.
Shlomo X, HD video, 2014, 9:05 min.

Image: The Sleepers, HD video, 2016, 6:58 min. (Still)

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Ruth Patir holds an MFA in Visual Arts from Columbia University (2015) and a BFA from Bezalel Academy of Arts and Design Jerusalem (2011). In Tel Aviv Patir took part in the emerging cultural scene, organizing temporary art venues, poetry readings and writing for several newspapers. Between 2011-2013 she ran a non-for-profit art space in the City Hall building of Tel Aviv. Her short films, performances and installations have been included in festivals and museums including MoMA’s New Directors New Film (2014) and Petah Tikva Museum (2014). Currently she is holding interviews with key figures, building guerrilla systems and reenacting strangers personal stories.

 


EGO SUM COMMUNICATIO

By Ryan Brennan, Gautam Kansara, and Sophia Le Fraga

NOVEMBER 20TH, 2015

CURATED BY MARION GUIRAUD

image: Save As...(Sculps #4), 2014, single-channel HD video, TRT-20:06 (Still)

image: Save As...(Sculps #4), 2014, single-channel HD video, TRT-20:06 (Still)

The Hollows is pleased to present Ego Sum Communicatio a screening featuring works by Ryan Brennan, Gautam Kansara, and Sophia Le Fraga, and curated by Marion Guiraud. Ego Sum Communicatio presents video works that explore the relationship between digital forms of communication and narrative. Ryan Brennan, Gautam Kansara, and Sophia Le Fraga obscure, disrupt, and subvert linear schemes and storylines that navigate between reality and fiction, immediacy and distance, public and private spheres. In doing so, the artists activate new interactions between image, sound, and language that have spurred from the proliferation of digital platforms. By highlighting new cognitive and communicative experiences, the works reflect on the nature, methods, and impact of our contemporary mode of narration.

In Team Spaceship, Ryan Brennan choregraphes a time-based dialogue between diversely sourced YouTube videos, utilizing found internet material as virtual readymades to explore the cultural value of digital platforms. As our daily lives become shared internet content, social media has evoked a new age of global communal voyeurism and exhibitionism that blurs the boundaries between social and private experiences, past and present time, fantasy and reality.  Brennan's Team Spaceshipexplores our often clumsy and complex relationship to our online experience revealing patterns of behavior inherent to our digital age.

 In Save As...(Time Mulch #2), Gautam Kansara explores the inevitable discourse between the reality of experience and the digitally-recorded reality in the formation of memory. Through an arsenal of techniques and maneuvers, Kansara layers and obscures visual and auditory elements drawn from personal photographs and video archives to establish a dialogue between the past and present. In doing so, Kansara addresses the malleability and impermanence of memory as digital devices facilitate processes of saving, updating, and transforming, thus allowing events to be re-experienced and re-focused.  

 In TH3 B4LD 50PR4N0; or, English Made Easy, Sophia Le Fraga recomposes Ionesco's 1950 play, The Bald Soprano, in the format of Gchat, Google’s popular instant messaging service. In this work, Le Fraga sheds light on the linguistic mutations that have been spurred by digital modes of communication,  simultaneously highlighting the implementation of new interactions between signs and their signifiers, words and their visuals. As much about language as it is about semiotics and images, Le Fraga’s work challenges the boundaries between literature and e-culture while exploring the theatrical potential of digital communication.

 

 Image: Gautam Kansara, Save As...(Sculps #4), 2014, single-channel HD video, TRT-20:06 (Still)