Video

Excerpt from chapter one, 3:00 of 9:41 min

From "The form of a Giant", Ein Harod museum of art, 2019

Curator: Yaniv Shapira

Excerpt from chapter two, 3:00 of 9:04 min 

From "The form of a Giant", Ein Harod museum of art, 2019

Curator: Yaniv Shapira

Excerpt from chapter three, 01:53 of 10:53 min

From "The form of a Giant", Ein Harod museum of art, 2019

Curator: Yaniv Shapira

Excerpt from chapter four, 03:03 of 09:25 min

From "The form of a Giant", Ein Harod museum of art, 2019

Curator: Yaniv Shapira

Excerpt from chapter five, 02:50 of 10:23 min

From "The form of a Giant", Ein Harod museum of art, 2019

Curator: Yaniv Shapira

Unfold

From "The form of a Giant", Ein Harod museum of art, 2019

Curator: Yaniv Shapira

Wheat, Black suits

Pyramida art center, Haifa, 2018

Curator: Galia Bar Or

The Merciless Enchantress

Beit Rami and Uri Nehoshtan Museum, Kibbutz Ashdot Ya'akov, 2016

Curator: Tali Tamir

One Video out of five, from the exhibition Five Signs Chronology, Ha'Kibbutz Gallery, Tel-Aviv.

 

 

The Laughter, 1:15 min of 8:20 min, 2015

 

8 Lifts, 4:21 min, 2013 

 

Installation view for Relaying #2 2015, Testimonies on Motherhood Lost,

a multi channel video installation

at the MECA galleries, Mana Contemporary, JC

 

 

 

 

 

 

 

 

 

 

Installation view for Relaying, 2014,

at the Meadows Museum of Art, Shreveport, Louisiana  

 

 

 

 

"RELAYING: Testimonies on Motherhood Lost, a Four-Channel Video Installation"

 

Confronting the boundaries between the art world and social action, Relaying presents testimonial monologues spoken in three languages: English, Arabic, and Hebrew tolled by mothers whose children refuse to have any contact with them as a result of the breakdown of the family unit. The installation puts video art to work, relaying the harsh realities of motherhood interrupted, of families blown apart, and of secrets made public in order to heal.

 

A single monologue, 4:43 min, 2014

(one out of eight testimonies ) from the RELAYING project 

 

Three Short Stories, 0:52 sec of 6:24 min , 2014

8 Lifts explores the uncontrollable moment, when one discrete action is expanded and blended into something else entirely. Here, footage of mothers lifting their children is duplicated and sped up to disturbing intervals, perverting motherhood with proportion and speed.

Breakfast, 1:28 min of 6:02 min, 2013

 

From Me To You, 0:58 sec of 3:40 min, 2012

 

In the Video piece Awake at Night I filmed my children while they were asleep. This video installation manifests itself as a double take on breathing, asking questions about family intimacy, and dealing with the blatant violation of boundaries in the love-anxiety relationships within the family framework.

When we moved to our new house, we underwent a crisis. As a result of that crisis, on sleepless nights, I started filming my children while they were asleep.
I asked for their permission in the previous evening and they didn’t express any objection. I felt I had to ask them, though.

While filming, I tied the camera on to my chest, so that the movements seen in the video are mainly due to the rhythm of my breathing. This split screen video shows the filmed objects (my kids) as being 'held captive' in their beds while the camera is the one moving, giving away every slight movement of my body. While my act of breathing is visible through the camera’s movement, their breathing is being heard in the space.  Although I obtained their consent for filming, the whole process was conceived by me as brutal and intrusive, blurring the boundaries of right and wrong in love life, in family life. 

Video Installation, Awake at Night, 4:43 min 0f 9:41 min, 2010  

 

 

In this video piece 'Finkielkraut', my daughter and I are being filmed during dinner time. While eating I read aloud to my daughter an article about the ethnic riots that took place in Paris in 2005. My reading is being done in the way one would read a children’s story with all the appropriate intonation. My daughter, who is immersed in her own private world playing with an umbrella, is not really capable of understanding the 'story' and nonetheless very attentive, responsive and cooperative. For me, reading is an act of survival. Reading aloud an article I'd like to read to myself keeps my sanity in the role of the mother-artist. 

 

The article (from Haaretz, an Israeli newspaper)) talks about the political stance of the ex-leftist Jewish philosopher, Finkielkraut, who is currently accused of racism against French citizens whose origin is North African. A striking similarity between the ethno-political situation in France, and here in Israel, reflects the notion of the ‘fear of the other’, the Moslem, the Arab. 

Finkielkraut, 0:50 min of 6:06 min, 2005/9

Bodriared, 0:37 min 0f 3:34 min, 2012

© 2016 by De-Kalo Mali . All rights reserved

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