Michal Rovner: Various images from Data Fields and FrequencyMichal Rovner’s early work emphatically
Michal Rovner: Various images from Data Fields and FrequencyMichal Rovner’s early work emphatically dealt with notions of borders, both national and cultural. Her 1990 photographic series The Outside, for instance, was based on an abandoned Bedouin house in the Israeli desert which she treated as a shadowy specter of itself, stripped of any features that might recall a sense of identity or communal history—as if the home, like a tightly guarded border, was a threshold not to be crossed but to be experienced through imagination and memory, a place which suspended in time and space.Later she expanded on the idea of collective beliefs as spaces for philosophical speculation by applying the concept to other classifications of knowledge or reality, such as science, archeology, and history. In her Culture Tables series (2007), she presented large Petri dishes containing looping video images of enigmatic human figures resembling micro-organism, merging and splitting endlessly. The piece triggers reflections on human migration, group coercion, and the inevitable lack of rationality in human behavior. (source)*it’s hard to find any worthy documentation of her work online. The most moving pieces are video projections on old stone bowls, and archeological fragments. The movement of little people walking, moving, migrating, trespassing across them continually provokes a very moving experience of the language of borders and the agency of the body. See video below:Michal Rovner. Frequency 01/10/2009 - 04/01/2010 from Ivorypress on Vimeo. -- source link
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