The Hangman, 2013

My new recording titled 'The Hangman'.

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The hangman is a 4min looped recording of a man hanging by one foot from a bar or tree. His free leg is  bent to form an inverted "4," his face is  peaceful and his hands are bound. The image is taken directly from  the tarot card.

The image of a hanging man actually dates back to pagan and early religious symbolism, often used to describe a literal state of hanging between the mundane world and the spiritual world, with the capacity to perceive both. The literal image describes an altered state of human perspective, a moment of timelessness where absolute clarity is achieved with emotional detachment. The Hangman represents a transitory weightless state of observation and introspection before any action or decision is made and life is resumed. I was interested in creating a still moving record which captures this state whilst also showing the endurance of the time as it gradually unfolds, the effort and physical exertion of when positioning ones body up side down, the toll of time.

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Thoughts about image making

 “Arnaud was getting ready to leave and still laughing, he walked towards his car. It was a bright morning and he pulled a pair of blue tinted sunglasses out of his jacket. Once on, his eyes became like gaping blue holes. Looking at him my mind lapsed back four years to the first photograph I ever took of him. It was after the accident and his eyes where swollen, blue and red. I could clearly visualise two pictures of Arnaud hanging beside each other: The image of Arnaud with the hurt eyes next to an image of Arnaud with masked eyes. But at that moment he got into the car and drove off. The im- age was lost. The following day I was determined to re-enact the photograph but the weather had turned - it was a darker day, much colder and we where both uncomfortable standing outdoors. I took the photograph anyway. In my mind there are three photographs of Arnaud. The one I took four years ago, the one I took yesterday and that one... the one I did not take.”
 

The Fourth Wall, Musrara Mix Festival

Musrara Mix festival, 24th, 25th, 26th May 2011

Finally! I am so happy to put up images of the exhibition titled ‘The Fourth Wall’ that I curated for Musrara Mix Festival in Jerusalem.

Musrara Mix is an annual art festival held in the neighbourhood of Musrara Jerusalem, which perhaps more than any other place, symbolises the complexity of the Israeli experience: a neighbourhood situated quite literally at the divide between West and East Jerusalem, overlooking the walls of the Old City. Whilst Musrara is a model of successful neighbourhood renewal it still preserves memories of difficult absorption processes, discrimination, and the first authentic Israeli protest movement – the Black Panthers. The festival takes place in the scenic neighbourhood of Musrara in Jerusalem. Over the three-day festival the neighbourhood operates as a platform of exchange with residents who offer their private courtyards, building facades, streets and square to visitors. Social issues remain central in the festival, with ideas related to tolerance and open-mindedness, the acceptance of the other within our own torn society as well as exposure to international contemporary socially engaged art practices.  The festival serves as an open invitation to local and international artists to comment on and express ideas regarding the social realities that we live in. The festival will also present a rich accompanying programme of artist’ talks, lectures, workshops, master classes open to the public.


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Documentation from 12 Yellow Stars, video from event-based performance by Arnaud Moinet and Henna-Riikka Halonen, with participants of Musrara

 

For this project in Musrara, Jerusalem, the artists playfully question, what is the role of art in cultural exchange.  While not directly political, our work 12 Yellow Stars resonates with the contested borders of Jerusalem.  Instead of directly commenting on this reality of Israel and Palestine, which they feel they have only mediated ideas on, they choose to act as ambassadors of European ‘ideals’ and will literally bring this baggage with them in a form of a comic book story for young people about a peaceful Europe without frontiers, called The Raspberry Ice Cream War, using it a s structure for discussion during a filmed tour of Jerusalem.

This tour involved some local participants (6), a local tour guide, us as two artists and the festival curator, and is based in 6 different location stops. Each stop framed as a cartoon vignette (tableaux vivants), represents a point of negotiation between the artists/curator and the participants.

The story of Raspberry ice Cream War promoting the idea of borderless world is functioning as a subtext, which is simply providing a solid structure through which a cultural exchange can flow. The idea is to approach the concept of border not only in geopolitical terms but also as a point of negotiation between local and European perspectives that allow something else to begin.  The production was made with the support of FRAME and The Embassy of Finland.


Zoë Walker & Neil Bromwich present 'Celestial Radio - How the Universe Sang Itself into Being' ,2004 -ongoing. Digital Video (standard DV)

Celestial Radio is inspired by the legendary Radio Caroline the off-shore pirate radio ship, which thought the 1960s and 70s represented another belief structure, free living, freedom of speech and ‘loving awareness’. Walker& Bromwich's glass covered boat 'the Celeste', literally travels across high seas, and draws on specific landscapes and communities focusing on social transformation, utopian ideologies and emergent hope. The film charts Celestial Radio’s first broadcast 'How the Universe Sang Itself in to Being', mixing together interviews with diverse communities living along the Essex coastline, finding a meeting point between science and religion.

Together with the special screening of 'Celestial Radio' Zoe and Neil have also collected interviews around the 'Voice of Peace' the legendary Pirate Radio Station which broadcast to Israel and the Middle East from 1973 to 1993. Their new recordings will be broadcast as a sound installation at the festival. It will also be available on radio station over the 3 day festival. The installation was made with the support of Step Beyond Fund.


Tellervo Kalleinen (FIN) & Oliver Kochta-Kalleinen (GER) present The Complaints Choirs of The World, 2005- ongoing, multiple DV Videos.

In the Finnish vocabulary exists the expression Valituskuoro, which means Complaints Choir. The word is used to comment on a group of people bragging about something together. Kalleinen & Kochta-Kalleinen decided to take this expression serious and to organize a real choir that sings about their very own complaints. This simple idea triggered a phenomenon that has now become a global movement. People all around the world were inspired by the first Complaints Choir from Birmingham organized in 2005. They understood instantly the power of the idea of transforming individual complaints into a collective song.

The Complaints Choir project is based on 3 principles: (1) anybody can take part – no singing skills required, (2)  any complaint is allowed – from small daily irritations to global issue, and (3)  the lyrics are decided collectively by choir members. The Choirs document their performance in front of a live audience in their city and upload it to the artist's website.

The festival is pleased to present the complaint choirs of  Birmingham, Chicago, Hamburg, St. Petersburg, Helsinki, Tokyo and Singapore. Each film is shown in televisions dispersed in a courtyard of a home in the neighborhood of Musrara.


    Xin Wang (CH) presents We sit and we talk’, 2008, Interactive Installation
    Materials: 1 Projector, 1 laptop, 1 camera, white wooden seat for two

    Xin Wang’s practice is primarily concerned with communication. In her interactive piece ‘We Sit And We Talk’ she creates a three-walled space similar to that of a theatre stage. Animated text boxes projected onto the central wall display internal, private thoughts of the artist. Viewer/s seated in the space, throw their shadow on the wall and become participant protagonists of these thought-scapes and actors in this theatre. 

    For Musrara Mix Festival Xin has translated some of the text to Hebrew for an Israeli audience.


    Karin Kihlberg (Sweden)  and Reuben Henry (UK), 'Performance #1, #2 & #3', 2007-2008, DV video

      Karin Kihlberg and Reuben Henry's work deals with how the documentary constructs and negotiates the narrated image. Working with a range of media such as video, performance, drawing, events and publications they explore various interrelationships between constructs of time, history and fiction, and their relationship to the viewer in time and space.


      Yvonne Buchheim (GER), 'The Song Archive Project: Listen to England', 2007, DV video

      Artist Yvonne Buchheim has set up the Song Archive Project in 2003 in response to a song collection from 1773 by Johann G. Herder. His collection and theory suggests that the cultural identity of a people is reflected through their song tradition. The aim of the Song Archive Project is to develop a body of works that examine contemporary song culture in a visual art context.

      Buchheim invites people to perform a song of their choice in front of a video camera. In this way, singing, often a private act is made into an unrehearsed public performance. The project now includes over 900 amateur song performances from six diverse cultures and countries.


      Henna-Riikka Halonen (FIN), 'The Glass Mountain, 'Szklana Gore', 2008, DV video

        This project takes its title from a Polish folktale with a same name and was filmed in Limerick City Hall, Ireland. The performers, Polish construction workers living in Limerick at that time, form a slow action, which is a combination of their work movements and is disrupted by a choreography, introduced by the artist.  The workers became protagonists of a theatrical performance that functions as surreal spectacle both bizarre and poetic, influenced by Bio Mechanic exercises  of Soviet Avant –Garde theatre and cinema.