Rethinking Broken Lines – A Tribute to Heda Oren' by Hilla Ben Ari
Rethinking Broken Lines – A Tribute to Heda Oren' by Hilla Ben Ari Curator: Tal Yahas Herzliya Museum of Contemporary Art January - April 2017 Dancers: Talia Beck, Tomer Golan, Moran Zilberberg Piano: Shira Legmann Photography and Editing: Asaf Saban Assistant Director and Art: Yahel Dotan Music: Yoni Niv and Alex Ness Lighting: David Rudoy Assistant Photographer/Lighting: Yair Fridman Sound Design: Ronald Boersen, Yoni Niv.
BLESSED IS THE MAN
a short film by Asaf Saban Synopsis Baruch, a loner petty man, is used to be invisible to other people and he is making his living by doing small dirty tricks. Following a friendly gesture, he is confronted by an unexpected judge - a boy who shares a similar misfortune. Israel, 2018 Running time: 13 min Producer, Writer, Director: Asaf Saban Director of Photography: David Rudoy Editors: Neta Braun, Asaf Saban Cast: Amos Deutsch, Adar Asias, Eliana Schejter, Eyal Salama Composer: Yoni Niv Sound designer: Nin Hazan Line Producers: Kobi Azran, Matan Gaida Art Director and Costume Designer: Galya Avidar Casting: Rachel Shalame Source: Abra Filmhouse, Israel firstname.lastname@example.org Director's Note In the film BLESSED IS THE MAN I wanted to create a character who is portrayed solely by his little actions. Baruch (meaning Blessed in Hebrew) is a man on the move, who developed his own poetic ways to earn a dollar. Inspired by the works of Robert Bresson and the Italian neorealism, I've casted a non-actor for the lead role, wishing to create a glimpse, yet complex, portrait of a simple man. The film BLESSED IS THE MAN was made with the support of the Gesher Multicultural Film Fund and the Israel Lottery Council for Culture & Arts.
The Voices that Calls to Itself by Hilla Ben Ari
Ticho House - The Israel Musem, Jerusalem Curator: Timna Seligman Directing,choreography,art: Hilla Ben Ari Creative performers: Or Ashkenazi, Avidan Ben Gait, Michael Yalon Camera: Uri Ackerman Lighting design: Tamar Orr Video editor and colorist: Uri Noam Composition and sound: Yoni Niv Sound design: Eyal Bitton Production Manager: Omer Alsheich Technical Manager - Habit Theatre: Uri Rubinstein Assistant director: Yahel Dotan Camera assistant: Emily Shir Segal Lighting technicians: Arkady Mirchin, Baruch Shpigelman Creative performer and development: Zuki Ringart
Israel It Itself
The state creates a gender and then cannibalizes it. Incorporating an interview with a PTSD afflicted veteran of 5 wars, this tableau vivant uses the body as an analogue to landscape, land occupation, and ‘Holy Land’, to interrogate Jewish concepts of ‘purity’ and nation state. (performance: 3 hours tableau vivant, in a surround sound environment) (video version: B&W and colour, DV, surveillance cam, and super8. 5.1 surround sound. ca. 11mins.) Exhibition history: 2016 – (looped video installation with headphones) Smack Mellon 20th Anniversary Exhibition. Carlotta Kotik, curator. 2008 – Live installation with surround sound, 3 hours. Buddies in Bad Times Theatre, Toronto Canada. Erika Hennebury, curator. Screening history: 2010 – MIX NYC, curated by Kate Huh 2009 – Vidance festival of Video Dance. Tel Aviv, Ramallah. 2008 – Live electroacoustic performance with projection. Brooklyn Academy of Music , NY.
Naamah is based on the play Tubal Cain written by Nahum Benari, her grandfather’s brother, who was an author and an intellectual and one of the founders of Kibbutz Ein Harod and of the museum. The play is an interpretation of the biblical story of Tubal-Cain, the “father of metalsmiths”, through which the author confronts issues of community, creative powers, hubris, sin, guilt and punishment. One of the characters in the play is Tubal-Cain’s sister, Naamah, a mute gleaner. Hilla Ben Ari makes the character of Naamah a central key to her work’s meaning, and seeks to read the play through a gender prism and to expand the critical perspectives implicit in it. The scenes that she builds are composed of sequences of charged physical states – of groups and of individuals – that range between strength, weakness and collapse. These scenes were filmed in daytime and nighttime on the hill above the museum, on two basically functional stages. They are devoid of myth and of reference to any specific historical moment. Through them she conducts a dialogue with the structure of the stage from the early days of Ein Harod, with kibbutz ceremonies and also with the Greek theater. As in all her works, the relations between body and the skeleton of the construction carry in-depth meanings, and the trembling of the strained body echoes the component of personal time and space that is threatened by regimentation. The film that Ben Ari has created includes original sound work, and is screened in the center of a sculptural installation in the museum that creates a dialogue with the contents of the play. Filming, editing, and cinematic consulting: Asaf Saban / Assistant Director: Yahel Dotan / Sound: Yoni Niv / Group Choreography: Shuli Enosh / Art: Salit Krac and Yahel Dotan / Lighting: Nachshon Kaplan / Musicians: Dan Weinstein, Ofer Bymel, Tom Soloveitzik, Yoni Niv. With the support of the Ostrovsky Family Fund, the Hadassah-Brandeis Institute, the Yagurim Association, RENUAR Fashion.