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The Crystal Palace & The Temple of Doom

Curator: Hlia Cohen-Schneiderman 2.7.2015 - 24.10.2015

Ariel Caine’s video work Enivrons looks at the surface of the land and that of the photograph, shedding light on the fragility and brittleness of both. Caine draws on a wide range of original and archive photographic materials, predominantly of Jerusalem, in order to point at the link between the image in the Christian pilgrimage world view, and the function of the photographic image in present day messianic Judaism. To a large extent, throughout the years these two images served as a blueprint, influencing and shaping landscape design, architecture, and archeology in Jerusalem, a process that still continues under the auspices of the state. This work also looks at the medium of photography, which through the development of “Point Cloud” technology becomes an architectural space in itself. Caine employs this technology on the archival materials, from which he extracts the original surface that undergoes deconstruction and reassembly. The new file transforms the flattened photographic space into a three-dimensional sculptural space, thus cancelling the existence of a fixed point of view, a single perspective—along with that of the photographer. Perhaps this can also bring about a cancellation of the messianic perspective, so that the space could return to be as it once was.
The hologram Pioneer, an extension of the video, was produced through the holographic printing of a point cloud file. The image is based on an archival stereoscopic photograph of a pioneer, an immigrant from Poland named Debora Rushkin, taken circa 1920 at the women's agricultural training farm “Borochov”. The treatment of the archive photograph using this technique restores fragments of the physical space that was flattened, and retrieves its three-dimensionality as a body, volume, and a physical presence.


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Ariel Caine, Enivrons , Point Cloud, Still frame from Video, 2015

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