There is just one more week to see this beautiful video by Ori Gersht at Angles Gallery
Open through Saturday, July 9th!
Here is an excerpt from the LA Times Review–
“The second body of work explores a different kind of persistence. It’s a two-channel video featuring internationally renowned dancer and choreographer Yehudit Arnon. A survivor of Auschwitz, Arnon recalls being ordered to dance at an SS officer’s Christmas party. When she refused, she was made to stand outdoors in the snow all night. She vowed that if she survived, she would dedicate her life to dance. Now 85 years old, with limited mobility, Arnon performs in Gersht’s video from a rocking chair, her face drifting like a moon in and out of blackness. This footage is juxtaposed with shots of a snowy landscape, suggestive of what Arnon might have seen on that formative night, but also a reference, perhaps, to the “winter” of her life. Still, it’s immediately clear that the dancer is still a commanding performer — simply raising her hand to her forehead is a moment of high drama. By isolating Arnon’s face — her most expressive feature — Gersht gives us an incredibly moving portrait of what is left when the body fails. As it turns out, it’s what she had at the beginning — nothing but a defiant, resilient will. “- Sharon Mizota
I saw this last week it is really worth the trip!
“I went to Venice, and I came back worried. Every two years, the central attraction of the Biennale is a kind of State of the Art World show. This year’s, called “Illuminations,” has its share of high points and artistic intensity. (Frances Stark’s animated video of her online masturbatory tryst with a younger man hooked me; Christian Marclay’s The Clock, which captivated New York earlier this year, rightly won the Gold Lion Prize for Best Artist.) Yet many times over—too many times for comfort—I saw the same thing, a highly recognizable generic institutional style whose manifestations are by now extremely familiar. Neo-Structuralist film with overlapping geometric colors, photographs about photographs, projectors screening loops of grainy black-and-white archival footage, abstraction that’s supposed to be referencing other abstraction—it was all there, all straight out of the seventies, all dead in the water. It’s work stuck in a cul-de-sac of aesthetic regress, where everyone is deconstructing the same elements.
There’s always conformity in art—fashions come in and out—but such obsessive devotion to a previous generation’s ideals and ideas is very wrong. It suggests these artists are too much in thrall to their elders, excessively satisfied with an insider’s game of art, not really making their own work. That they are becoming a Lost Generation.”