Yuval yairi biography of christopher

Like the construction of memory from disparate flashbacks, the different images collaborate to present a unified panoramic view. Sep Yuval Yairi Land. Nov Yuval Yairi Work. Jan erev rav heb. Dec Blouin Artinfo Eng. May Kansas City Chronicle Eng. Nov Calcalist Heb. Oct ArtBeat Blog. Sep Calcalist Heb. Jun City Mouse Heb. May The New Yorker Eng.

Jan The New Yorker Eng. Nov Ynet Heb. Dec Yedioth Ahronoth Heb. Yairi — Living in Israel, it is hard to avoid relating to political issues. Some of the works are more political than others. Some of the memory suitcases images are of abandoned houses once belonging to Palestinian Arabs who escaped or were evacuated from their homes during the and wars.

Some houses have remained untouched and decaying ever since; others inhabited by Jews who immigrated to Israel following the Holocaust during the Second World War. These buildings are reminders to past events we may try to forget or erase, while many Palestinians still keep the keys to these houses as mementos or in the hope of returning.

Performing with the word LAND in this area was immediately interpreted as a political statement by passers-by, seeing it as a provocation or demonstration, or as a declaration of ownership of the land. Whose land is it? The final work which concludes the project was the video and a series of still images titled LAND The attitude of the human figure changes from a love of homeland and the desire for self-sacrifice to surrendering to fate, a feeling of claustrophobia and despair, and the desire to break away and leave for another place.

Luntz — Your work also explores the relationship between memory and photography. What can you make of the power of photography to influence an idea or to be able to change how we remember our collective memories as a society? Yairi — Forevermore was my first significant project as an artist, photographing an old Leper Hospital in Jerusalem.

At the time, the building was nearly abandoned; it contained numerous testimonies and remains from its past, making it a perfect place for practicing slow-observations while researching the history of the place.

Yuval yairi biography of christopher: New poster for the

Then, I started to think and question the relationship between photography and memory does a photograph serve as a memory-aid, or is it a substitute for memory? I was especially fascinated with a mnemonic technique of creating Memory palaceswhich I found to be relevant and connected to the way I work. This method can be used for memorizing large amounts of information by creating imaginary places in your mind and placing mental images in them, which symbolize the things you wish to remember.

The memorization is done by walking through these imaginary spaces and collecting these symbolic objects. Inspired by these methods, I started to change the spaces I was working at; by emptying them of their contents and placing within them objects taken from other places, creating my own palaces of memory. In my work, I refer to the act of observing and photographing as the Memorizing stage ; it takes place simultaneously in my mind and on the memory card of the camera, natural memory, and artificial memory.

The recollection or the Remembering is the time when I put together the different segments of the space into one picture. Working this way allows me to have a deeper and more detailed acquaintance with the space in which I work.

Yuval yairi biography of christopher: Yocheved Weinfeld's tri-part series titled

It intensifies my memory of the place and stretches this memory beyond the limitations of one moment which is typical with traditional photography. Agnon just before it was dismantled and packed-up for renovation and preservation. What took me the most was the similarity between the dismantling, packing, and storing of the library in marked boxes in order to return the books to their original place at the end of the process — to the way that I work — disassembling, retaining in memory temporarily, and then reconstructing anew.

The technique causes some distortions and mismatches between the frames; it can be because of light changes or slight shifts of perspectives while photographing. Ethe Greek poet considered to be the father of mnemonics the art of aiding memory. Simonides' method of remembering is based on the "translation" of abstract concepts into concrete objects and their imaginary placement in a space well known to the memorizer, based on the assumption that concrete images are easier to remember than abstract ideas.

Thus, for example, a poem can be translated into a series of mnemonic images that can be installed in the home of the memorizer. The act of remembering involves a stroll through the house, and the gathering of visual "reminders" along a known path. Dror Burstein.

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Yuval yairi biography of christopher: born. · lives and works. Jerusalem,

Wikimedia Commons Wikidata item. Israeli artist. Solo exhibitions [ edit ].