17 min
Wild Boy is the story of the education of Amir, the artist’s son. Ben-Ner plays the educator’s part, trying to domesticate the child. Using the metaphor of the wild child is Ben-Ner’s homage to this recurring theme in literature and cinema: from Edgar Rice Burroughs’ « Tarzan » to Truffaut’s « L’enfant sauvage », and Rudyard Kipling’s « Jungle book ». The video is an attempt at capturing this decisive moment when the child lets go of its wilderness to become « civilized », and raises the nature/culture dichotomy, dear to the Enlightenment philosophers.
In his films, Guy Ben-Ner plays with the history of cinema, referring to the experimental origins of silent film, to comic figures such as Keaton and Chaplin, and to Truffaut’s French New Wave. Since 1996, the artist has been concentrating on his family members and stages them with burlesque humor. Just as Buster Keaton, he is at once actor-director, his wife and children the only other actors, and his apartment the improvised set: he uses available furniture and objects, creates an artificial island in his kitchen and constructs a tree house for Treehouse Kit (2005), a work in which the sculpture takes part in the video installation. The theatrical aspect of the set relates to the playful situations. Each one of Ben-Ner’s films participates, as an episode, to a collection of fables about human nature, reenacting stereotypical motifs found in literature and cinema, such as the desert island (“Berkeleys Island” 1999) or “Moby Dick” (2000). Guy Ben-Ner was born in 1969, Ramat Gan, Israel. He lives and works in Tel Aviv.
In his composition, Chocolate Bars, Eggs, Milk, Lassry’s subjects are mirrored in their surroundings (both figuratively, through the chocolate colored backdrop and the brown frame; and literally, in the milky white, polished surface of the table), as the artist plays with color, shape, and the conventions of representational art both within and outside of the photographic tradition...
Online Seminar: Frequencies of Tradition With Anselm Franke, Ho Tzu Nyen, Chia Wei Hsu, Yuk Hui, siren eun young jung, Jane Jin Kaisen, Ayoung Kim, Hyunjin Kim, Hwayeon Nam, Emily Wilcox, and Soo Ryon Yoon The Times Museum and KADIST present three online sessions that consider tradition as a contested space, where one can critically reflect on Asian modernization and the Western canon...
(Untitled) Nimoa and Me: Kiriwina Notations by Newell Harry brings together a litany of contemporary politics—mobilization around enduring racism, the legacies of Indigenous and independence struggle, and the prospects of global solidarity against neocolonialism and social injustice...
In New York City’s Chinatown, subject Suat Ling Chua’s morning exercise is to practice the hula hoop...
For Immersion , Harun Farocki went to visit a research centre near Seattle specialized in the development of virtual realities and computer simulations...
The Nightwatch , which is an ironic reference to the celebrated painting by Rembrandt, follows the course of a fox wandering among the celebrated collections of the National Portrait Gallery in London...
A Splinter (Study for Painting) is a large graphite work on paper by Hernan Bas that was intended as a study for a later painting...
– Thisstoryoffriedrichkurzweiliwanttotellit- myselfhowhelivedinthisroomandh – Inspired by the writings of the feral child Kaspar Hauser and told by the young Friedrich, both father and son of Ray Kurzweil, this story unfolds on the microscope images of a blade cutting through metal...
With Inner Child , Bady Dalloul continues his ongoing reflection on migration and belonging, putting in balance levantine and Japanese histories...