RAN SLAVIN

Currently Showing:


THE PHILHARMONIC INSTALLATION

From tuesday next week we (myself and Nevet Yitzhak) screen a newly commissioned 70 meter video surge on the Israeli Philharmonic Orchestra’s windows and building in time for their 80’th celebrations. Focusing on details of instruments and mechanisms of playing, shot during the Philharmonic’s rehearsals. On display every night after dark 20.12-31.12
Artistic director -Yudit Shapira Haviv
In cooperation with the Tel Aviv Municipality, The Philharmonic Fund and The Israeli Philharmonic
big thanks to Tali Gotlieb







TRAILER (everyday fiction)
A trailer to nothing
Featured on Milk and Honey Magazine

Solo show World5version2 at The Haifa Museum Of Modern Art Israel 23/7/16-22/1/17

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Installation view (detail) Mixed media, video, sound

Curator: Svetlana Reingold, Revital Silverman Grun, Limor Alpern Zered

The curator’s statement:
In recent years, post-postmodernism has been gaining strength, expressing this generation’s attempt to overcome the postmodernism of the late twentieth century, as a general response to the present, conflict- ridden moment. Post-modernism characterized by irony, pastiche, relativism, and the rejection of major narratives. By contrast, post-postmodernism is concerned with the revival of utopian conceptions of universal truths, as well as with ethical questions, humanism, and their significant relation with the world of culture and art. The new exhibitions will examine the issues involved with this change – such as the future vision of new ways of living, meta-geography and human existence in a polarized space, the return to myth and ancient sources, and more.

Ran Slavin’s video installation at the Haifa Museum of Art is comprised of a number of video sources, electronic, digital, sound, and light objects (the work’s first version was shown at the Herzliya Museum of Contemporary Art earlier this year, curated by Aya Lurie). Together they combine and form a fragmented installment occurring intensively, simultaneously, and repetitively, in a number of locations. The project reflects a technologically, culturally, ethically, and aesthetically complex portrait of the present with respect to time, place, and space. Slavin works with layered digital 3-D animation, reflecting on the experience of our disconnection from natural time. He proposes a technological space and time capsule as a sensorial space, reflecting the virtual-digital age.
The project’s title echoes the common categorization of the world’s countries into “first,” “second,” and “third worlds,” according to parameters such as regime, economy, and technological progress. World 5, Version 2 is a virtual world no longer dependent on representational or photographic strategies. In it, time deviates from the natural order and is no longer dependent on the orbits of the sun and Earth, which determine a 24 hours per day cycle divided hours into light and dark. This world is a binary, uninterrupted one. Multi-screen, fragmented, electricity-dependent, and characterized by technological excess and information. It is spread out in arrays of screens, projections, sound and light objects creating a multi-screen heterotopic arrangement with winding nets, exposed electrical bearings, computerized graphics, light strips and electronic units attached to each other provisionally, with office paper clips.
World 5, Version 2 proposes a contemplation of a flickering, ever-changing space with awe and enchantment. Three -dimensional images of mechanical bodies and ancient landscapes interspersed with abstract multi-layered digital models are placed in landscapes recalling science fiction and virtual aesthetics. This world offers different parallel possibilities, for which there is no structured “proper” course of viewing or understanding. It is a simultaneous, hybrid utopian world, characterized by movement between the physical and the digital with no beginning, middle or end, between electronic music and temporal light scapes.

World5version2 installation view (detail) Mixed media, video, sound. Haifa Museum of Modern Art 23/7/16-22/1/17
Photos by Stas Korolov
 
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INSTALLATION AT LEIPZIG CCA

Variations Amud Anan, video & sound, Halle14 Centre For Contemporary art, October 2016
Ran Slavin Variations 6 copy

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Ran Slavin
Variations Amud Anan

Variations Amud Anan is a three-channel video/sound installation shot in Judea and the Negev Desert extending over Israel’s southern region. In it, real and fictional elements freely intertwine reflecting dislocation and mythology, geo-political war and the mediation of information. The desert is reintroduced as a breeding ground of security paranoia, liquid reality and mytho-fictional occurrences.
In the biblical-mythical sense a pillar of cloud was one of the manifestations of the presence of the God of Israel in the Torah, the five books of Moses, which appear at the beginning of the Old Testament Bible. According to the Book of Exodus, the pillar of cloud guided the Israelites by day during the Exodus from Egypt. The pillar of cloud is traditionally paired with the manifestation of the divine presence which provided the Israelites with direction in the desert.
In 2012 the Operation Amud Anan aka Pillar of Defense (Hebrew: Amúd Anán literally meaning “Pillar of Cloud”) was an eight-day Israel Defense Forces operation in the Hamas-governed Gaza Strip, which began on 14 November 2012 with the killing of the chief of the Gaza military wing of Hamas and the launch of over 100 rockets at Israel during a 24-hour period. The operation was preceded by a period during which a number of mutual Israeli-Palestinian responsive attacks had taken place.
Variations Amud Anan initially sprung from the peculiar abuse of biblical-mythical terminology by the current Israeli right wing government naming Amud Anan aka “Pillar of Cloud” a military operation.
In Variations Amud Anan symbolic elements are joined to form a displaced technology-paranoia oriented realm. Distant ominous dust trails, security infra lasers, gigantic crumbling sand structures,
thermo heat cams, vertical gravity-defying mass of generic people, a high separation wall signifying an end of one zone and the beginning of another unpredictable one where beyond it reign the ‘Badlands’.
In science fiction films and books the badlands are often portrayed as the edge of society, a beginning of an uncharted rough zone prone to an extreme ‘each to his own’ sensibility …
… In the centre of the installation a-6 meter smoke column joins both floor and ceiling in an endless stream of cloud screened on a transparent surface.. A lush poignant ambient sound embedded with the hollow emptiness of sky circling birds transverses the viewer in a 3 screen mediation of tense desert secrecy..

Ran Slavin Variations 3 copy
Photo: Walther Le Kon

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Ran Slavin Variations 5 copy

“Installation 24”

Installation 24, Bet Hatfutsot Museum, Tel Aviv
1 channel video, sound, mirror structure.
On view as permanent display at the New Wing of Beit Hatfutsot Museum, Tel Aviv.

A commissioned permanent display installation at Beit Hatfutsot Museum in Tel Aviv
featuring a 52 minute ambient video documentary work set in a mirror structure.
The film is divided to 24 short ambient works in one sequence, documenting 24 synagogues from around the globe.
From Mexico, Romania, Brazil, Manhattan, Brooklyn, Jerusalem, Tel Aviv, Hadera, Canada, Russia, Australia, Paris and more.

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WORLD5
At The Herzliya Museum of Contemporary Art Israel (solo) 16/1/16 – 30/4/16
Photos by Amit Geron
 

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