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Keren Shavit – Sala-Manca

Tag: Keren Shavit

Broken Kayfabe – Keren Shavit in collaboration with Adi Omry

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Opening: Tuesday July 12, 8pm
Exhibition hours: Monday to Thursday 10:00-15:00 — For group and guided visits in other hours please contact us
Curators: Sala-Manca

North Carolina. Brooklyn. Dallas. Keren meets a family on the subway, she meets another family when she wants to learn the harmonica. She is drawn to them. They are drawn to her. She asks to film in their homes. To film them. In exchange, in one case she is asked to come to the local church every Sunday for two months. In another case she moves to North Carolina with the family she has met.
Who is she for them? She is Trixie the lover, or mom Trixie, or sister Trixie. And so the game begins. She asks them to tell her everything they do not like about her. They write letters to her and start rehearsing. They play with reality. Everyone are filming and everyone are acting…or are they? Trixie-Keren uses manipulations, staging the relationships while they direct themselves. She asks permission to eat their leftovers. This is the starting point of “Shelf Life.” She eats the leftovers and in return she has to surrender. Change her identity. Keren will give them all in order to get what she is looking for. What she needs. Examining different family models. She looks not to be loved, to get the leftovers. The entire world is an edge. The assistant director becomes a character, a member of the family. Trixie the whore is Keren the artist. She eats the leftovers of the family, which in return, ask of her to take part in the filming of their own horror screenplay which we will not get to see. (The screenplay and footage are the property of the “father” in “Shelf Life”).
Between films, the stills and videos of “Broken Capefive/Kayfabe.” A story that links the two films. The story of the pro wrestling brothers Von Erich from Dallas, Texas, which an Israeli girl called Keren loved and admired. Keren wants to be a part of the famed wrestling family, this is her teenage dream. A fantasy that takes the form of a fictional story, through which she photographs and documents. One by one, the Von Erich brothers commit suicide. This is not a fiction. Keren looks for other families through which she could ask about her place. Keren sells herself senseless. “You cannot help but love Trixie,” says Danny. “It’s impossible not to love Trixie” says Daniposter_sample

Mamuta and the JFF at La Ira de Dios, Buenos Aires

Presenting a selection of Israeli Video Art from the “Intersections” of the Jerusalem Film Festival at La Ira de Dios Buenos Aires, curated by Sala-manca:

Intersections (Israel Video Art)
from the Jerusalem Film Festival – Expermiental Cinema and Video Art Award (2010-2014)

reapertura
Curated by Sala-manca artists group (Mamuta Art and Media Center)
Presented by Diego Rotman

Oryctolagus Cuniculus |Keren Shavit | 2010 | 7′
A group of men in long white coats congregate at the local community center basketball gym for the evaluation of 144 rabbits. The rabbit scoring highest in all categories is declared the winner.

Amir Yartsiv | Detroit | 13′
The title of the video is borrowed from this training area in the country’s southern region. “Detroit” is a 1:1 simulation of a Palestinian city. The simulation generates an alternative reality which conceals the true reality. The training city “Detroit” was intended to prepare soldiers for combat in an urban area. It resembles a Muslim quarter, thus meeting the users’ needs in a simulation which would furnish them with a fantasy of an Arab city.

Amitai Arnon, Esther Bires | Masks | 2014 | 12′
The film Masks was shot over 12 years during which Esther and Amitai documented two siblings at Purim festivities, dressed up as different characters and embodying various roles. In Purim, as in the carnival, sacred and sanctified things are legitimately parodied. For 12 minutes a partial portrait of the children’s growing up is presented, in states of abandon. Their adolescence and identity play is designated by the immediate surroundings of their life, the Israeli town of Ramla – according to the national and religious timetable and the growing children’s life cycle during the film.

Ohad Fishof | ABDUCTION | 2010 | 8:34
Based on an eponymous sci-fi story. Here, it is man who abducts the alien, and not vice versa.” The film and the story are a second part in a series of works, “Hoon,” which describes characters, sites, and events in the imaginary town of Hoon.

Dana Gillerman | Pornographic Collage | 2014 | 9:44
Ten women from diverse backgrounds were asked to watch a short porn film and
describe what they see. The viewing is via computer, filmed in Skype-like or porn-film style: intimate, domestic and unpretentious.

Sally Krysztal Kramberg | Je te vois | 2013 | 1:38
A video work that almost merges with the whiteness of the wall; a screwdriver emerges through a cardboard wall. The screwdriver pierces the surface separating it from the external world and opens a window that reveals nothing.