Yearning

A timer is running 59 minutes on a still image of graves on Mount Olives. The prophecy of the resurrection exists, but as long as the dead did not get up G-o-d did not heed. (the word for an "An hour" in Hebrew is used also for "Heed" ) .
The tension between the constant movements of the clock that moves in the silence of the still image increases the accumulated tension and emotion that grows more and more while viewing more time at the piece. The image stays in the same place, at the first moment the viewer saw it (GAZE) but the viewer feel the movement of the clock all the time. When observing a still image, time is subjective to the viewer. When observing a video, time is objective to the time of the video. By using one still image for a video art, while a clock is running on it, the tension between the subjective and objective of time is formed.
Despite the fact that the matter of objectivity of the artwork and the subjectivity of the viewers can be obvious and clear, my engagement with this subject in the creative process is large and I use it for the creation of either tension or harmony (Each work of art is objective in form to itself). Also in painting which is the medium that I began from. I believe that a painting is not a static object but it is an emotional object and therefore has movement, although the movement is an internal movement within the viewer that is manifested in plastic values etc.
I want to share with you a quote from a text that the novelist Albert Suisa wrote about the "Yearning" project:
"Photography of a cemetery is a sort of tautology in the sense that a photograph itself is a kind of entombment, the freezing of time, that which marks what was once alive but is no longer. Photography absorbs the world, or perhaps it always appears to be a kind of empty, 'objective' consciousness of death. After all, while the photograph shows what was alive, at the same time it freezes that which cannot escape transience, substitution, finiteness. Measuring time for graves, for the dead, for those who have already achieved ‘eternity,’ is a kind of mockery of the dead, or self-irony of the living artist or the viewer.
The graves themselves, an everlasting residence, their absolute silence, bareness and architectural simplicity are also tautological, duplicating the dust and ashes that replace the body. The digital chronometer is also a tautology of itself – the numbers change, the time that ‘passes’ accumulates, but nothing is gained, it is only the totaling of units of nothing.
Using a digital chronometer to shoot footage of a cemetery is, therefore, a tautology of a tautology of a tautology. Ostensibly, the artist here is absurd; he spends his limited ‘time’ mesmerized in observation of a death machine that replicates itself, and transforms the artist into an active and wide-eyed partner like Paul Klee’s “Angelus Novus,” the Angel of History of Walter Benjamin."

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