The Vault (August-October 2011)

Gili Avissar, Guy Ben-Ner, Ben Hagari, J. Louise Makary, Arzu Ozkal, Gilad Ratman, Elham Rokni, Brian Sabalausky, Cigdem Slankard, Doron Solomons, Karel Van Laere, Nathaniel Whitcomb, Nanette Yannuzzi
August 26 - October 21, 2011

The Vault functions as a media flat file—a converted walk-in safe where audiences can experience a variety of video and audio art. Work will be added to the The Vault on a rolling basis, remain on view for approximately six months and then rotate out. Viewers have the remote control in their hands to select the work they would like to view.

Currently in The Vault

Gili Avissar (Tel Aviv, Israel)
Circus, 2008
Although he considers himself a painter, Avissar's work for the past two years his work has been based on animation, installation, and video. The animation and video works emerge from his desire to perform and to document life.

Gili Avissar
My Piano, 2009
See above.

Gili Avissar
Night Ride, 2008
See above.

Guy Ben-Ner (Tel Aviv, Israel)
Stealing Beauty, 2007
Guy Ben-Ner and his family set themselves up as refugees in an IKEA, going about their daily business amidst the hussle and bustle of an active business.

Ben Hagari (Tel Aviv, Israel)
Invert, 2010
In this piece by Israeli artist, Ben Hagari, duality is explored-mirrors, color inversion, inverted speech, closed eyes are "open," etc. Even backgrounds and characters are painted their opposite color, so "natural" color is restored through inversion.

J. Makary (Philadelphia, PA)
PARISS (Paloma and Ra?l in San Serriffe), 2010
This piece is a meditation on history, intrigue, experimental narrative and the biggest typography-based hoax in history. The result of a year-long residency at Landmarks, this work was filmed on-site in the 1765 Powel House Museum.

J. Makary
Wanna Kiss Myself, 2008
A dance idea that picks up debris--bits of video art, cinematic camera moves, jokes, self-seriousness, a visual talisman or two, and lots of blinking. A dozen Philadelphia-based performers inhabit a colorful enclosed world.

Gilad Ratman (Tel Aviv, Israel)
Che Che the Gorgeous, 2005
Gilaad Ratman's cinematic video art doesn't follow an narrative arc, but embodies a poetic cohesion. In this work, Gilaad focuses on ruined illusions by revealing the foley artists who made the sounds for the first half of the video.

Elham Rokni (Tel Aviv, Israel)
Crossing the Dune, 2010
By Elham Rokni. A man slowly crosses a dune on his bicycle as we moves platforms ahead of him to allow him traction in the slippery sand.

Elham Rokni
Spaghettidog, 2006
The artist stated, "This work started as a parody on amateur porno movies, and only after the shooting, while editing, the primal intention changed into a more existential state of mind so during the work itself, everything was very humoristic and fun."

Brian Sabalausky (Cleveland, OH)
Live Studio Audience: Late Night in the Heights, 2011
Brian Sabalausky deconstructs the talk show genre by using its trappings and isolating them for individual consideration.

Brian Sabalausky
Live Studio Audience: Spinning Plant, 2011
See above.

Cigdem Slankard (Rocky River, OH)
Bad News / Good News, 2005
Artist Cigdem Slankard extracted footage from three Turkish films starring Turkan Soray (the Sultan of Turkish cinema) to question cultural gender roles as the woman in always in positions of weakness/reaction whereas the man is active and powerful.

Doron Solomons (Tel Aviv, Israel)
Exquisite Corpse, 1999
In Exquisite Corpse, we see heads composed of three un-matching parts taken from news footage. The voices are superimposed on one another. All that one can hear distinctly are the names of politicians.

Karel van Laere (Maastricht, Netherlands)
Impact, 2010
Karel van Laere's Impact depicts a man in a suit being dragged out of the ocean and through the pastorial and urban landscapes while a narrative recounts the plight of the dragged protagonist.

Nathaniel Whitcomb (Detroit, MI)
"Contain" by Holy Spirits, 2011
This piece is from a series of motion collages created for the band, Holy Spirits. It was hand cut out, scanned & digitally assembled from a pile of 40 year old National Geographic magazines.

Nanette Yannuzzi and Arzu Ozkal (Oberlin, OH and San Diego, CA)
Mission: Cleveland Land Mass, 2011
Playing off of Cleveland's recent history of vacant urban land, this piece urges viewers to experience the obvious, the familiar and the ignored through the distorted lens of the camera like the original moon landing.

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