1. Accelerator 2011, 03:51

    03:51

    from Uri Nir Added 377 7 0

    "...The movie "Accelerator" was shot in the museum space several weeks before the opening. the filming location extends over two floors: the second level of the Museum (Helena Rubinstein Pavilion) and the basement, over which the occurrence spills. A young child (the artist's son) is surrounded by thin trickles of sand spurting from the noses of sarcophagi suspended in a circle from the ceiling. The sand drips form a cage-like structure around the child. A hole is gaped in the floor amid the sand mounds accumulating at the foot of the imaginary bars, and the sand shot from above flows to the level below, where it piles up. The scene takes place by the light of a storm of flashes, flickering from translucent white doors installed throughout the level, slicing the dark space with glowing whiteness".

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    • Accelerator 2011 - exhibition walkthrough

      03:30

      from Uri Nir Added 272 2 0

      Accelerator: Uri Nir, Helena Rubinstein Pavilion, Tel Aviv Museum of Art, April-July 2011 "...The second floor contains an installation of doors flashing like an electrical storm: ten door-like light boxes made of Plexiglas after photographs; their location in the space signifies a composition of rooms without walls... The doors themselves are the only items in the film "Accelerator" physically present as objects in the exhibition. As if the vision has ended, but its beatings continue, and they flicker on in the same rhythm and intensity, in a cyclical frequency of 3:51". "...The film 'Second Chance' is projected from a screen mounted on an aggregate of public telephone booths. The telephones are cast in clay and painted; the booths are made of Plexiglas and tin, which were cut, reassembled, and compressed into a cubic structure. The telephone receivers hang/droop downward, sending forth a musical tune. The film's soundtrack is the sound accompanying the entire show, obeying the duration of its time cycle. By compressing the telephone booth units, the physical spaces between the urban telephones are translated into the time intervals between musical notes."

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      • Accelerator 2011 - stills

        01:46

        from Uri Nir Added 125 2 0

        images from the catalog Accelerator: Uri Nir, Helena Rubinstein Pavilion, April-July 2011

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        • Alex Levac | Artists Talks on Art - Tel Aviv Museum of Art 2013

          55:22

          from Tel Aviv Museum of Art Added 58 1 0

          שיחות עם אמנים על אמנות | הרצאה של הצלם אלכס ליבק במסגרת סדרת מפגשי אמן במוזיאון תל אביב לאמנות , 31.10.2013 האמן מציג מאוסף עבודותיו Lecture by photographer Alex Levac, part of a series of artists talks at the Tel Aviv Museum of Art. 31 October, 2013

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          • Anna Yam: Bird's Milk | Encounter with the artist 2014

            55:21

            from Tel Aviv Museum of Art Added 24 0 0

            אנה ים: חלב ציפור, מפגש עם האמנית בתערוכה, 10 ביולי 2014 Anna Yam: Bird's Milk, encounter with the artist, July 10, 2014 מוזיאון תל אביב לאמנות Tel Aviv Museum of Art אוצרת: נילי גורן Curator: Nili Goren פרטים על התערוכה: http://www.tamuseum.org.il/he/about-the-exhibition/anna-yam About the exhibition: http://www.tamuseum.org.il/en/about-the-exhibition/anna-yam

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            • Aram Gershuni I Artist Talks on Art - Tel Aviv Museum of Art 2014

              01:24:45

              from Tel Aviv Museum of Art Added 529 1 0

              שיחות עם אמנים על אמנות | הרצאה של האמן ארם גרשוני במסגרת סדרת מפגשי אמן במוזיאון תל אביב לאמנות , 3.4.2014 האמן מציג מאוסף עבודותיו Lecture by artist Aram Gershuni , part of a series of artists talks at the Tel Aviv Museum of Art. 3 April, 2014

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              • Art at Independence Hall

                04:13

                from Adam Courtney Added 35 0 0

                Independence Hall is the place where David Ben-Gurion declared Israeli Statehood in 1949. Donated by the first mayor of Tel Aviv Meir Dizengoff as an art museum, it was the site chosen for the Statehood ceremony and the art was chosen specifically for the occasion. After the ceremony, it was once again an art museum until 1978 when it was restored as Independence Hall and opened to the public. Our discussion focused on what the participants saw in the art that was chosen for these walls. What does the art say about the artists? About the Jews who are the primary subjects of the work? What does it say about the people who chose these works specifically? Finally I asked them what art they would have chosen, and what art they would choose as the follow-up exhibition? What goes on the walls after the historic declaration of statehood.

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                • Artist / Curator talk - Periphery of the Senses: Olafur Eliasson and Ruti Direktor

                  39:32

                  from Tel Aviv Museum of Art Added 40 0 0

                  Periphery of the Senses Conversation between artist Olafur Eliasson and Curator Ruti Direktor at the Tel Aviv Museum of Art, 30 May 2014 Winner of Wolf Prize 2014 in Painting / Sculpture. שיחה בין האמן אולאפור אליאסון לבין האוצרת רותי דירקטור במוזיאון תל אביב לאמנות 2014 זוכה בפרס וולף 2014 בציור/פיסול‏

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                  • Artist Lecture - Reality is Relative: Olafur Eliasson

                    01:01:10

                    from Tel Aviv Museum of Art Added 54 1 0

                    Reality is Relative: Olafur Eliasson Artist Lecture at the Tel Aviv Museum of Art, 30 May 2014 Olafur Eliasson is the winner of Wolf Prize 2014 in Painting / Sculpture. הרצאה של האמן אולאפור אליאסון במוזיאון תל אביב לאמנות, 30 במאי 2014 האמן מציג את אוסף עבודתיו האמן אולאפור אליאסון הוא הזוכה פרס וולף 2014 בציור/פיסול

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                    • Artist Talk with Jeff Wall

                      01:31:54

                      from The Sip Added 757 8 2

                      Jeff Wall (b. 1946, Vancouver) is one of the most important and fascinating artists living today, and undoubtedly one of those responsible for establishing photography at the forefront of contemporary art. From his early days to the present – varying in techniques and topics, from street photography in his “near-documentary” style, quotes and complex and original references to art history to reconstructed “cinematographic” style – the distinction between the commonplace and the spectacular is blurred, and the topics of masterpieces are converted to everyday simplicity.

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