Irit Batsry, Recent Work

Irit Batsry, Warning House, 2011

2011-10-16T06:24:00.001-04:00

Site-related Installations, Beit Mani, Tel Aviv 2011
September 22 - November 27, Yehuda Halevi 36, Tel Aviv

Industrial yellow and red security tapes with printed legends 'caution' and 'danger' fixed into window, live feed from surveillance camera on a tripod pointing at the street through the window 'screen' projected by two video projectors on the room's wooden door.

Caution/Danger Window and part of Caution/Danger Carpet,

Caution/Danger Carpet/Banknote (10 Palestine Pounds),

A carpet made of Caution/Danger Industrial yellow and red security tapes pattern follows a 10 Palestine Pounds note of the Angle-Palestine Bank found at Beit Mani archive.

Caution/Danger Facade, 2011 Industrial yellow and red security tapes with printed legends 'caution' and 'danger' fixed into balconies' ironwork.

Irit Batsry, Warning House, a cycle of site related installations is part of

One, Two and ... Three

Curator: Dalia Levin | Associate Curator: Tal Bechler

presented by

Herzliya Biennial for Contemporary Art in collaboration with
ArtTLV and Herzliya Museum of Contemporary Art

Participating artists:

David Adika, Lea Avital, Ido Bar-El, Irit Batsry, Amit Berlowitz, Yael Efrati, Dani Gal, Gideon Gechtman, Shachar Freddy Kislev, Gabi Klasmer, Miki Kratsman, Hila Laviv, Dana Levy, Elisheva Levy, Jacob Mishori, Jan Tichy, Shahar Yahalom.

Irit Batsry Caution/Danger, 2010

2011-02-19T18:26:00.018-05:00

Caution/Danger Street Life, site-related installation

Bendana-Pinel Art Contemporain, Paris, Sept 9 - Oct 23, 2010

Security tapes printed with legends 'Caution' and 'Danger' (5,000 meters approx.),

12,000 stapples, video camera, two video projectors.

The entangled yellow and red industrial security tape printed with the words “Caution” and “Danger” were installed at the bay windows, subverting their usual function. These “membrane-like” structures change appearance according to the position of the viewer and the natural light. They partially obstruct the view into the gallery, where video projections are set to show passers-by’s movements captured through the security tape “curtain” by a “live” camera transforming the space into a monitoring device.

window (in memoriam), 2010

2010-02-05T15:06:00.040-05:00

Installation in existing architecture.

Industrial yellow and red security tapes

with printed legends 'caution' and 'danger',

fixed into the gallery's terrace glass door.

Part of Eco, Ritmo, Acaso,

January 30th till March 26th, 2010

Durex Arte Contemporânea. 2508-6098

Praça Tiradentes, 85, Rio de Janeiro, Brazil

Beach at Nightfall/Caution

2009-02-24T14:21:00.040-05:00

Shoshana Wayne Gallery, February 26 - March 28, 2009

Bergamot Station, 2525 Michigan Ave. Santa Monica, +13104537535

Irit Batsry, Beach at Nightfall, 2008

video and mixed media installation, partial views of main gallery.

Partial view of West Gallery including :

Irit Batsry, Caution : Hold - Shoreline, 2007/2009

Irit Batsry, Caution : Firesun 2007/2009

Two Digital Lamda prints, 48" by 70.86" each, and a Digital Lambda Print, 48" by 63".

To see details of images from the Caution series, please scroll down to previous posts.

Read LA Times Review

http://latimesblogs.latimes.com/culturemonster/2009/03/review-irit-bat.html

Beach at Nightfall, 2008

2008-11-10T15:00:00.033-05:00

video and mixed media installation by Irit Batsry,

Herzlia Museum of Contemporary Art, sep 6 - nov 15, 2008

Wave Breaker, 4'07" (projection on left wall)
Vanishing Line, 3'19" (projection on right wall)
Fire Birds, 4'52", (small free standing projection)
Virtual moving images created by reflections, (on the central wall),

please click to read description:

http://www.mouse.co.il/CM.articles_item,417,209,28606,.aspx
Ha'aretz review by Smadar Sheffi (in Hebrew).

a short video documentation of the installation.

La Ligne Jaune (suite), Installations by Irit Batsry at Le Parvis, Ibos, France 2007

2008-04-10T07:46:00.001-04:00

Partial view, mixed media installations at the entrance platform.

Partial view, video installations in the main Gallery.

La Ligne Jaune (suite) [The Yellow Line (suite)] is a series of new works including video installations in the main gallery and mixed-media installations on the entrance platform. These installations address the location of the Parvis inside a shopping mall and use its particular architecture. They speak of boundaries and transgression, being outside and inside, inclusion and exclusion, but also of perception and of our relationship to the environment.

The entrance platform includes several installations built with yellow security tapes.

The platform’s floor is invaded by proliferating forms resembling “mutant organisms” arranged to evoke terrestrial and celestial cartographies, beehives, coral reefs or strange fruits.

The presentation counters that surround the platform were painted black and a continuous yellow security tape is “threaded” through them, transgressing the borders of the individual glass panels. Each of the words “Caution”, printed repeatedly on the tape in alternating black and silver, has been individually deformed through heat by the artist.

A “carpet”, made from a stapled striped tape, divides the passage into the main exhibition space obliging the viewer to walk on one side or awkwardly walk with a foot on each side.

The main gallery’s space is transformed by four video projections. The viewers walk in along two large anamorphic seemingly abstract projections. At the back of the space, the reality represented in these images, filmed by Irit Batsry in the North East of Brazil on the set of Karim Ainouz’s « O Ceu de Suely », is revealed in three scenes: an old woman at a white gate, men on a hill and a group of neighborhood people behind a yellow security tape.

In spite of the synchronous projection on the two walls, the asymmetric anamorphosis creates a gap in space and in time that challenges our perception. For example: we see people starting to walk on the right wall and paradoxically see them cross the center of the street after seeing them arrive to its end on the left wall.

Two glass doors, which separate the exhibition space from the theater’s corridor, are transformed into giant light boxes by two video projections: on the right, the children’s slow-motioned movements create a fascinating choreography around the yellow line; on the left, the projected adolescents turn into caryatides. These projections appear sharp when seen from the outside, blurred when viewed from inside the space, “Irit Batsry … proves at her turn, after Marcel Duchamp, that a door can be open and closed at the same time” (Evelyne Toussaint, Les voyages post-exotiques d'Irit Batsry).

La Ligne jaune (suite) is part of an ongoing cycle of works that uses material shot by the artist on the sets of Brazilian feature films. The cycle includes Set, video installation and architectural outdoor projection at the Whitney Museum in 2003-2004. Like Set, La Ligne jaune (suite) transforms documentary material into a spatial experience:

“… Ms. Batsry operates in the gap between fiction and documentary. In "Set" she takes us into that gap to experience for ourselves a complexity that is as psychological as it is painterly, as literary as it is spatial. She displays an unusual ability to draw rich pictorial, symbolic and poetic resonances from the nuts and bolts of filmmaking, and she shows a sure grasp of the inextricable unity of form and content, or structure and meaning, that is scarce in contemporary art.” (Roberta Smith, The New York Times, January 9, 2004).

Other projects in this cycle include Through the Looking, an exhibition of installations, video and photography, shown in 2006 at the Shoshana Wayne Gallery in Santa Monica and The Yellow Line, shown at Monkey Town, Brooklyn, in 2006.

From press release of the exhibition.

Exhibition presented by Le Parvis centre d’art contemporain in collaboration with Heure Exquise!

Images from Through the Looking 2008

2008-03-15T19:18:00.034-04:00

Milagres, Céara, Brazil, 2008.

This series follows Through the Looking 2006, which includes

photographs, a photographic installation and video. It can be

viewed, along with some text about the series at www.iritbatsry.com

Images from caution/danger series 2008

2008-03-13T18:07:00.022-04:00

caution/danger, Rio, 2008

caution/danger, Milagres, 2008

danger/caution, Fortaleza, 2008

caution/danger, Sao Paulo, 2008

caution/danger, Itaparica, 2008

work in progress

Images from caution/danger series 2007

2008-03-12T10:42:00.006-04:00

Caution/Danger, Itaparica, 2007

Thanks to François Maret for participating in this series.

Images from Iguatu, Ceará, Brazil, 2006

2008-03-05T15:32:00.007-05:00

Each of these 25-image composites is created in-camera,

during a single exposure that lasts a fraction of a second.

No modification of composition occurs after this initial exposure.

Each image is therefore not a 'collage', but a ‘record of a performative act', an instantaneous 'document of combined movements'.

Images from Icó, Ceará, Brazil 2006

2008-03-04T18:11:00.001-05:00

Each of these 25-image composites is created in-camera,

during a single exposure that lasts a fraction of a second.

No modification of composition occurs after this initial exposure.

Each image is therefore not a 'collage', but a ‘record of a performative act', an instantaneous 'document of a movement'.