MY WORK IS IN THIS SHOW / SATURDAY JUNE 7 - 28
Queer City Cinema Performing Art Series
Tobaron Waxman
June 7 - 28, 2008
anagram (2002)
Peytach Eynayim (2002)
Lechem oni - prusa
Lechem oni - prusa invokes iconic Holocaust imagery with the intent of criticizing the misappropriation of the Holocaust as a means to bias mainstream opinion. The soap bars are assembled in piles, recalling the piles of Jewish belongings and Jewish bodies discovered at concentration camps, with the soap itself an allusion to the Nazi practice of making soap from the fat of Jewish bodies.
From a response poem by Dr. Mira Amiras:
"...do you remember what the experts say
about childhood trauma?
"symbolic reenactment"
it's not that you do the thing that was done to you
oh no we don't do that
it's that you make 'em feel what you felt when it happened
and you don't know it
you don't know it!
and you can't help it
and you can't stop it
and so you don't know why
you feel so unclean
and so you wash
and do the Lady Macbeth thing
and it doesn't come clean
all i ever get is soap scum at my feet."
Mira Amiras, 2003
The soap bars from Lechem oni - prusa are for sale to the public. Proceeds from the sale of this artists multiple shall go to Achoti, a peer-run group of Arab and Mizrachi working class women in Tel Aviv, many of whom are domestic workers. Please inquire with gallery staff for assistance in purchasing the multiple. For more information about the Achoti feminist worker project, please visit http://www.achoti.il.org/english.html.
anagram (2002) and Peytach Eynayim ((the place of) Open Eyes) (2002) both incorporate a random walk javascript. The image is in a constant state of change. In anagram, this state of change generates a new image/word phrase by constantly reordering the content at different speeds. Peytach Eynayim cites Chagall's Jesus as a Jew imagery from his crucifixion paintings, with a new Queer iconography. The title is a reference to the crossroads where Tamar waits for Judah. The javascript breaks the image apart, and proceeds to reconfigure it ad infinitum. The viewer can refresh the image to see a contiguous moment, via Max/MSP programming designed by Zach Seldess and Alexander Overington.
Each of the three pieces engages a process through which the work begins in one form and then becomes something else; they are all effectively process works.
"The three pieces indicate a personal process of 'becoming', ethnically, culturally, as I moved through differently gendered experiences and as a result distilled different relationships to cultural narratives." (TW)
Fabrik Assistenten:
Rob Bos
Seema Goel
Max/MSP Programming:
Alexander Overington
Zach Seldess
SPONSORED BY:
NEUTRAL GROUND
UNIIVERSITY OF REGINA - DEPARTMENT OF MEDIA PRODUCTION AND STUDIES
Tobaron Waxman
June 7 - 28, 2008
anagram (2002)
Peytach Eynayim (2002)
Lechem oni - prusa
Lechem oni - prusa invokes iconic Holocaust imagery with the intent of criticizing the misappropriation of the Holocaust as a means to bias mainstream opinion. The soap bars are assembled in piles, recalling the piles of Jewish belongings and Jewish bodies discovered at concentration camps, with the soap itself an allusion to the Nazi practice of making soap from the fat of Jewish bodies.
From a response poem by Dr. Mira Amiras:
"...do you remember what the experts say
about childhood trauma?
"symbolic reenactment"
it's not that you do the thing that was done to you
oh no we don't do that
it's that you make 'em feel what you felt when it happened
and you don't know it
you don't know it!
and you can't help it
and you can't stop it
and so you don't know why
you feel so unclean
and so you wash
and do the Lady Macbeth thing
and it doesn't come clean
all i ever get is soap scum at my feet."
Mira Amiras, 2003
The soap bars from Lechem oni - prusa are for sale to the public. Proceeds from the sale of this artists multiple shall go to Achoti, a peer-run group of Arab and Mizrachi working class women in Tel Aviv, many of whom are domestic workers. Please inquire with gallery staff for assistance in purchasing the multiple. For more information about the Achoti feminist worker project, please visit http://www.achoti.il.org/english.html.
anagram (2002) and Peytach Eynayim ((the place of) Open Eyes) (2002) both incorporate a random walk javascript. The image is in a constant state of change. In anagram, this state of change generates a new image/word phrase by constantly reordering the content at different speeds. Peytach Eynayim cites Chagall's Jesus as a Jew imagery from his crucifixion paintings, with a new Queer iconography. The title is a reference to the crossroads where Tamar waits for Judah. The javascript breaks the image apart, and proceeds to reconfigure it ad infinitum. The viewer can refresh the image to see a contiguous moment, via Max/MSP programming designed by Zach Seldess and Alexander Overington.
Each of the three pieces engages a process through which the work begins in one form and then becomes something else; they are all effectively process works.
"The three pieces indicate a personal process of 'becoming', ethnically, culturally, as I moved through differently gendered experiences and as a result distilled different relationships to cultural narratives." (TW)
Fabrik Assistenten:
Rob Bos
Seema Goel
Max/MSP Programming:
Alexander Overington
Zach Seldess
SPONSORED BY:
NEUTRAL GROUND
UNIIVERSITY OF REGINA - DEPARTMENT OF MEDIA PRODUCTION AND STUDIES