V'la'ir (and to the city)
Tel Aviv is a city that is undergoing rapid urbanisation and urban sprawl. The center of Tel Aviv has become unaffordable and there were protests in Summer 2011 in the city, where people camped on the boulevards to protest against the rapidly rising rental prices.
During a visit to Tel Aviv in March 2012, I found a piece of graffiti downtown using an excerpt from “The streets take off slowly", a poem by Israeli poet David Avidan. The line that struck me the most was:
"and to the city, there is no beginning and there is no end."
I wanted to magnify this idea onto the city of Tel Aviv; I began to learn Israeli Sign Language and signed the sentence against the light from an empty slide projector, leading to a magnified “speech” projected onto buildings in the suburb of Neot Afeka in Tel Aviv.
I am interested in the multiplication of ideas through language as a standardised medium, and the loss that occurs through standardisation becoming a space open for personal interpretation – its precise lack of fixity, similar to Wittgenstein's notion of language games. The references of a word are not fixed, but they gain meaning from context. In parallel, the ambiguous shadows of the signs do refer to something pre-defined, and the context is the actuality of the audience's environment.
During a visit to Tel Aviv in March 2012, I found a piece of graffiti downtown using an excerpt from “The streets take off slowly", a poem by Israeli poet David Avidan. The line that struck me the most was:
"and to the city, there is no beginning and there is no end."
I wanted to magnify this idea onto the city of Tel Aviv; I began to learn Israeli Sign Language and signed the sentence against the light from an empty slide projector, leading to a magnified “speech” projected onto buildings in the suburb of Neot Afeka in Tel Aviv.
I am interested in the multiplication of ideas through language as a standardised medium, and the loss that occurs through standardisation becoming a space open for personal interpretation – its precise lack of fixity, similar to Wittgenstein's notion of language games. The references of a word are not fixed, but they gain meaning from context. In parallel, the ambiguous shadows of the signs do refer to something pre-defined, and the context is the actuality of the audience's environment.
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