Once a Wall, or Ripple Remains
Once A Wall, or Ripple Remains (2008) is the last fold in an on-going documentary project spanning more than seven years to date as well as a wide range of media (from single channel video, CD-ROM, website, to written text, 3-D animation, and interactive installation). The various media reflect and undermine each other’s reports, detecting gaps, contradiction and bias in the perception and mediation of the primary experiences or encounters that set the trail of records in motion. Together they form a shifting history not only of the experiences themselves, but of each moment’s viewing and of its articulation: a manifold document that questions the stability of any perception, record, or rendering of such encounters.
The encounters referred to occurred in the area known as the Occupied Territories in Palestine (1998-99), where Bosmat Alon and I embarked on a video project (Kayam Al Hurbano) that was intended to provide a political and social visual interpretation to a series of dream texts Alon had previously written. Two years after the completion of Kayam Al Hurbano and of its two subsequent iterations (Occupied Territory CD-ROM and Website), I returned to the images imagined (“dreamt” or remembered), the images seen, the images shot and the images digitally manipulated, this time with Maree Makom, a written text that wove these four states–projection, perception, framing, manipulation–into a series of verbal snap shots. Once A Wall, or Ripple Remains is an attempt to return yet again to the haunting visual presence of the documented images of Palestine; a return that would incorporate these images’ passage through media, and through the history impacting their perception, in their very display.
The piece consists of a sequence of video/3-D stage sets, constructed in accordance with the dictates of a selection of paragraphs from Maree Makom. My intention was to grant the text of Maree Makom, which was initially conceived as “post-script”, the role of an actual film script, or a series of staging instructions, and with the aid of a 3-D animation software to mould the original shots within a staged set that reflects the interruptions and projections depicted in the text of Maree Makom. The camera navigating the 3-D environment lays bare its seams, reveals the flatness of the image at the structure’s base and the projected characteristics of the constructed site’s occupants.
Music and sound design by Oded Zehavi