The Benin Project

Orlow, U. 2007. The Benin Project. Fribourg Kunsthalle /Centre dArt Contemporain, Switzerland

TitleThe Benin Project
CreatorsOrlow, U.
Description

A project on the controversial Benin Bronzes that raises questions about ownership, identity and collective memory in a post-colonial context. The project comprises a 7 screen installation, two single screen videos, 28 engravings and a video with wall drawing. In Orlow’s 6 minute looped film, Descent, an Israeli woman in the last stages of pregnancy talks about her experience of moving

to Switzerland. The work takes its title from the literal translation of a Hebrew expression for emigration from Israel: Yerida.

Descent explores the political realities of the Israel/Palestine conflict through the prism of emigration. Descent addresses the

globalised realities of the experience of conflict by avoiding a mono-national discourse and exploring the personal and political

insights made possible by the distance of living in another country,

Descent presents carefully edited fragments from a longer conversation. The quick pace and sharp cutting opens up gaps which

are inhabited by imagination, projection and reflection and evoke the ghosts of place, history and politics. The work consciously

alludes to the format of the TV-interview but works with an actress and therefore undermines the clear distinctions between truth

and fiction, documentary reality and personal story.

Descent has an international exhibition history. It was included in the inaugural exhibition of a new public gallery, Artneuland in

Berlin, which aimed to create a dialogue between Israeli, Palestinian and European art. It was selected for the Videonale

exhibition at Kunstmuseum, Bonn; shortlisted for a Swiss Art Award and exhibited at Art Basel; shown at Nunnery/Bow Arts

Trust, London; featured in the pilot issue of online video-magazine OH! alongside works by Ron Arad, Santiago Sierra;

screened at the international Film Festival Locarno and at Museo Nacional Centro del Arte Reina Sofia, Madrid.

Reviews include Ralph Findeisen, who praised the work, on artnet:

http://www.artnet.de/magazine/reviews/findeisen/findeisen11-30-06.as...

Date2007
EventFri-Art Fribourg
Publication dates
Published2007
ISBN9780955736100

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Orlow, U. 2016. Geraniums Are Never Red.

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Theatrum Botanicum
Orlow, U. 2016. Theatrum Botanicum. London

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Orlow, U. 2015. Made-Unmade.

Unmade Film
Orlow, U. 2015. Unmade Film.

Grey, Green, Gold
Orlow, U. 2015. Grey, Green, Gold .

Unmade Film
Orlow, U., Thal, A., Pappé, I., Gordon, A., Bullot, E., Nashif. I. and Ghanadry, Y. Orlow, U. and Thal. A. (ed.) 2014. Unmade Film. Zurich Edition Fink, Zurich.

Sounds from beneath
Orlow, U. 2013. Sounds from beneath. Japan

Unmade film
Orlow, U. 2012. Unmade film. Aargauer Kunsthaus

Difficulties in Writing the Truth
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Orlow, U. 2010. The short and the long of it.

Remnants of the future
Orlow, U. 2010. Remnants of the future.

In these great times
Orlow, U. 2008. In these great times.

The transgenerational memory of monkeys
Orlow, U. and Farqhuar, M. 2007. The transgenerational memory of monkeys. South London Gallery

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Orlow, U. 2007. Descent. Artneuland, Berlin

The Benin Project
Orlow, U. 2007. The Benin Project. BFI Southbank

The world possessed
Orlow, U. 2006. The world possessed. Museum of Garden History, London, UK

Midday/Midnight (66° 33')
Orlow, U. 2006. Midday/Midnight (66° 33'). ICA, London

Latent archives, roving lens
Orlow, U. 2006. Latent archives, roving lens. in: Lanyon, J. and Connarty, J. (ed.) Ghosting: the role of the archive within contemporary artists' film and video Bristol, UK Picture This Moving Image.

Housed memory
Orlow, U. 2006. Housed memory. Dark Studio, Arnolfini, 16 Narrow Quay, Bristol, UK

What the billboard saw / la ville mode d'emploi
Orlow, U. 2005. What the billboard saw / la ville mode d'emploi. Fribourg, Switzerland Kunsthalle Fribourg Fri-Art.

Urban Inventory #1-4
Orlow, U. 2005. Urban Inventory #1-4. Fri-Art centre d'art contemporain/Kunsthalle, Fribourg, Switzerland

Talk is cheap: some notes on freedom of speech and the ethics of listening in Route 181 by Michel Khleifi and Eyal Sivan
Orlow, U. 2005. Talk is cheap: some notes on freedom of speech and the ethics of listening in Route 181 by Michel Khleifi and Eyal Sivan. 1+1+1. 2.

Still moving and moving still
Orlow, U. 2005. Still moving and moving still.

Inside the archive
Orlow, U. 2005. Inside the archive. City Gallery Leicester offsite exhibition at New Walk Museum, Leicester, UK

In concert
Orlow, U. 2005. In concert. LSE, Kingsway Building, London

Excerpts from 'time and again'
Orlow, U. 2005. Excerpts from 'time and again'. Printed Project. 4.

The trouble with talkies
Chodzko, A., Ellard, G., Johnstone, S., Irvine, J., Orlow, U. and Panting, L. 2005. The trouble with talkies.

Re: the archive, the image and the very dead sheep
Orlow, U. and Maclennan, R. 2004. Re: the archive, the image and the very dead sheep. London, UK Double agents.

A picturesque journey
Orlow, U. 2004. A picturesque journey. Aine Art Museum, Tornio, Finland

Mnemoscapes
Orlow, U. 2004. Mnemoscapes.

Instead (dialogue with an absent friend)
Orlow, U. 2004. Instead (dialogue with an absent friend). Danielle Arnaud contemporary art gallery

A dance of death and life performed by cinema and TV
Orlow, U. 2003. A dance of death and life performed by cinema and TV.

Threshold of language - threshold of light (Hebrew)
Orlow, U. 2003. Threshold of language - threshold of light (Hebrew). in: Borders of sanctity: in art, society and Jewish thought (Hebrew) Jerusalem Keter.

Deposits: a body of work comprising 1942 (Poznan), Housed memory, the Weiner library, Inside the archive
Orlow, U. 2002. Deposits: a body of work comprising 1942 (Poznan), Housed memory, the Weiner library, Inside the archive.

Chris Marker: the archival power of the image
Orlow, U. 2002. Chris Marker: the archival power of the image. in: Comay, R. and Knechtel, J. (ed.) Alphabet city #8: lost in the archives Toronto, Canada Alphabet City Media Inc.. pp. 436-451

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