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February 2021
 
 
 

This is a mechanism by which it is possible to remain in the place that you live, without exposing others or being exposed, while still being able to experience the presence of resistance in three dimensions. In my own private apartment, you will be able to experience the encounter between body and law while managing to come out without a single scratch. Your guilt will accompany you throughout the spaces as you digest the resistance digitally. This is the possibility of staying in isolation and being present in all places in the real world.

Over the last few months, large-scale protests have been ongoing in Israel. A number of organizations, with the main one being the „Black Flags” movement, protest against a range of issues: against the Prime Minister, where the protesters are demanding his resignation due to the indictment against him; against the erosion of state institutions, emphasising harm to the rule of law system; against the treatment of the economic crisis created in Israel due to the corona pandemic; protests by sectors affected by the economic crisis, including the self-employed, employees, teachers, social workers, restaurateurs and people in the fields of sports and culture. Many civilians were injured due to police violence.

SEE THE PROJECT > thevirtualcanvas.site

 

ABOUT THE ARTIST

Regev Amrani (1988) is a video artist and sculptor and a graduate of the Bezalel Academy of Art and Design (BFA) in the Fine Art Department 2016. In changing settings, Amrani combines sculptural installations, sound, video works, and autobiographical information with contemporary social and political situations.
On the surface of many of his works there is a desire to distance masculine violence and sexuality. The ideas of impulse and desire are disinfected, purified and cleansed through various mechanical filtering objects. These mechanisms dismantle the physical experience of the body with the help of these filters.

 

The House of Protest is a part of The Virtual Canvas online exhibition.

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