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Roi Kuper
The White Cliffs of Dover, second part of the "To Eat of the Leviathan Flesh" trilogy, 2007
(colorprints 126x126 / 90x90 cm)
Atlantis, first part of the "To Eat of the Leviathan Flesh" trilogy, 2007, (colorprints 60x60 cm)
War Situation, 2006, (colorprints 126 x 126/70x50 cm)
Poland, 2005, (colorprints 126 x 126 cm)
Like Stars in the Water, 2005, (colorprints 126 x 126 cm)
Summer Day, 2003, (colorprints 126 x 126 cm)
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Ansar, 2003, (colorprints 126 x 126/80x80 cm)
No Escape from the Past, 2002, (colorprints 126 x 126 cm)
from the series "Citrus", 1999-2001, (silverprints, 120x120 cm)
from the series "Necropolis", 1996-2000, (silverprints, 120x120 cm)
Deserted army camps become local archeological sites within a culture
that invests heavily in training, defense, and war. Abandoned constructions
become monuments that exploit the environment, leaving in their wake
decay and ruins.
This archeological journey parallels with a research conducted within a
diversity of areas, such as investigations into unresolved crimes, a pathological
post-mortem of remains, sociological and anthropological findings. It
offers a testimony to specific culture and time, and a metaphysical exploration
of the mythical importance of an army within Israeli society.
Kuper expose artificial and natural architecture that is both functional
and dysfunctional, spacious and confined, calculated and abandoned. A
new aesthetic emerges from a nomadic reality leaving concrete shadows
of disturbing nature.
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