Feb. 24, 2018 - June 2, 2018



Miri Segal 

Miriage 

Herzliya Museum
of Contemporary Art
Curator: Dr. Aya Lurie

Exhibition Catalog



List of works

· Cursed Spirits
· Miriage
· Lament
· Being Miri Segal
· Portrait of Satoshi Nakamoto 
  AKA Anonymous Gazes Cross

· Temporary Relief
· Neverfall
· The Shining
· Sergey B.

· Don’t Be Evil

· BRB

· Place de la Bonne Heure

· Still life in cucumber season

· Necrofleur

· Vapor

· Exhibition Text by:Aya Lurie



Unless otherwise stated works are courtesy of  Miri Segal and Dvir Gallery, Tel Aviv

The work was generously supported by the Cultural Council of the Israel National Lottery - Mifal HaPais.
Miri Segal: Miriage is supported by the Artis Grant Program
 
Still Images in this catalogue by: Lena Gomon
Videographer: Asi Oren

MIRI SEGAL

Miri Segal’s artistic language, crystallized over the past twenty years, employs a variety of media – including video, light and text, treated objects involving hardware and software, photographic and computer-manipulated imagery. Through the involvement of sensory and physical manipulations, optical illusions, word games and enticing technological experiences, Segal's works often invade the viewer's space in unexpected ways. Floating images, Technological Ghosts, shadows without body and the Purgatorium - serve to subtly speculate on our capacity to apprehend concrete reality. Segal’s works reflect her interest in philosophical questions regarding Existence, Ethics of Technology, and Economic-Political Regimes.

AYA LURIE

Aya Lurie, PhD., is the Director and Chief Curator of The Herzliya Museum of Contemporary Art. Lurie is also a Lecturer at the Academic College of Tel Aviv-Jaffa in the curatorial program of Israeli Art studies, and serves in several judicial prize committees  (Art, Museum & Curatorship) in varied professional leading venues. She was the former Chief curator of the Shpilman institute for Photography. 

   ︎  



CONTACT
Miri Segal


Home




2003 13

Still Life in Cucumber Season

Media installation: video, room, glass, sheet, mirror, sound, light, 5 min Private Collection

Images: installation shots

In this work, Segal invites the viewer to take part, as a voyeur, in a situation that occurs between a couple who are likely fictional.  The viewer enters a small room where one of the walls contains a window-shaped aperture. Opposite the “window” there hangs a piece of transparent glass, reflecting a running film; in front of the film, there hangs a small mirror, reflecting the viewer’s face. The film begins with the shot of a girl leaning against a wall, caressing herself, waiting. The viewer’s reflected image merges with the girl’s screened image, creating the illusion of contact between film and viewer. After a while, the girl is joined by fellow with a bouquet of flowers and bends over the girl for a lingering kiss, the projected artificial bouquet finds its place in a real vase in the room.
At this moment, the viewer feels that the image of the girl no longer submits to her, but rather to a different image. The action in the film is taking place on the viewer’s face excluding and embarrassing him, turning the viewer into the “still life”.
The projected balance of power echoes the mythical Orpheus story as an erotic longing to merge with the other, which is ultimately doomed to fail.

︎