Nir arieli biography sample
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Nir Arielli, Liberate yourself from Byron get trapped in Bin Laden: A Wildlife of Imported War Volunteers
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Nir Arieli began his career as a military photographer in Israel; from the very beginning it is possible to read his great ability to explore the sensitivity of the subjects in portraits.
In his current research he concentrates his artistic experimentation in working with dancers with whom he manages to create an incredible artistic exchange.
In front of the shots the observer is fascinated by the moment of intimacy that reveals the story of the dancers portrayed with their feelings and emotions.
All images © courtesy of Nir Arieli
Website: https://nirarieli.com
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Your biography reads about your beginnings as a military photographer in Israel. How did the evolution of your new artistic phase happen? Are there elements that you find in common between the two phases?
I felt lucky that I could do something creative like photography in my service, It indeed changed my life. I was sent to do both documentary and portrait work. It is then that I learned that I'm not a photojournalist but more of a director, I like to stage and interact directly with my subject. Supposedly, my work now is completely different. It's about ideas that I'm interested in, people that I choose and themes like dance, which is a million miles a
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Sometimes we hear the participants’ words in their own voice and other times, the dancers narrate. Their phrases also reverberate as lyrics in the operatic music of the first half, with highly repetitious constructions—“her eyes, her eyes, her eyes”—accompanying the more technical and virtuosic dancing. Vigorous jumping and combative partnering set up an energetic tension with yearning leg lifts and contemplative balances, like when Huiwang Zhang assumes a lateral arabesque, both arms pointing sharply to the ground. In a cast of standouts, Zhang and Mak Thornquest continually drew my eye, even when the stage was busy with simultaneous actions.
Gretchen Bender’s environment of shifting video screens reconfigured with each new section. They appear as opaque blue or red rectangles before displaying portraits of the participants and small snippets of workshop footage. They are also canvasses for Jones’s graphic video art. In one moment, a horizontal line of screens features animations of beating hearts. In another section, two screens stacked on top of each cycle through a grotesque series of fast cuts featuring disembodied anatomical parts: teeth, eyeballs, feet, hands, a chest.
But the themes of mortality and uncertainty were the most resonant in some of the more casual momen