Forever in a Day

1.10 min', 2016

Couldn't Dream Anywhere

3.39  min', 2016

4ever

1.32 min', 2015

Back to Reality

1.39 min', 2016


Eden Mitsenmacher

FOREVER

IN A DAY

Video installation


ALEPH Projects application for Moving Image Art Fair


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56 sec', 2015

dot dot dot

5.32 min', 2016

Is there such a thing as too much ASMR?

8.32 min', 2016

EDEN MITSENMACHER
Born 1987 in the USA; works in Rotterdam and Tel Aviv.
Holds a BFA from Goldsmiths College University of London and an MFA from the Dutch Art Institute. Has participated in several exhibitions world wide, including; the Van Abbe Museum in the Netherlands, Arebyte Gallery London, ANILOGUE, Animation Festival Budapest, Internationales KurzFilmFestival Hamburg Germany, Think Tank Gallery, Los Angeles and many more. 
FOREVER IN A DAY
In the time of an information-overload, it can be difficult to attain to a certain method of working without distraction - time is becoming an evermore lucid term with the influx of the 24-hour working day and the obligation to be reachable at any time. Resisting the homogenisation of time is a difficult point to consider when we delve into contemporary accelerationism and posthastism, which maintains that things must get worse before they can get better. Nicholas Carr questioned how we can resist this need to be on-call” with a series of rules, including tweeting about things that happened a month ago. But if contemporary accelerationism pushes towards a future that is more modern, by reverting to the past are we challenging the problem or simply allowing it to manifest itself in different ways?
If the experience of seeing art slows us down”, why are we so fascinated (or un-fascinated) with not being able taking our time? We are inundated with mixed messages and our lives are now more than ever being mediated through a screen; immediate, HD ready and fleeting.
Focusing on how one might reacting to the extreme present, and how this might go someway into determining the future of exhibition making and the new idea of collective ownership, or collective authorship - At the moment we don’t know which will triumph: the individual or the mob. It might be the biggest question of the century.” Criticising the ideas surrounding the extreme present’ with focus on; instant gratification not being soon enough; collaborative or un-authorship; the inherent sadness of dead media; the internal model (brain theory); truthiness of objects/media; interrogation of what is means to create work of meaning in the time of technological advances and the internet; and resisting image circulation via ephemerality and collaboration.