The Art Newspaper

No. 132, p.5
January, 2003
By Sarah Douglas

Ori Gersht CRG Gallery 

The past year has been an eventful one for the young, London-based Israeli-born photographer Ori Gersht, with exhibitions at Tate Britain, the Tel Aviv Museum of Art, gallery shows in London and Los Angeles, and the publication of his book Afterglow (August Books). This month marks his solo debut in New York. Gersht’s work is concerned with notions of journeying, especially to historically significant sites-a signature piece, “White noise , recorded a train trip from Krakow to Auschwitz. The two videos on view at CRG were shown at Tate Britain: “Dew is an extended view of a Bedouin camp at the edge of the Negev desert, filmed from atop a jeep (as drops of dew form and then dry on the camera’s lens, the camera itself adjusts, bringing the desert scene in and out of focus); “Neither black nor white was filmed from the Jewish quarter of Nazareth looking down on the Arabic village of Iksal (the camera records half a second of footage every 30 seconds, and so eight hours of shooting is compressed to an eight-minute film.) Photographs from his recent series “Being there” (below) were taken last summer from this same vantage point and capture the desert in a saturated red, as if from a raging fire. Photographs taken in the Golan Heights depict a scorched earth, a reference to Israeli military training drills (until 1 February).