b. 1974, Herzeliya, Israel
Nir Evron's artistic practice explores concepts of collective memory and political action against the backdrop of the digital age. In Echo (2008) the audience is immediately confronted with a uniform field of colour, which begins to schematically divide into multiple shades of blue and brown. Gradually, these squares become recognisable as computer pixels, tiny but vital fragments of a much bigger picture. The conclusion of this prolonged zooming out eventually becomes clear, as an impassioned speaker at a rally gesticulates in front of a crowd of protesters. The film's repetitive guitar soundtrack is able to silence his fervour, and draw us back to the controlled coming together of an image from masses of individual squares. The man's message remains unknowable. By encouraging us to reflect primarily on what we see rather than the protest's unknown cause, Evron's raises questions of indifference and spectatorship in our media saturated world.