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Headlines Keren Benbenisty
Unlimited ongoing everyday project, engraved text - black ink on brass plate. Piece unique
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Since 2008, I formed a collection of headlines coming from articles published in the daily newspaper IHT - The International Herald Tribune. The daily newspaper, short-lived, is printed every day in large mass of copies, or update
frequently on the Internet edition, is a basic transmission tool for delivering the most important global news.

The running events, such as time, rapidly changing, however leave their marks/traces in our present and future reality. Despite their ephemeral side, the content has an eternal impact, which reinforces the relation between past, present and future. Headline, engraved on a brass plate (identical to the signals indicating the locations and addresses of professionals in public places) perpetuate the headlines and become a commercialized object.
Most of the chosen headlines characterized by a poetic language, almost sentimental. This new usage of emotional language in our capitalist culture, (such as in advertising, self help book, tv shows, . . .) personalize the non-private matter. The political becomes personal, easy to digest, easy going, seducing, eventually, generating an effect of
solidarity and identification. The headlines meanings are mysterious, because its lack of source or reason, and
poetic, despite its political aspect of it. The gap between the meaning of the headline and the content of the article is sometimes as extensive as its interpretation. A transformation of public, worldwide event, into a micro message, by isolating it from its origin platform : a widespread, common & universal – The Daily Newspaper. Headline is a single edition series, each headline is printed in edition of 1+1 artist proof.
Untitled, 2008, artist’s fingerprints on 3 wood panels, 375 x 244 x 1 cm, ph. Rémy Lidereau
Untitled (OVER), stainless steel, 2008, 148 x 135 x 0,6 cm
Keren Benbenisty, who graduated in 2004 from Ensba (Paris Beaux-Arts School) with the jury’s congratulations, is equally devoted to sculpture as to drawing and video often using ephemeral materials and liquids such as ink or oil, in order to explore processes such as transformation and vanishing. Her approach evokes duality, encounters, « impossible love », the intervening space is symbolic as well as physical.
For this exhibition, Keren Benbenisty reinterprets such generic, global cultural icons as Hokusai’s wave, that legendary print owned by Monet, which she reproduces on a post-Pop scale, replacing the engraving ink with her own fingerprints. Her sculpture Over reprises the famous work by Robert Indiana, which she appropriates and makes into a symbol of the end of utopias in this age of doubt and disenchantment.