Inferno flares up at 19th Biannale of Sydney.

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When exhibitors gaze at Inferno, an intriguing video piece by Israeli-born artist, Yael Bartana which illustrates labyrinthine complexities of Neo-Christian movements in Brazil, responses were quickly aroused. The atmosphere expresses a political concern of complex personality of religion in modern era exposing desecration of temple debris which is used as one’s pleasure for economic gain. Although the ruins are only a fragment of the ancient temple, however the implication of native’s belief are still remains strong, despite all the drawbacks. The opening scene opens up with the cityscape of Sao Paulo followed by an aerial scene of a gigantic Menorah, an Ark of Covenant and a Golden Altar transported by three helicopters. Continually, residents are dressed up in white adorned with flowers cheering on the arrival of the golden relics and begin to parade to the Holy temple to attend a mass. Some are also gathered in a large stage, dancing in a circle, praying and praising before cruising to the House of God. Comparably, in the futuristic scenes pilgrims are still dressed-up in white while doing their prayers. Moreover, menorah image is still a part of Jewish identity, as evidenced in T-shirts, plates and candles with menorah’s graphic symbol which sell by natives. As a matter of fact, the traditions persist through age. Continually, in the sermon within the synagogue, whilst the devotees are preoccupied with their Hebrew mourning prayer, the temple suddenly starts imploding. A chaotic series of stampede of one’s fleeing; wounded masses and death amongst man and children are immensely intense. Dramatically, Bartana’s overhead shots portray God’s unmerciful act to the viewers, follows by stormy fire effects throughout the tragedy... ... middle of paper ... ...tly challenge the general consciousness that is bred by her homeland country of Israel, exploring a complicated issue of social and political relationships among Jews. Her films often integrate clashing geographical arrangement within past and future and never fails to harmonise interesting outcomes. In this present work, she employs fact and fiction, prophesy and history of the temple and raising a question of the Jewish identity about the displacement of New Jerusalem outside the Holy Land. Inferno is showing in Building 6 on the upper side of Cockatoo Island as a part of 19th Biennale of Sydney. This 22 minutes video is presented cinematically in dark gallery with a roaring back-sound of Avinu Malkeinu, a Jewish prayer. A beautiful compound of large format video and surround angelic Hebrew song are captivating and also emphasizing the dramatic shots of each scene.

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