+ Programming + Archives Décades + News + Publications + Support Optica + Info



1972 | 1973 | 1974 | 1975 | 1976 | 1977 | 1978 | 1979 | 1980 | 1981 | 1982 | 1983 | 1984 | 1985 | 1986 | 1987 | 1988 | 1989 | 1990 | 1991 | 1992 | 1993 | 1994 | 1995 | 1996 | 1997 | 1998 | 1999 | 2000 | 2001 | 2002 | 2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012 | 2013 | 2014 | 2015 | 2016 | 2017 | 2018 | 2019 |

Index of artists, authors and curators

| A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | R | S | T | U | V | W | Y | Z |

OPTICA Fonds (Concordia University Archives)

Guidebooks to help in consulting the archives

Electronic Reproduction Fees

Aya Dorit Cypis
From March 7th 2003 to April 12th 2003
The Sound of Time

"The Sound of Time" is full in its silence. And where is this fullness? Carried within each of us, resonant in our bodies. History, myth, memory, fantasy, dream, family, desire. Stillness in movement.

The gallery is full yet bare. Two images, one still, the other in movement, and a mirror on the floor. The still image, a photograph transformed from newspaper copy, cutout more than two years ago. Palestinian men running upside down, a child crawling along a narrow path above them. A political image shifted to evoke a personal memory of mythological proportions. Whose memory? Whose history? The image in movement, a video projection of curtains caught in a fierce gale negotiating the containment of the window frame. Relentless in its physicality, body full in movement and motivation to be free. These curtains hang in a hotel room, Tel Aviv, Israel. The mirror, reflecting there where it is not, catches destabilized glances of everything present within the architectural space of the gallery. Glances seen only bythe present moving bodies. Moving bodies full with the sound of time.

Cypis' production is an ongoing investigation of the phenomenology of seeing, knowing and experiencing. She weaves representation through complexstrategies crossing photography, performance, installation, sculpture and social actions. The immersive environments created incorporate photographs, projected still and moving images, sound, video, raw materials and objects, mixing digital and analog technologies. Cypis employs these elements tocharge the given space into a place of active engagement where the viewer may experience their seeing, remembering, and knowing. A phenomenological "place" is excited, breaking through the surface of knowing, where one's interior experience mixes with one's direct experience of the social space. Here relationships can be recognized as simultaneously personal and social.

Dorit Cypis was born in Tel-Aviv, immigrated to Montreal as a youth and to the United States as a young adult. She holds degrees from the California Institute of the Arts; and the Nova Scotia College of Art and Design. Presently, she is studying towards a Masters in Conflict Resolution at Pepperdine University. She has taught and lectured on topics of aesthetics since 1983. Her work as an artist spans presentations at art centers and aesthetics applied to social contexts outside of arts instutions. Social actions have included interactions between artists and California Superior Courthouses to develop dialogues on the social and visual codes of the justice system, in The Visceral Viewer and the Court, (2000-02), and artists as models bridging survival and inspiration for homeless teenage youth in Kulture Klub, Minneapolis, (1992- present). Her work has been presented nationally and internationally including at the Whitney Museum of American Art; the Musée d'Art Contemporaine de Montreal; and the Musée des Beaux Arts in Brussels. This year she is developing projects for the Orange County Museum and Noga Galleryin Tel-Aviv.