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Nir Evron

New film at K21 Düsseldorf @kunstsammlungnrw

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Videoex2026 is excited to present the: INTERNATIONAL COMPETITION 05 –Traces and Ghosts

Featuring films by:

Daniel Mann — @danukmann
Poyuan Juan — @blak232
Quenton Miller — @qjnmi
Nir Evron — @nirevronstudio
Mila Zhluktenko & Daniel Asadi Faezi — @mila_lotas @danielasadifaezi

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SUNDAY 24.05. 21:15 Festivalkino Cinema Z3
WEDNESDAY 27.05. 17:45 Festivalkino Cinema Z3

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INTERNATIONAL COMPETITION 05 program:

The Recce — Daniel Mann
UK/DE 2025, HD, 15:07 min

Searching for the Nose beneath Fronta na maso — Poyuan Juan
TW 2026, HD, 07:44 min

Koki, Ciao — Quenton Miller
NL 2025, HD, 11:10 min

Fire From Afar — Nir Evron
DE/IS 2025, 16mm, 18:50 min

rückblickend betrachtet (in retrospect) — Mila Zhluktenko & Daniel Asadi Faezi
DE 2025, HD, 14:56 min

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Kohlenstoffvers - currently on view at K21 Düsseldorf as part of Grund und Boden - https://www.kunstsammlung.de/de/exhibitions/grund-und-boden

2025, 16mm film and archival materials transferred to 2K. Stereo Sound. 38 min.

Kohlenstoffvers (Carbon Rhyme) is a visual and textual excavation into a repressed chapter of German industrial history, revealing how the pursuit of technological perfection became tragically intertwined with the darkest crimes of the 20th century. The film traces the chemical and political roots of the Third Reich through the unlikely source of the Kazakh Dandelion (Kok-saghyz), a weed whose roots yield natural rubber. Driven by its need for wartime self-sufficiency, Nazi Germany pursued this plant using forced labor at the Rajsko plant-breeding station, a subcamp of Auschwitz-Birkenau. A ghostly narrator evokes the industrial alchemy of the IG Farben conglomerate, which mastered the art of transforming the “black abyss” of coal tar into the fuels, synthetic dyes, and rubber that powered the Wehrmacht, linking the chemical origins of the German war machine directly to the labor camps.

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Download HD

Fire From Afar

2025, 16mm film transferred to HD. Stereo Sound. 18 min.

Fire From Afar is an essay film that attempts to thread medicine, chemistry, warfare and the birth of cinema into one explosive filament. Filmed between 2015 and 2021, the film documents thousands of Milvus birds of prey circling annually in the airspace above the Gaza-Israel border. At the same time, the narration unfolds a conceptual journey: it traces how cotton from Gaza gave rise to gauze in medieval Europe, and how this fabric was used both as a bandage and as a flammable base for celluloid film. Evron’s montage argues that gauze bandages, gunpowder, and photographic film are successive states of the same material—and all are prone to ignition. The film’s conclusion is stark: every image is a bandage stretched across history’s open wound, and cinema—born of fire—inevitably carries the flames of the conflicts it records.

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Belated Measures

2020, 16mm archival film transferred to HD. Stereo Sound. 34 min.

Belated Measures is based on rare 16mm film materials found at the Lehi Archives. The Lehi was an underground para-military organization operating in Palestine during the British Mandate. Never shown publicly before, these materials include documentation of Lehi operations before and after the establishment of the State of Israel, alongside reconstructions of various acts performed by Lehi members for the camera. In this film-essay, Evron exposes details about the historical research he conducted, letting us in on his reflections, assumptions and speculations which address the relationship between war and photography, documentary and propaganda, the visual traces and destruction.

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A Dangerous Film

2019, 16mm film transferred to HD. Original Stereo soundtrack to be preformed live by an ensemble.

A Dangerous Film is based on the re-editing of newly discovered archival film materials from 1948. The film is based entirely on one 16mm silent film-roll that was recently discovered in Tel Aviv containing several scenes depicting the activities of Lehi underground organisation. Lehi was a Jewish militant paramilitary group operating in Palestine from 1940 until the foundation of the state of Israel in 1948 (also known as “The Stern Gang”). The film suffers from severe crystallization deterioration and decomposition which make it brittle and distorted. These damages mark the passage of 70 years since the images were made and cast a poetic point of view on the violent images.

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Journey to the Far East
2017, In collaboration with Omer Krieger. HD Video, Stereo sound, German narration. 7 min

Birobidzhan is the capital city of the Jewish Autonomous Region (JAR) in the Russian Federation. It was founded in 1928, with the intention of forming a territory for Jews in the Soviet Union, as a communist alternative to the Zionist national project in Palestine, and later the state of Israel. As “Red Zion” or “The First Jewish State”, Birobidzhan fed the imagination of non-zionist socialist jews all around the world throughout the 20th century, many of whom migrated to the “Jerusalem on the river Amur”, and built social and cultural institutions, some of which still exist today. Hannes Meyer (1889-1954) was a Swiss architect and the second director of the Bauhaus school in Dessau. Alongside his architectural work, Meyer experimented with Theatre and invented a new form of propaganda play or performative installation that he called “Co-op Theatre”. After his dismissal from the Bauhaus school in 1930 he moved to the USSR, where he taught and was employed by the state to plan cities and other large-scale projects. In 1933 Meyer visited the city of Birobidzhan, one of his most elaborate projects, for which he made the first city plan and several buildings. Another outcome of his visit was what may be considered a synopsis for a Co-op theatre play, titled “Birobidzhan 1933”. Written in German and found in Meyer’s personal archive, this cryptic text serves as the skeleton and source of inspiration for the video “Journey to the Far East” (2017). The video was shot entirely in Birobidzhan, and combines documentary footage with staged scenes performed by local theatre and puppet theatre groups. The original musical score is a new pop composition that will be released following the video’s premiere.

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La Solitude
2016, 16mm film transferred to 2K video. Stereo sound, 26 min

The subjects of Dreyfus/Méliès—Alfred Dreyfus, a young, French, Jewish military officer, accused of being a German spy, as well as George Méliès, the filmmaker who dramatized Dreyfus’s story—are the launching points for this work. Filmed in French Guiana, where Dreyfus was imprisoned after his conviction in 1894, La Solitude opens with shots of the Devil’s Island shack where Dreyfus was incarcerated.

As the film progresses, it presents various aspects of life in French Guiana today: a mash-up of the effects of Colonialization. In short vignettes, Evron presents the nation’s diverse inhabitants who descend from indigenous populations, African slaves, and European colonists at work and play. From cities to undeveloped jungle, he examines natural history museums, streets named for French artists and composers, and suburban golf courses, and modest villages. Perhaps most unexpected is the presence of Centre Spatial Guyanais, a French and European spaceport first opened in 1965.

The voice-over narrative that accompanies the film is a complex blend of commissioned passages that weave together the lives of Dreyfus and Méliès, with three other historical figures who made significant contributions to the Dreyfus affair, the history of filmmaking, and ethnography. By linking these historical figures, Evron makes a case for the Dreyfus affair as the first modern international media event. Additionally, Evron refers to his own position within this enterprise in self-reflexive moments, such as in the middle of the film when the narrative considers the sometimes problematic relationship between “the photographer” and his subject.

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Dreyfus/Méliès

2014, 9 Inkjet pigment prints on archival paper. 18cmX24cm

Evron adopts and adapts one of the earliest films ever made in this series of prints. French filmmaker George Méliès’s 1899 film The Dreyfus Affair explored a controversy that had taken place five years prior surrounding Alfred Dreyfus, a young, French, Jewish military officer, who was accused of being a German spy. The film dramatized the story of Dreyfus’s arrest, trial, and conviction in short episodes, with actors playing the scenes in theatrical sets.

Each of Evron’s nine prints captures all the frames of a single episode of the film (two of the original eleven episodes are lost) and conflates them into a single still image. The layering of more than 1500 frames creates an abstraction in which the relative stillness of the film sets retain their clarity, while the movement of the actors results in opaque, cloudy blurs. Evron compresses the unfolding of a narrative in cinematic time into the relative static immediacy of a photograph.

This work touches on Evron’s interest in exploring public perception of current events, particularly as it is shaped by the media. Strong anti-Semitism in France at the end of the nineteenth century contributed to Dreyfus’s guilt in the eyes of the public, while Méliès’s sympathetic film swayed many to a pro-Dreyfus stance.

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Endurance
2014, Digital file printed on 16mm b/w film Silent. 13min 40sec.

Endurance explores Rawabi, a Palestinian city under construction in the West Bank, north of Ramallah and 9 kilometers from Jerusalem. Despite its location in a conflict zone, the city was optimistically envisioned as a peaceful community of approximately 40,000 residents. Construction of Rawabi began in 2010, but has faced multiple challenges that threaten its completion.

The geometric shapes featured in the piece at first suggest modernist abstraction, however the film is a mapping of the interior of one of Rawabi’s model apartments. Each shot is an elevation of a single apartment wall, with doors, windows, and furniture represented as gray and black rectangles. The artist first drew the floorplans digitally, and then transferred the results to film, translating physical space to cinematic time using the formula of 1 meter = 5.4 seconds (shooting 16mm film at 24 frames per second). Consequently, the duration of each image is proportional to the size of the wall it represents. Exhibited using a film projector, the resulting pulsating sound and light are part of the viewing experience.

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Rehearsing the Spectacle of Spectres
2014, In collaboration with Omer Krieger. Dual-screen HD video, Stereo Sound, 9min.

Rehearsing the Spectacle of Spectres are the opening words of a poem written by Anadad Eldan (b. 1924), a member of Kibbutz Be’eri, a collective community in the south of Israel, founded in 1946 near the Gaza strip. Eldan, the Kibbutz Poet, wrote librettos for kibbutz ceremonies, holiday performances and agricultural pageants, and also published numerous books of his own lyrical poetry. Eldan’s poetry is chatacterized by an intricate and aliterative style, phonetically musical, based on a rich and ancient hebrew. As the writer of collective language and Bible teacher for generations of kibbutz members, Eldan is widely admired but also considered as a controversial and peculiar artist.
The video was shot entirely in Be’eri, as Evron and Krieger invited a group of kibbutz members to recite the 26 verses of this opaque and suggestive poem. These sequences are combined with aerial and outdoor shots showing sites of assembly, stages of collective expression, public sculpture and architecture.
The work surfs the wave of the kibbutz phenomenon as a 20th century avant-garde, a radical social experiment situated today on the border of Israel and the Hamas-governed Gaza strip, one of the most charged geopolitical environments in the world.
Evron and Krieger seek to create a new image of the kibbutz, which stems from the architecture of communal life and the performativity of togetherness. The artists salute the poetic action taken as part of the project of society and state design.

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A Free Moment
2011, 35mm film converted to HDCam SR video. Silent. 4 min.

A Free Moment explores the remains of Tell el-Ful, a building in northeast Jerusalem intended to serve as a summer palace for the Jordanian royal family. Begun in 1966, the building’s construction was halted by the Six-Day War the following year. The building was never completed nor was its early structure removed, and the site is Israeli territory. Evron examined this modern ruin by placing a 35mm cinema camera on a robotic arm attached to a track, and programming the apparatus to complete three simultaneous actions: dolly (the camera moves in a straight line on a track), pan (the camera moves in a 360-degree horizontal revolution), and tilt (the camera moves in a 360-degree vertical revolution). While each individual type of camera motion is common practice, the layering of all three at once is unusual, and produces remarkably unfamiliar results. This piece is ideally shown as a large-scale projection, to maximize the unstable sensations created in viewers’ bodies by the complex movement of the camera. The four-minute running time of the piece corresponds with the length of a single film reel. Like Oriental Arch, A Free Moment is in keeping with Evron’s explorations of how architecture can serve “as conductor of historical memory and a signifier of the possibility of a future, a possibility which is often revealed as a failure.”

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Fabric
2011, Super 16mm film. Silent, 5 min

Fabric looks inside a Jordanian textile factory where clothing is made for the Israeli market by workers who come from various parts of the globe. Like Echo, this work touches on the effects of global outsourcing of the textile industry. Only giving a brief glimpse of the entire shop floor, the film predominantly consists of tightly cropped close-ups of equipment and workers, at times featuring the worker’s own clothes, perhaps made in similar factories by workers like themselves. Fabric is shown in its original 16 mm film format, creating a deliberate parallel between the apparatuses of sewing machine and film projector—from their similar sounds, to the ways they pull thread/film through the spools of reels of their equipment.

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