gallery 2: TIRTZA EVEN LAND MINE collaborative works with Brian Karl and Sha Xin Wei In a second exhibition of Israeli artist Tirtza Even Postmasters Gallery will present four Digital Video Documentary works exploring the boundary between perception and projection, on and off frame, in four distinct contexts related to the concept of Home: Palestine, Post war Germany, a working class neighborhood in Tel-Aviv, and a local homeless shelter. The artworks in the exhibition include: Occupied Territories - Tirtza Even a navigable movie that displays scenes shot in Deheishe, a refugee camp near Beth-Lehem in Palestine. The landscape navigated seems to be desolate and unoccupied, yet various stories or transformations of scenes, both outdoors and indoors, are concealed within it for the viewer to access. Far, Along - Tirtza Even and Brian Karl a 30 minutes digital video that attempts to look at memory traces of World War II as they interpret, rewrite and yet gradually depart from the constantly evolving present day Germany.The project constructs a document which both questions and reflect the overlaps and contradictions between the experience of private individuals on both sides of the division of "German" and "Jewish", as well as unpack the unresolved stereotypes and seemingly integrated units or groups that this division breeds Flicker - Tirtza Even and Brian Karl a short digital video shot in Tel Aviv comprised of three distinct views of an urban, working-class locale, characterized by small interiors, a sparsely furnished, minimal decor and older, worn-down buildings, as well as by animmediate and accessible public area active with street gatherings of groups of various ages. All three segments were composed by intersecting images of the people's movements with themselves slightly delayed or with other figures' motions, thereby resulting in the formation of new hybrid gestures and spaces. Slip - Tirtza Even and Sha Xin Wei an interactive video installation shot at Peachtree Pine Homeless Shelter in Atlanta, Georgia. Individual studies of homeless people, even with the best intentions, all too often flatten their subjects into iconic figures of misfortune and pathology. In "Slip" the videotaped figures of the shelter residents projected on the glass screen are trapped in a view that cannot be transcended or expanded; the glimpse can not be improved. The viewer's glance and motion sideways, matched by the motion of screen/frame/image, reveals and enhances only distortion, pre-existing gaps, one's ultimate confinement to a single, blind and imprisoned perspective, in which what is off screen is also off limits.