Zohar Kfir is a New York-based media artist working with experimental video, interactive art and VR.
Her artistic practice employs non-linear narratives and traditional cinematic techniques and features expanded interactivity. Zohar has shown her award winning work widely in galleries festivals and conferences including Tribeca Film Festival; World VR Forum; NYUFF; Transmediale; FACT Liverpool; Oberhausen Film Festival; SIGGRAPH; ISEA and RIDM; and reviewed in TIME Magazine; The Creators Project; Engadget; i-Docs and Forbes among others.
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Biennale College Cinema - Virtual Reality 2018-2019
World VR Forum | Official Selection, VR Journalism
Social Impact Media Awards | Winner Best Director and Experimental Advocacy
2018 Artist in Residence at the Made in NY Media Center By IFP
XR for Change (XR4C) Ambassador Group
NYSCA/NYFA Artist Fellowship in Digital / Electronic Arts
World VR Forum | VR Journalism
SIMA Awards | Best Director
SIMA Awards | Best Experimental Advocacy
FNC Explore, Montreal | in competition
World Premiere | Tribeca Film Festival
Broadly | Women@Forbes | TIME Magazine
ThinkProgress | VR Scout | Engadget
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Le Temps Perdu is an interactive Virtual Reality film that engages a found-film
footage archive for the creation of a new, inventive work.
This project transforms a unique and massive archive of found visual and audio
materials into an interactive Virtual Reality film where viewers can construct
their own film and piece together their particular narratives.
Meet the artist bringing film grain to VR | KillScreen
Points of View is an ongoing interactive web documentary based on video footage
shot by Palestinians working with B'Tselem's Camera Distribution Project.
It offers an intimate and situated look at life under the Israeli occupation.
| POV PBS | i-Docs | KillScreen Daily | The Creators Project |
Single channel video
Gazing through the eye of a microscope, abundant landscapes emerge and fade from view, highlighting the temporality of space and micro and macro states; while offering a glance into separate encapsulated realities.
Multi-channel video installation
Sound by Josephine Wiggs
PARA site asks viewers to consider how storytelling can take place phenomenologically, in the absence of cinematic narrative. Entering the installation, the viewer is confronted with a series of fragmentary cinematic loops — a floating house, a dying insect, a drive on an empty highway at night, murky underwater images — which individually evoke displacement, loss, and of longing. Collectively, these fragments hint at an unrealized tale that exists in the interstices between one loop and the next. As the viewer moves through the installation, and the image-events emerge and fade from view, the temporal separation between these cinematic moments gradually emerges as positive space in its own right, becoming the site in which the viewer’s own imagination transforms the fragments into a highly personalized meaning.
Found footage, Quebec
Original format: 8mm Film
Text for Nothing#8- Samuel Beckett
The making of Americans - Gertrude stein
This is a fragment of a story about birth and death. The reconstruction and the history
of a family's progress, elements of becoming, childhood and growing older, as time and visions of nothingness burden each voice.
Single channel video 6:30min
That day, I thought I had really got hold of something and that my life would be changed. But nothing of that nature is irrevocably gained. Like water, the world washes through you and lends you its colors for a time. Then it draws back, and leaves you once again before the emptiness you bear within yourself, that central insufficiency of the soul you have to learn to live with, and which, paradoxically, may be our surest motivation.
Interactive online video
Concept, Editing, Programming by Zohar Kfir
Execute is an on line interactive video which examines the [political] barrier between language, actions and their meanings. In this work the viewer turned to accomplice – or objector in a process of execution. An interactive video, a linear narrative, divided in simple and direct way, places the spectator in a dilemma: to become an executioner or to stop the execution in a virtual way. User becomes responsible, in the linear path of restructured and unavoidable execution. Simple interaction endows the “PLAY” button with a new signification of aesthetic, human and political responsibility.