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Memo
Filmografie
Fotografie
AMIKAM GOLDMAN, geboren 1973, wuchs in Tel Aviv auf. Er schloss die High School mit dem "Irony Alef for the Arts" ab. Im September 1995 zog er in die USA, um das Filmemachen zu studieren, zunächst an den "Film & Television Workshops" in Maine und seit 1996, als er nach New York zog, an der "New School for Social Research", wo er im Jahr 2000 sein Diplom in Filmwissenschaften abschloss. Er arbeitete 6 Jahre lang in Kim's Video- und Musikfirma in NYC. 1997 drehte er seinen Kurzfilm "One-Windows", der den 2. Platz beim Marin County Film Festival in Kalifornien gewann. Im November 2003 kehrte Amikam nach Israel zurück und lebt seitdem in Tel Aviv. Er unterrichtet dort Kinowissenschaft an der Blichschule. Er schuf die erste Filmdokumentation über den NO!art-Mitbegründer Boris Lurie unter dem Titel "NO!art MAN" — Lebt in Tel Aviv. ►youtube ►vimeo ►bandcamp
2017 MESILA | director & producer
2012 AHAR KACH NECHAVEN LA YAREAH | producer
2010 LONG DISTANCE | The London International Documentary Festival,
London/UK
2009 LONG DISTANCE | Karov Theatre, Tel Aviv
LONG DISTANCE | Tel Aviv International Documentary Film Festival
NO!art MAN | CCA Wattis Institute, San Francisco
2007 NO!art MAN | The Third Ear-Screening rooms, Tel Aviv
NO!art MAN | The Third Ear-Screening rooms, Jerusalem
NO!art MAN, dvd, 2nd edition
2005 NO!art MAN | Alley Culture, Detroit
2003 NO!art IN BUCHENWALD | Boris Lurie: Geschriebigtes, Stuttgart, Beitrag
NO!art MAN | First filmdocumentary about Boris Lurie
NO!-ON show | Gallery Berliner Kunstprojekt, Berlin
Contributions: ►NO!art MAN (film), ►The Sea Sirenes, ►Storm in Ajami
2002 MAINstreet, a look at American adolescents growing up in the 90s,
documentary
NO!art involved Artists: ARMENTO + ARONOVICI + BAJ + BARATELLA + BECHER + BROWN + BRUNET + BRUS + CHORBADZHIEV + D'ARCANGELO + DAYEN + DE RUVO + EHM-MARKS + ERRO + FABRICIUS + FISHER + GATEWOOD + GEORGES + GERZ + GILLESPIE + GILMAN + GOLDMAN + GOLUB + GOODMAN + HALLMANN + HASS + HJULER + KAPROW + KIRVES + KUSAMA + KUZMINSKY + LEBEL + LEVITT + LONG + LST + LURIE + MASTRANGELO + MEAD + MESECK + PATTERSON + PICARD + PINCHEVSKY + RAMSAUER + RANCILLAC + ROUSSEL + SALLES + SALMON + SCHEIBNER + SCHLEINSTEIN + STAHLBERG + STUART + TAMBELLINI + TOBOCMAN + TOCHE + TSUCHIYA + VOSTELL + WALL + WOLF + WOYTASIK + ZOWNIR
NO!art has continued way beyond 1964 and also prior to 1958. The "cutting-off" date 1964, as espoused by the art historian is entirely artificial. Such cutting-off dates are common to art historians, done for cataloguing purposes, and what is more, for accreditation of monetary value in the art market. The cutting-off dates also have a devastating effect on the production of artists, who are, by those means, being convinced that what they produce after a cutting-off date is secondary in importance, and do not belong any longer to the "new times". Yet the art market hated it, for practical reasons of creating confusion about monetary value. That is the main and real reason for art historians and critics insisting on this untrue measure. - Boris Lurie, 2003.
