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Moving Image
Born from Sea and Cloud
Stop motion animation
March 2020
Sound in collaboration with Florian Lutz, Manar, Bader and Anan Maalouf. This animation work is a first installment in a series “Memories of a Stone”, which interrogates questions of memory. This series deals with the memory and myth of Tel Aviv, which is referred to as the White City and that has often whitewashed its narrative from the traces of other histories. The title “Born from Sea and Cloud” refers to a song that celebrates the virginal, Venus-like birth of Tel Aviv. In the video cracks appear in the myth as landscapes are drawn and are washed away. The myth of a white Bauhaus city that was born from the sea is unsettled as Palestinian voices mingle with the voice of the narrator, evoking the names of ruined villages that were once there. The dream of a "better European" city shatters as a different history is revealed.
Stop motion animation
March 2020
Sound in collaboration with Florian Lutz, Manar, Bader and Anan Maalouf. This animation work is a first installment in a series “Memories of a Stone”, which interrogates questions of memory. This series deals with the memory and myth of Tel Aviv, which is referred to as the White City and that has often whitewashed its narrative from the traces of other histories. The title “Born from Sea and Cloud” refers to a song that celebrates the virginal, Venus-like birth of Tel Aviv. In the video cracks appear in the myth as landscapes are drawn and are washed away. The myth of a white Bauhaus city that was born from the sea is unsettled as Palestinian voices mingle with the voice of the narrator, evoking the names of ruined villages that were once there. The dream of a "better European" city shatters as a different history is revealed.
What's Gone is Gone
Stop motion animation
July 2020
As part of the series “Memories of a Stone”, this work treats the uncanny feeling that darker memories hide under the surface. It depicts stones, as a symbol of memory. The stones exhibit the feeling of remembering a whole history while never revealing it. The stop motion animation technique is used to extract this element of time. Under the stones, maps of the old city appear and slowly take over, only to be overcome by another grid.
Stop motion animation
July 2020
As part of the series “Memories of a Stone”, this work treats the uncanny feeling that darker memories hide under the surface. It depicts stones, as a symbol of memory. The stones exhibit the feeling of remembering a whole history while never revealing it. The stop motion animation technique is used to extract this element of time. Under the stones, maps of the old city appear and slowly take over, only to be overcome by another grid.
What's Gone is Gone (2) (excerpt)
Stop motion animation
June 2020
In this work, part of the series “Memories of a Stone”, sound plays an important role. A voice of an elderly woman, my grandmother. She is telling a personal story, explaining how she cuts herself out of photos in which she finds her appearance displeasing. Her story is becoming a representation of the raising awareness to the repression of the memory.
Stop motion animation
June 2020
In this work, part of the series “Memories of a Stone”, sound plays an important role. A voice of an elderly woman, my grandmother. She is telling a personal story, explaining how she cuts herself out of photos in which she finds her appearance displeasing. Her story is becoming a representation of the raising awareness to the repression of the memory.
Eliyahu (excerpt)
Stop motion animation
December 2021, 3:25 min
The spirit of Eliyahu sees a city changed. Eliyah was the film maker's great grandma’s grandfather, a Sephardi jew, that was born in the Ottoman Empire and came to Tel-Aviv via Cuba. Eliyhu becomes the Angel of history, merciful and heart broken.
Stop motion animation
December 2021, 3:25 min
The spirit of Eliyahu sees a city changed. Eliyah was the film maker's great grandma’s grandfather, a Sephardi jew, that was born in the Ottoman Empire and came to Tel-Aviv via Cuba. Eliyhu becomes the Angel of history, merciful and heart broken.
A Stone from a Wall
Video installation, stop motion animation, 2:55 min. 2021
"For the stone shall cry out of the wall, and the beam out of the timber shall answer it."
Habakkuk 2:11
This animation work investigates and confronts the concept of the “Jerusalem stone” and uncovers the hidden memories that the limestone collected. Stones are meeting points between history, experience and reality. Stones are portals to a sensual experience of history as well as a record of it.
This video is inspired by the idea of the “Jerusalem stone”, the limestone facade, an element of urban design which is mandatory when building in Jerusalem. This mass produced stone facade was instituted in 1930’s by the British mandate authorities, to give the city a more uniform and “oriental” appearance. This is upheld in Israel still. By researching the history of stones I place my experience in relation to Israeli narrative, Zionist history and the Palestinian Nakba. This mass produced facade stands as a literal symbol for the “cover-up” of the city’s complex history and current reality.
The soundtrack, by Ido Alhassid, highlights the violent everyday of the city. It assembles Arabic, Latin, Hebrew and English together- the different voices of the city, in an uneasy cacophonous cohabitation. There is an appeal to sift through the overwhelming experience of the city, and hear its most urgent, timely voice, represented here by voices from Sheikh Jarrah, a Palestinian neighborhood that is fighting eviction as we speak.
Special thanks to Saleh Diab for allowing me to use his words.
Video installation, stop motion animation, 2:55 min. 2021
"For the stone shall cry out of the wall, and the beam out of the timber shall answer it."
Habakkuk 2:11
This animation work investigates and confronts the concept of the “Jerusalem stone” and uncovers the hidden memories that the limestone collected. Stones are meeting points between history, experience and reality. Stones are portals to a sensual experience of history as well as a record of it.
This video is inspired by the idea of the “Jerusalem stone”, the limestone facade, an element of urban design which is mandatory when building in Jerusalem. This mass produced stone facade was instituted in 1930’s by the British mandate authorities, to give the city a more uniform and “oriental” appearance. This is upheld in Israel still. By researching the history of stones I place my experience in relation to Israeli narrative, Zionist history and the Palestinian Nakba. This mass produced facade stands as a literal symbol for the “cover-up” of the city’s complex history and current reality.
The soundtrack, by Ido Alhassid, highlights the violent everyday of the city. It assembles Arabic, Latin, Hebrew and English together- the different voices of the city, in an uneasy cacophonous cohabitation. There is an appeal to sift through the overwhelming experience of the city, and hear its most urgent, timely voice, represented here by voices from Sheikh Jarrah, a Palestinian neighborhood that is fighting eviction as we speak.
Special thanks to Saleh Diab for allowing me to use his words.
Roberto Shem Tov
Stop motion animation, 4:18 min. 2020
Sound in collaboration with Eden Ladin.
This work is a site specific video. It was commissioned by Studiobank Gallery for the group exhibition “Administering Medication to a Dead Horse”, which was held in the space of a historical bank in Tel Aviv. I used this invitation to explore repressed family history and the myth of the city, through the story of my grandfather, of whom I know nearly nothing, except that he worked in that very building for 20 years. Memories, stories and poems are woven together to fabulate a story of a clerk working in a gray building, who could find poetry in the cracks of the city.
Stop motion animation, 4:18 min. 2020
Sound in collaboration with Eden Ladin.
This work is a site specific video. It was commissioned by Studiobank Gallery for the group exhibition “Administering Medication to a Dead Horse”, which was held in the space of a historical bank in Tel Aviv. I used this invitation to explore repressed family history and the myth of the city, through the story of my grandfather, of whom I know nearly nothing, except that he worked in that very building for 20 years. Memories, stories and poems are woven together to fabulate a story of a clerk working in a gray building, who could find poetry in the cracks of the city.
A Day Trip
Stop motion animation
December 2018
The video is part of a series “Day Trip”, inspired by the sensual experience of the excursion. The series consists of three animation videos of stones going through different transformations. Different images appear on the stones, going through metamorphosis and create an interior dialogue between the physical object and all its possibilities, until it almost becomes an “anti-stone”, a soft, abstract, liquid image, and back again to a solid, hard stone. The fluid objects are changing layers and patinas, letting the stones tell their stories and share their memories.
Stop motion animation
December 2018
The video is part of a series “Day Trip”, inspired by the sensual experience of the excursion. The series consists of three animation videos of stones going through different transformations. Different images appear on the stones, going through metamorphosis and create an interior dialogue between the physical object and all its possibilities, until it almost becomes an “anti-stone”, a soft, abstract, liquid image, and back again to a solid, hard stone. The fluid objects are changing layers and patinas, letting the stones tell their stories and share their memories.
A Day Trip (2)
Stop motion animation
December 2018
Stop motion animation
December 2018
Installation
The Precious Stones
Installation view, Solo exhibition: Liebling Haus, Tel Aviv , 2022 .
Staged in Tel Aviv, the installation combines four videos that explore memory and confront practices of silencing. The installation deals with the myth of Tel Aviv, which is referred to as the White City and that has often whitewashed its narrative from traces of other histories.
Installation view, Solo exhibition: Liebling Haus, Tel Aviv , 2022 .
Staged in Tel Aviv, the installation combines four videos that explore memory and confront practices of silencing. The installation deals with the myth of Tel Aviv, which is referred to as the White City and that has often whitewashed its narrative from traces of other histories.
Memories of a Stone
Installation view, Gerrit Rietveld academy, Amsterdam, 2020. This video installation is the first iteration of the project. It combines three animated works which create a fragmented, multi-vocal landscape. Different languages: Arabic, English and Hebrew fill in the space with fragments of stories. The stones that appear in each of the animations become a symbol of memory, like those placed on a Jewish grave or those shaped by time and water. They exhibit the feeling of remembering a whole history while never revealing it.
Installation view, Gerrit Rietveld academy, Amsterdam, 2020. This video installation is the first iteration of the project. It combines three animated works which create a fragmented, multi-vocal landscape. Different languages: Arabic, English and Hebrew fill in the space with fragments of stories. The stones that appear in each of the animations become a symbol of memory, like those placed on a Jewish grave or those shaped by time and water. They exhibit the feeling of remembering a whole history while never revealing it.
What's Gone Is Gone
Installation view, Gerrit Rietveld academy, Amsterdam, 2020. Stop motion animation. Part of the series ״Memories of a Stone״ , this work is presented alongside "What's Gone Is Gone (2)" as a video diptych. This work treats the uncanny feeling that darker memories hide under the surface.
Installation view, Gerrit Rietveld academy, Amsterdam, 2020. Stop motion animation. Part of the series ״Memories of a Stone״ , this work is presented alongside "What's Gone Is Gone (2)" as a video diptych. This work treats the uncanny feeling that darker memories hide under the surface.
There's a Crack
Installation view, Gerrit Rietveld academy, Amsterdam, 2019.
This work was made in collaboration with Tara Kuijpers.
A stop motion animation created from organic matter and natural pigments, constantly changing and transforming. The animation is projected onto clay and fabric statues that stand and hang around the space. These ever-changing images cling onto the statues like skin, producing a deeply immersive and intimate environment. The irregular distribution of the statues in the space forces the viewers to walk among them, making this experience another excursion in a mysterious realm.
Installation view, Gerrit Rietveld academy, Amsterdam, 2019.
This work was made in collaboration with Tara Kuijpers.
A stop motion animation created from organic matter and natural pigments, constantly changing and transforming. The animation is projected onto clay and fabric statues that stand and hang around the space. These ever-changing images cling onto the statues like skin, producing a deeply immersive and intimate environment. The irregular distribution of the statues in the space forces the viewers to walk among them, making this experience another excursion in a mysterious realm.
2D
Fragments of a Greater Language: no. 5
12.7*12.7 cm wood ,paper, risen, nails and strings 30*11 cm ceramic
A detail from a series
2022
12.7*12.7 cm wood ,paper, risen, nails and strings 30*11 cm ceramic
A detail from a series
2022
Fragments of a Greater Language: no. 2
30*16 cm ceramic
A detail from a series
2022
30*16 cm ceramic
A detail from a series
2022
Fragments of a Greater Language: no. 3
Ceramic 28*32 cm
2022
A detail from a series
2022
Ceramic 28*32 cm
2022
A detail from a series
2022
Katabasis no. 2
Ink on Yupo paper and 2 layers of fused glass
Ink on Yupo paper and 2 layers of fused glass
Only When I'm Beautiful 2
Ink on paper 17*24 cm
A detail from an etching series
June 2020
These prints are inspired by family photos from which a person was removed. The glass reframes a new image and draws attention to what is included in the frame and what’s not.
Ink on paper 17*24 cm
A detail from an etching series
June 2020
These prints are inspired by family photos from which a person was removed. The glass reframes a new image and draws attention to what is included in the frame and what’s not.
Only When I'm Beautiful (Under a Bear)
Ink on paper 17*24 cm
A detail from an etching series
June 2020
Ink on paper 17*24 cm
A detail from an etching series
June 2020
Only When I'm Beautiful
Ink on paper, glass 17*24 cm
A detail from an etching series
June 2020
These prints are inspired by family photos from which a person was removed. The glass reframes a new image and draws attention to what is included in the frame and what’s not.
Ink on paper, glass 17*24 cm
A detail from an etching series
June 2020
These prints are inspired by family photos from which a person was removed. The glass reframes a new image and draws attention to what is included in the frame and what’s not.
Hauntology no. 1
Ink on paper, glass 17*24 cm. A detail from an etching series June 2020
These prints of landscapes are inspired by a silhouette of a family photo from which a person was removed. A dreamy landsacape apears instead of the missing part.
The glass reframes a new image and draws attention to what is included in the frame and what’s not.
Ink on paper, glass 17*24 cm. A detail from an etching series June 2020
These prints of landscapes are inspired by a silhouette of a family photo from which a person was removed. A dreamy landsacape apears instead of the missing part.
The glass reframes a new image and draws attention to what is included in the frame and what’s not.
Hauntology no. 7
Ink on paper
17*24 cm
A detail from an etching series
Ink on paper
17*24 cm
A detail from an etching series
Hauntology no. 5
Ink on paper
17*24 cm
A detail from an etching series
Ink on paper
17*24 cm
A detail from an etching series
Hauntology no. 3
Ink on paper
17*24 cm
A detail from an etching series
Ink on paper
17*24 cm
A detail from an etching series
Hauntology no. 8
Ink on paper
17*24 cm
A detail from an etching series
Ink on paper
17*24 cm
A detail from an etching series
Performances
The Crystal Palace
January 2019
In this performance work stop motion animation and documentary footage, were projected on my body, to guide viewers through a story inspired by the immigrant sweatshop culture of the Lower East Side of NYC. I am fascinated by the roll of the guide as a host and storyteller. I tried to display this fascination by using a Yiddish poem of a poet/sweatshop worker from the 1920’s. In this “tour” I tried to convey the experience of the city as a sensual bodily one, as if the city was being etched on one’s skin.
January 2019
In this performance work stop motion animation and documentary footage, were projected on my body, to guide viewers through a story inspired by the immigrant sweatshop culture of the Lower East Side of NYC. I am fascinated by the roll of the guide as a host and storyteller. I tried to display this fascination by using a Yiddish poem of a poet/sweatshop worker from the 1920’s. In this “tour” I tried to convey the experience of the city as a sensual bodily one, as if the city was being etched on one’s skin.
Must See
This online performance was developed in reaction to the Coronavirus measures that were put in place (March 2020), and is using the app put out by the Rijksmuseum at that moment.
This performance focuses on the idea of the tour as an artistic gesture, using the experience of a group in a museum to raise questions of originality, power structures, the glorified and the discarded.
The museum’s app allows viewers to visit only one corridor, reducing the wealth of the museum to a straight-line, linear narrative, which is focused on the Dutch Golden Age. In that sense the experience is a metaphor for the national narrative the museum promotes.
The online tour guide is using her position to control the viewers’ attention and navigate their gaze. Physically examining the tension between the seen and unseen.
This online performance was developed in reaction to the Coronavirus measures that were put in place (March 2020), and is using the app put out by the Rijksmuseum at that moment.
This performance focuses on the idea of the tour as an artistic gesture, using the experience of a group in a museum to raise questions of originality, power structures, the glorified and the discarded.
The museum’s app allows viewers to visit only one corridor, reducing the wealth of the museum to a straight-line, linear narrative, which is focused on the Dutch Golden Age. In that sense the experience is a metaphor for the national narrative the museum promotes.
The online tour guide is using her position to control the viewers’ attention and navigate their gaze. Physically examining the tension between the seen and unseen.
Meet Me at the Entrance
October 2020
Performance in collaboration with Studio for Immediate Spaces, Sandberg Instituut.
This performance took place at the Het Hem exhibition space in Zandam. This work is sight specific and uses the figure of the guide as a (failed) mediator of complex issues.
In this case, the exhibition space was formerly an ammunition factory and is soon to become a commercial complex. The figure of the tour guide plays a key role here as patrons visiting the exhibition space turn to her for explanations. By toying with truth and fiction, the guide weaves a story that points to the shadow cast by the past of the structure, to the redemptive utopia inherent in its current function and to the acute danger posed to it by market economy.
October 2020
Performance in collaboration with Studio for Immediate Spaces, Sandberg Instituut.
This performance took place at the Het Hem exhibition space in Zandam. This work is sight specific and uses the figure of the guide as a (failed) mediator of complex issues.
In this case, the exhibition space was formerly an ammunition factory and is soon to become a commercial complex. The figure of the tour guide plays a key role here as patrons visiting the exhibition space turn to her for explanations. By toying with truth and fiction, the guide weaves a story that points to the shadow cast by the past of the structure, to the redemptive utopia inherent in its current function and to the acute danger posed to it by market economy.
Solvitur Ambulando
(It is Solved by Walking)
November 2021
Performance documentation.
This work was commissioned by Musrara MixFestival, Jerusalem, 2021.
The work rests on the structure of a guided tour and brings the virtual dimension together with the physical. The tour departs from the gallery space to the urban landscape and raises questions regarding freedom of movement in the public space. The participants scan a QR code and goes through a journey guided by the voice of the instructor, following a footage from another time that was recorded at the same place.
Flute: Michal Karniely
Camera: Guy Pastel
Sound: Ido Alhassid
(It is Solved by Walking)
November 2021
Performance documentation.
This work was commissioned by Musrara MixFestival, Jerusalem, 2021.
The work rests on the structure of a guided tour and brings the virtual dimension together with the physical. The tour departs from the gallery space to the urban landscape and raises questions regarding freedom of movement in the public space. The participants scan a QR code and goes through a journey guided by the voice of the instructor, following a footage from another time that was recorded at the same place.
Flute: Michal Karniely
Camera: Guy Pastel
Sound: Ido Alhassid
It is Solved by Walking (2)
January 2022
Alongside the solo exhibition The Precious Stones (at Liebling Haus), A series of performative tours in the urban environment, were conducted. The tours raised questions about the narrative of a place. Through the act of touring, a conflict was created within the guide, between the hegemonic story of a given place and her personal story, between the seen and the hidden and between truth and fiction. She questions the meaning of the act of touring the urban environment, asking what exactly is the role of the guide and to what truth is she committed? In the tour, the guide is drawn to a truth that is different from the historical one, a truth anchored in personal experience and invisible layers.
January 2022
Alongside the solo exhibition The Precious Stones (at Liebling Haus), A series of performative tours in the urban environment, were conducted. The tours raised questions about the narrative of a place. Through the act of touring, a conflict was created within the guide, between the hegemonic story of a given place and her personal story, between the seen and the hidden and between truth and fiction. She questions the meaning of the act of touring the urban environment, asking what exactly is the role of the guide and to what truth is she committed? In the tour, the guide is drawn to a truth that is different from the historical one, a truth anchored in personal experience and invisible layers.
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