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
Fragments of a Greater Language: no. 2 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
Fragments of a Greater Language: no. 7,8,9 Ceramic A detail from a series 2022
Katabasis no. 2 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.
Only When I'm Beautiful (Under a Bear) 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.
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.
Hauntology no. 7 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
Hauntology no. 5 Ink on paper 17*24 cm A detail from an etching series
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.
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.
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.
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 (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.