As Long As ~ Drawing
Glow-in-the-dark paint on A4 Xerox copies
Performance, Installation, Sequence of drawings
Variable dimensions and presentation formats
Since 2006

#2, As Long As (Sequence 09), 2011

#4, As Long As (Sequence 09), 2011

#7, As Long As (Sequence 09), 2011

#13, As Long As (Sequence 09), 2011

Installation view during Durational Boundaries, ICA, Philadelphia, 2014 (Photo: Aaron Igler / Greenhouse Media)

Overall view, As Long As (Sequence 09), 2011

Overall view, As Long As (Sequence 04), 2011

As Long As ~ Drawing
Glow-in-the-dark paint on A4 Xerox copies
Performance, Installation, Sequence of drawings
Variable dimensions and presentation formats
Since 2006

The space is dark.
One copy machine, one standard piece of paper, glow-in-the-dark paint and a brush.The lid of the copy machine is open and it’s going to stay that way for the duration of the event. A brushstroke is applied to one piece of paper, crossing it horizontally. The paint is wet. When the paper is placed on the machine it’s done without touching the scanning surface – a few millimeters above the glass so as not to leave a trace.Once the copy button is pressed, the scanning light briefly illuminates the space, and charging the glow-in-the-dark paint. A copy is made. Let’s call it: Copy no. 1. The original piece of paper is placed aside. It glows in the dark space.Now a glow-in-the-dark brushstroke is applied to Copy no. 1, which is then placed on the copy machine – without touching its scanning surface. A flash of light illuminates the space once more as the scan-charge-copy happens. The glowing Copy no. 1 is placed next to the original piece of paper.This repetitive process continues, as a sequence of drawings emerges. Each one depending on its predecessor. Each in its own fading countdown. The last copy remains with no glow-in-the-dark layer on it: the promise of an infinite process.

Durational Boundaries, ICA, Philadelphia, PA, USA (2014)
Soul Seek, Internet Opera, slsk.nl (2012)
Attachment, Galerie Gabriel Rolt, Amsterdam, NL (2011)
As Long As, Seminar with Christian Bernard, ENSBA, Paris, FR (2006)

#performance #drawing #installation #light #glowinthedark #workonpaper #twodimension #variableduration #cycle #series #sequence #countdown #DurationalBoundaries #Attachment

As Long As ~ Tote,

As Long As ~ South of Somewhere,

Ongoing Collection,

Unresolved Interval
Installation, passive infrared motion sensor, sound
Device size 9 x 6 x 0.25 cm
2008

The Score, 2008

Installation view during Master Humphrey’s Clock, Het Gebouw via De Appel Arts Center, 2008

0 / 0

Audio

Unresolved Interval
Installation, passive infrared motion sensor, sound
Device size 9 x 6 x 0.25 cm
2008

In music, an interval is considered unstable or unresolved when it suggests a successive note to bring it to an end. Otherwise it remains hanging in the air, creating a sense of anticipation for a coming event. The “ding-dong” of a traditional doorbell can be considered a static interval. The listener’s expectations are met. Here, an unresolved interval is slowed down and played on a piano.This work was originally made for the occasion of the exhibition Master Humphrey’s Clockat Het Gebouw: the pavilion dedicated to artist Stanley Brouwn. Placed at the entrance of the pavilion, the interval plays every time a person walks through the door, entering or exiting the space, thus acting as a soundtrack accompanying the exhibition.

Durational Boundaries, ICA, Philadelphia, PA, USA (2014)
Second Life, La Générale Manufacture, Sèvres, FR (2008)
Master Humphrey’s Clock, De Appel Arts Center, Leidsche Rijn, Utrecht, NL (2008)

#installation #audio #interactiveart #anticipation #sitespecific #StanleyBrouwn #DurationalBoundaries

Absolute Countdown,

Melody Card,

Leaving Living,

Still in Emotion
Digital print
24 x 18 cm
2007

Installation view during Durational Boundaries, ICA, Philadelphia, 2014 (Photo: Aaron Igler / Greenhouse Media)

Still in Emotion
Digital print
24 x 18 cm
2007

Neither the street lamp nor the sun are in full brightness. One is fading in and one is fading out. While on a beach walk in Israel at sun-set hour I noticed a street lamp turning on in parallel to the sun setting. I took a snapshot of this still life in motion – a full spectrum of colors, a daily shifting alteration between a natural phenomenon and an electronic light source.

Durational Boundaries, ICA, Philadelphia, PA, USA (2014)
(1), Plan B Projects, Amsterdam, NL (2007)

#photography #sitespecific #timespecific #bothsidesnow #light #sunlight #digital #clock #time #foundscene #souvenir #cliché #countdown #cycle #DurationalBoundaries

NOON,

Portmanteau,

White Lie,

Years Go By and More Words are Forbidden
Wall carving
14 x 430 cm
2014

Black gel ink on a Moleskine daily planner
25 x 29 cm, framed
2014

Installation view during Durational Boundaries, ICA, Philadelphia, 2014 (Photo: Aaron Igler / Greenhouse Media)

Installation view during Dark Times, The Genia Schreiber University Art Gallery, Tel Aviv, 2014

Installation view during Dark Times, The Genia Schreiber University Art Gallery, Tel Aviv, 2014 (Photo: Elad Sarig)

Years Go By and More Words are Forbidden
Wall carving
14 x 430 cm
2014

Black gel ink on a Moleskine daily planner
25 x 29 cm, framed
2014

An isolated phrase from Hebrew poet Leah Goldberg’s poem There is No Mercy reads: “Years go by and more words are forbidden”. Due to its isolation, the origin of this prohibition remains unclear: is this an internal interdiction imposed by the speaker (the poet or the artist), or perhaps an external one?This work first appeared in my solo show Durational Boundaries as part of a series of solo exhibitions celebrating the 50^thanniversary of the ICA in Philadelphia. The sentence was inscribed into the exhibition’s wall, performing as part of the exhibition structure, it confronts its own unstable and fragile content.Later that year, another version appeared in the exhibition Dark Times where the sentence was written by hand in Hebrew onto the page of a Moleskine notebook I have used in recent years as a personal journal

Dark Times, The Genia Schreiber University Art Gallery, Tel Aviv, IL (2014)
Durational Boundaries, ICA, Philadelphia, PA, USA (2014)

#installation #carving #workonpaper #handwrite #quote #word #poetry #emotionalstate #translation #hebrew #LeaGoldberg #homage #DarkTimes #DurationalBoundaries

Spells,

Both Sides Now (On Shuffle),

The Rise & Fall,

Last
Boggle board, letter dice
11 x 15 x 2 cm
2012

Installation view during N A PRIS LES DÉS at Air de Paris, Paris, 2015 (Photo: Jean-Max Colard)

Last
Boggle board, letter dice
11 x 15 x 2 cm
2012

The plural of the noun is denoted by the letter “s”. Once it is dropped, this abstract countdown has come to an end.In Summer 2011 in Paris, I saw a window shop that had the word SALE written in handwriting on its window. And below in big size were the words: “Last Days”. Only that the “s” was crossed out announcing the end of this abstract, letter based, countdown, the beginning of which; hence its end remains unknown.

N A PRIS LES DÉS, Air de Paris, Paris, FR (2015)
N A PRIS LES DÉS, 43 rue des Panoyaux, Paris, FR (2015)
Invitation to the Blues, puntWG, Amsterdam, NL (2015)
Durational Boundaries, ICA, Philadelphia, PA, USA (2014)

#object #countdown #forever #duration #word #anticipation #timespecific #erase #language #DurationalBoundaries #foundmoment

For the Time Being,

Absolute Countdown,

The Rise & Fall,

Leaving Living
Video installation, 10’30” loop
Variable dimensions
2005

View of location during shooting

View of location, day-time

Installation view during Durational Boundaries, ICA, Philadelphia, 2014 (Photo: Aaron Igler / Greenhouse Media)

Leaving Living
Video installation, 10’30” loop
Variable dimensions
2005

The film frames and follows a mise-en-scène I created: a structure – the façade of which is decorated by a light garland –, a carpet in front of the entrance door, and a white plastic fence that surrounds its territory, its non-existent garden. The structure is located on a one-way street. The string of lights turns on for few seconds each time a car approaches the structure. The illumination is short, lasting only for the duration of the passage of the car. Elsewhen, the scene is dark, quiet, with no indications for when the next illumination will occur. The car did not choose its role, nor is it informed as to the consequence of its act. It penetrates the zone controlled by a movement detector and thus forces the facade-house to turn on. From the vehicle’s point of view, the structure is always illuminated, always animated. The camera, which documents the scene, captures the full sequence of events. It is programmed on night-shot and on automatic focus. The image does not have colors and oscillates between focused and blurry, without any human control.

Durational Boundaries, ICA, Philadelphia, PA, USA (2014)
Grandfather Paradox, On-Off Artprojects, Hamburg, DE (2010)
Grandfather Paradox, Chelouche Gallery, Tel Aviv, IL (2010)
Who’s Missing, Galerie Gabriel Rolt, Amsterdam, NL (2008)
Abstraction Surface Air, Le Georges, Centre Georges Pompidou, Paris, FR (2008)
La Fabrique du Dessin, Galeries d’exposition ENSBA, Paris, FR (2006)
Je Partage Votre Point de Vue, La Générale, Paris, FR (2005)
Stationary, Beaux Arts de Paris, Paris, FR (2005)

#video #performance #intervention #publicart #sitespecific #system #interactive #dependency #light #anticipation #lightbulb #DurationalBoundaries

Still Fata Morgana,

In Dependent,

Everybody Loves Somebody Sometime,

Absolute Countdown,

EDUCATION

SOLO AND TWO-PERSON EXHIBITIONS

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CURATORIAL projects

RESIDENCIES and PROGRAMS

AWARDS and GRANTS

OTHER

EDUCATIONAL and ORGANIZATIONAL

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PUBLICATIONS and CATALOGUES

As Long As ~ Drawing Glow-in-the-dark paint on A4 Xerox copies Performance, Installation, Sequence of drawings Variable dimensions and presentation formats Since 2006

As Long As ~ Drawing Glow-in-the-dark paint on A4 Xerox copies Performance, Installation, Sequence of drawings Variable dimensions and presentation formats Since 2006

Unresolved Interval Installation, passive infrared motion sensor, sound Device size 9 x 6 x 0.25 cm 2008

Unresolved Interval Installation, passive infrared motion sensor, sound Device size 9 x 6 x 0.25 cm 2008

Still in Emotion Digital print 24 x 18 cm 2007

Still in Emotion Digital print 24 x 18 cm 2007

Years Go By and More Words are Forbidden Wall carving 14 x 430 cm 2014 Black gel ink on a Moleskine daily planner 25 x 29 cm, framed 2014

Years Go By and More Words are Forbidden Wall carving 14 x 430 cm 2014 Black gel ink on a Moleskine daily planner 25 x 29 cm, framed 2014

Last Boggle board, letter dice 11 x 15 x 2 cm 2012

Last Boggle board, letter dice 11 x 15 x 2 cm 2012

Leaving Living Video installation, 10’30” loop Variable dimensions 2005

Leaving Living Video installation, 10’30” loop Variable dimensions 2005

As Long As ~ Drawing
Glow-in-the-dark paint on A4 Xerox copies
Performance, Installation, Sequence of drawings
Variable dimensions and presentation formats
Since 2006

As Long As ~ Drawing
Glow-in-the-dark paint on A4 Xerox copies
Performance, Installation, Sequence of drawings
Variable dimensions and presentation formats
Since 2006

Unresolved Interval
Installation, passive infrared motion sensor, sound
Device size 9 x 6 x 0.25 cm
2008

Unresolved Interval
Installation, passive infrared motion sensor, sound
Device size 9 x 6 x 0.25 cm
2008

Still in Emotion
Digital print
24 x 18 cm
2007

Still in Emotion
Digital print
24 x 18 cm
2007

Years Go By and More Words are Forbidden
Wall carving
14 x 430 cm
2014

Black gel ink on a Moleskine daily planner
25 x 29 cm, framed
2014

Years Go By and More Words are Forbidden
Wall carving
14 x 430 cm
2014

Black gel ink on a Moleskine daily planner
25 x 29 cm, framed
2014

Last
Boggle board, letter dice
11 x 15 x 2 cm
2012

Last
Boggle board, letter dice
11 x 15 x 2 cm
2012

Leaving Living
Video installation, 10’30” loop
Variable dimensions
2005

Leaving Living
Video installation, 10’30” loop
Variable dimensions
2005