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)

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A found scene in the suburbs of Philadelphia; a shadow in the form of a house is created by the angle of the sun on the façade of this building. The projector is programmed to turn on for one minute every 24 hours, at the precise hour when the photo was originally taken. The rest of the time, the projector is off.

• Première Vue, Passage du Retz, Paris, FR (2005)

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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 Here, an unresolved interval is slowed down and played on a piano.This work was originally made for the occasion of the exhibition Master Humphrey’s Clockat Het Gebouw: the pavilion dedicated to artist Stanley Brouwn.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)

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The song Everybody Loves Somebody Sometime, performed by Frank Sinatra, is played in the empty space. Only this line is heard accompanied by silent intervals in respect to its original recurrence in the song’s lyrics. The “sometime” and the “somebody” which were concrete in the original song and referred to a specific temporality and person, here become arbitrary and impersonal, as they echo in the empty bright space.

• The End of History, Galerie Speckstrasse & Kutscherhaus, Hamburg, DE (2011)
• I’m Not Here. An exhibition without Francis Alÿs, De Appel. Amsterdam, NL (2010)
• Offspring, De Ateliers, Amsterdam, NL (2008)

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Situated in my living room, the dining table and chairs act as an orientation apparatus; compass. On the backs of each seat, on the wooden frame, a metal plaque indicates the name of the street located behind this chair. The typeface New West on each plaque relates further to the piece’s location in the Old West neighbourhood of Amsterdam. Compass echoes the past and future circulation of such items as furniture – remnants of belonging, souvenirs.

• Cool Loneliness, as part of Home Sequence, Home, Amsterdam, NL (2018)

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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^th anniversary 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)

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“It’s easy to get lost in your own dreams”: this sentence is taken from my daily horoscope as it appeared on the online work Recalculating Route. The text is traced in graphite onto two pillowcases, dividing any reading of the original sentence. The piece was made site-specificity for my bed room for the exhibition Cool Loneliness.

• Cool Loneliness, as part of Home Sequence, Home, Amsterdam, NL (2018)

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Tuned precisely to follow the opening hours of the exhibition Cool Loneliness, this spatial sundial liberates me from regularly checking the hour. The mirror is positioned in such a way that at 2 p.m., the opening hour, a ray of sunlight that enters through the window is directed to the ceiling. During the following five hours, the projected sun beam traverses the living room space until precisely 7 p.m. – the closing hour – when it exits the space.

• Cool Loneliness, as part of Home Sequence, Home, Amsterdam, NL (2018)

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Catching (day) Light was made in a private residency in Paris: via a mirror placed on the floor, a ray of sunlight illuminates the light bulb until the ray moves away and the bulb is turned off again. While in the another space, applying the same trick, a ray of sunlight fills in the middle of the ceiling molding ornament for a short period of the day.

• Grandfather Paradox, On-Off Artprojects, Hamburg, DE (2010)
• Grandfather Paradox, Chelouche Gallery, Tel Aviv, IL (2010)
• Première Vue, Passage du Retz, Paris, FR (2005)
• Alone (At Last), Private residency, Paris, FR (2005)

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A garden solar light is placed where its solar panel can collect the maximum amount of full, direct sunlight. During the day, the solar panel converts sunlight into electricity and recharges the battery. The more sunlight it receives; the more power can be stored for the light to use at nighttime. Once night falls, a sensor turns the light on automatically. The solar lights in Ongoing Collection are placed in a glass showcase illuminated by daylight temperature fluorescent lamps. Here, night never falls and the collection never sees daylight. This artificial light does not operate merely to make the collection visible but to incessantly energize it and consequently prevent the lights from turning on. Every time the work is exhibited, a new and varied combination of the growing solar light collection is presented.

• Soul Seek, Internet Opera, slsk.nl (2012)
• Customized installation, Persona, production of Studio Minailo, Grachtenfestival, Amsterdam, NL,  (2011)
• Storyboard edition, IBG2011: Ins Blickfeld geruckt, Galerie de Multiples, Paris, FR (2011)
• Attachment, Galerie Gabriel Rolt, Amsterdam, NL (2011)
• Storyboard edition, Ins Blickfeld Geruck, Institut Francais, Berlin, DE (2010)
• The 2nd Biennial of Contemporary Art, The Herzliya Museum of Contemporary Art, Herzliya, IL (2009)
• Sun Shine Shine, Nieuwe Vide, Haarlem, NL (2008)

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On Temporary Loan comprises a selection of items from twenty-one windowsill displays, collected from homes in different parts of Amsterdam. Every day another display was unveiled and exhibited in its original state. While these objects were on display at de Inkijk space, a sign was placed on the empty windowsill of the objects’ owner, indicating the objects’ absence to passersby. The title of the work refers to the signs that hang in museums when a particular work from the permanent collection is on loan.On Temporary Loan was the fourth and last project for The Precarious State, a series of projects that was initiated by SKOR in 2008 and held at De Inkijk reflecting upon the concept of identity. 

• On Temporary Loan, De Inkijk, different homes, Amsterdam, NL (2009)

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The installation consists of three paper stacks, which invite viewer to take a sheet. On each is printed one of the pairs in the title. The stacks are positioned throughout the space so that “TOO LATE” is the last, thereby guiding the viewer through the space to face each proposition singularly.The impetus for the work came from a found record featuring on one side a song called Too Much, Too Little, Too Late and on the other Emotion; two sides of the same single. The resulting sculpture inevitably changes, diminishing in height and weight throughout the course of the exhibition.

• 2001-2011: Soudain, Déjà, Galeries d’exposition ENSBA, Paris, FR (2011)
• :-)-:  Galerie Gabriel Rolt, Amsterdam, NL (2009)

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Empty Orchestra took place in two synchronized locations: Square St. Denis in Brussels and the website [www.PlacestDenis-SintDenijsplein.be] that was active for the duration of the project only. The term “Empty Orchestra” is the definition for the Japanese word “karaoke”. The concept started as a form of entertainment in which amateur singers sing along with recorded music using a microphone and public address system. Today, karaoke service is no longer found only in special bars but can be downloaded and uploaded on mobile phones.For the duration of the project an instrumental karaoke version of a song was played at set times (09:00, 13:00, 17:00) from the existing mega-phones located in the square and the nearby streets. Every day a different song played. In parallel the lyrics of the song of the day were streamed on the website: without melody only the words appeared in sync with the song’s tempo.The physical elements located on the Square St. Denis functioned as a décor for the project. The launderette’s display mirrored the plants seen in the Square. The next-door billboard feature da homogeneous green surface that suggested both a green surface and at the same time a Green Screen with the potential to reveal more images behind it, other places. Combined with the daily soundtrack of the square, these elements emphasized the potential of the square to host multiple scenes and prevented the site from becoming static.Empty Orchestra was the fifth project as part of Wiels hors les mursprogram, held in Speedy Wash at Square St. Denis.

• Empty Orchestra, Speedy Wash, Wiels, Brussels, BE (2009)

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During the exhibition :-)-: daylight was removed from the gallery and the only light sources were spotlights directed towards stacks of paper featuring the phrases “TOO MUCH”, “TOO LITTLE”, “TOO LATE”. This theatrical and artificial ambiance was interrupted daily when, fifteen minutes before the exhibition closed, all the lights in the space were switched on. A signal for closing time.Controllar, an experimental pop duo, were commissioned to compose a piece to be performed live in the space at the same time as INTERVENTION. Their composition was inspired by this moment of “lights-on”, a familiar finale in bars and clubs at the end of a night out. As soon as the performance ended, Controllar left and the gallery was immediately closed. 

• :-)-:  Galerie Gabriel Rolt, Amsterdam, NL (2009)

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A ceiling fan turns in the space. The only light source comes from the bulb of the fan. The blades of the fan have been painted black in such a way that as the blades turn, a flickering reflection of the bulb is created once in every cycle. An endless loop of ambition and despair, hinting at, but not limited to, this moment when an idea comes to mind – also referred to as a “light bulb moment”.

• The Twin Paradox, Contributed, Studio for the Arts, Berlin, DE (2009)
• Second Life, La Générale Manufacture, Sèvres, FR (2008)
• Offspring, De Ateliers, Amsterdam, NL (2008)

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The melody card module was originally used in greeting cards: a small six pin processor is programmed with a melody to be played back through a piezo speaker. A lithium button cell provides the power and a leaf switch closes when the card is opened turning the music on. Here, the module is installed in the corner of the gallery space at 90 degrees, resulting in an extract of the song Home, Sweet Home being played in a loop. This process will last until either the battery runs out or the walls of the space are no longer standing still.An outcome of the audio installation is FLATTEN SOUND made especially for The Book of Intensions, Issue 4 of F.R.David. Here, the melody card module is scanned and printed on a double spread – inspired by the image-editing software Photoshop’s term “flatten image” where the individual layers of an image are merged into one.

• “The Book of Intensions”, R. David, de Appel Arts Centre, Issue 4, Amsterdam, (Summer 2008)
• De Ateliers, Amsterdam, NL (2007)

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This work is based on a 24-hour cycle. Colour cellophane papers cover the window in a room and creates a full color spectrum on the nearby wall. As the daylight fades so does the spectrum until only the white light, coming from the daylight bulbs, remains.

• De Ateliers, Amsterdam, NL (2007) 

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The term “fata morgana” means more than just an optical phenomenon. The interpretation of the image is up to the fantasy of the viewer. Yet, it will always disappear once approached and will immediately reappear in the far horizon. A black painting on the wall is made. An imaginary landscape with the help of handmade stencil – a palm tree, lake and two mountains – and does not disappear once approached. A ray of sunlight, which cycles through the space daily, from the ground towards the image and away, marks time and links this seemingly motionless space to the outside world.

This work was made specifically for atelier Barbara Leisgen in ENSBA and exhibited on 21 June 2005; the summer solstice.

• Beaux Arts de Paris, Paris, FR (2005)

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Don’t Convert the Scientific Problem to an Insignificant Love Story is composed of a single photographic slide projection. The image is a frozen frame from Andrei Tarkovsky’s 1972 film Solarisin which the dead body of the protagonist’s wife lies on the floor: a moment after she had committed suicide and a minute before she will come back to life. The text in the title of the work is the English subtitle which appears against this backdrop. Isolated from its continuity, this piece of text – said in the film by Snaut the scientist to Kelvin the psychologist – calls for a clear and hierarchal dichotomy between science and emotion. During the period of the exhibition, the intense light of the slide projector’s lamp scorches the slide causing it to gradually fade.

• Partial Presence, Zabludowicz Collection, London, UK (2015)
• Other Lives, Bloomfield Science Museum, Jerusalem, IL (2012)
• Darker Than Light, Sommer Gallery for Contemporary Art, Tel Aviv, IL (2010)
• “Quelle énergie mettons-nous à transformer les choses, avec un plaisir non dissimulé”, La Générale Manufacture, Sèvres, FR (2010)
• The Cast of Shadows, Access Gallery, Vancouver, CA (2009)
• The Twin Paradox, Contributed, Studio for the Arts, Berlin, DE (2009)
• Offspring, De Ateliers, Amsterdam, NL (2008)

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Georgia was formed and placed on the tiles of my bathroom, while the audience had only a restricted view of the work via the partially open door. This piece – on view during Cool Loneliness – is a personal homage to Georgia O’Keeffe’s body of work and Marcel Duchamp’s Etant Donnés (1946-66). This piece is a bitter-sweet praise to my own hair and the cycle of life. A way to say goodbye

• Cool Loneliness, as part of Home Sequence, Home, Amsterdam, NL (2018)

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Spells is a text writing system that I developed based on the structure of stencil lettering: a ready-to-use plastic sheet consisting of the whole alphabet.Since Summer 2017 I have been making watercolor drawings of words – carriers of meanings – on paper. When drawing a word, when spelling it, the letters are forced on the paper according to the stencil’s structure. Depending on the spelling, one stencil can form the whole or a part of a word. Once a letter repeats the drawing continues one level below. As I draw the words chronologically, letter after letter, the different intensities of the watercolor range from opacity to increased transparency, suggesting the order of the reading. The choice of words is both calculated and intuitive. My sources vary from books, podcasts, conversations, dictionaries, newspapers, etc. Sometimes a word stays solo or can lead to a pairing or longer sequence. In order for me to have an account of this collection of words, or as I refer to them: “words in my possession”, I have an alphabetic book where I keep a record of each word.

• Villa, open studio, Boghossian Foundation -Villa Empain, Brussles, BE (2019)
• Cool Loneliness, as part of Home Sequence, Home, Amsterdam, NL (2018)

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