Born in Israel, Noa Giniger graduated from the École Nationale Supérieure des Beaux-Arts de Paris (2005) and attended the School of Art at Carnegie Mellon University as an exchange student (2003-2004). She was a participant in the two-year program De Ateliers, Amsterdam (2006-2008), a Royal Dutch Institute Affiliated Fellow at the American Academy, Rome (2011) and recently, an artist in residence at Villa Empain – Fondation Bogossain, Brussels (2019). Noa has received Stipendium for Established Artists from Mondriaan Funds (2018-2022) and Development Grant from Amsterdam Fonds voor de Kunst (AFK) (2016) . Her work has been presented in various international solo and group exhibitions. She is also a board member at Tohu– an independent online art magazine dedicated to promoting clear and engaged writing about art and culture in Hebrew, Arabic, and English; and at puntWG – an artist-run experimental community and presentation space in Amsterdam. Additionally, Noa represents half of the spoken-word-poetry duo Noon & Ain with musician Anat Spiegel. Noa Giniger lives and works in Amsterdam.
CONTACT
WG-Plein 33C
Amsterdam 1054 RA
Netherlands
neshama@gmail.com
@noa.giniger
CREDITS
Clare Butcher
fanfare & Haris Hadžić
Mondriaan Fonds
Open skies | Group Show
Curator: Avi Lubin
12 – 14 November 2020
Loving Art. Making Art. Tel Aviv, IL
The Sorrow the Joy Brings | Online contribution
Invitation by Tal Yahas and Rinat Edelstein
המצאת הטבע Issue #30, Harama (on-line magazine), 2020
Poeticising Leisure | Group show
29 May – 11 July 2020
Althuis Hofland Fine Arts, Amsterdam, NL
Viral Self-Portraits | Online Exhibition
Invited by Galit Eilat
15 May – 31 December 2020
MG+MSUM, Ljubljana, SI
Chapter 3HREE | Artist Talk
8 March 2020, 4 – 5 p.m.
With Desiree Dolron, Noa Giniger and Maria Roosen
Het Hem, Zaandam, NL
Limited Edition Art Fair | Prints and Multiples
14 – 16 February 2020
Fondation Boghossian – Villa Empain, Brussles, BE
Chapter 3HREE | Group show
Curated by Rieke Vos and Maarten Spruyt
14 January – 3 May 2020
Het Hem, Zandaam, NL
Mondriaan Fonds | Grant
Receiver of Stipendium for Established Artists
(Werkbijdrage Bewezen Talent)
2018 – 2022
Flowers of Our Land | Group Show
Curator: Udi Edelman
16 February – 18 May 2019
Israeli Centre for Digital art in Holon, IL
Get Lost Dreams | Online contribution
Invitation by Tal Yahas and Rinat Edelstein
Futures Issue #25, Harama (on-line magazine), 2019
Noon & Ain in Nanopoetica | Special contribution
Edited by alex Ben-Ari
Second Hebrew Anthology of Conceptual Poetry
Launch: 21 November 2019
Print screen Festival, Israeli Centre for Digital art in Holon, Israel
Leaving Living | Screening
Curator: Jean-Marie Gallais
9 December 2018, 6 p.m.
Centre Pompidou-Mertz, Mertz, FR
Cool Loneliness | Solo Exhibition
Initiated and organized by Sascha Pohle and Tao G. Vrhovec Sambolec
Exhibition: 14 – 15 July 2018
Opening: 13 July 2008, 6 – 9 p.m.
Home Sequence
בשנים האחרונות, הבוץ גדל | Online contribution
Invitation by Tal Yahas and Rinat Edelstein
Chain Reaction, Issue #21, Harama (on-line magazine), 2018
Unwilling: Exercise in Melancholy | Group show
Curators: Vanessa Kwan and Kimberly Phillips
Exhibition: 12 March – 28 April 2018
Artists talk: 21 March 2018, 5 p.m.
Cantor Fitzgerald Gallery, Haverford College, PA, USA
Multiples and Editions | Group show
The Hazenstraat Biennale: 15 – 31 March 2018
Gallery Martin van Zomeren, Amsterdam, NL
The Merry-Go-Round (part 2) | Group Show
Curator: Jeanine Holfland
Exhibition: 16 February – 3 March 2018
Juliette Jongma Gallery, Amsterdam, NL
As Long As | Limited Edition ⏳?
NU NU NU NOW NOW NOW
Stedelijk Museum Shop, Amsterdam, NL
Website [www.recalculatingroute.info]
Screen size
Online since 31.12.2008
Website [www.recalculatingroute.info]
Screen size
Online since 31.12.2008
Every night at midnight in my local time-zone, a new headline is posted on the website – generic words of wisdom and advice that have been culled from a daily horoscope allegedly created in response to the date and time of my birth. Black text on a white background: each entry creates an intimate encounter with a sentence so general that it becomes endlessly relatable, holding potential meaning for every reader to identify. As the proverbs and guidelines offered by Recalculating Route change daily, there is no access to the previous sentences and no opportunity to take a glance at future ones. The title of the work emerges from the vocabulary of GPS device when calculating the route to a given destination.
Recalculating Route is the first part of the online trilogy, No Time for Nostalgia [dot] Now.
Design: Sam de Groot
Production: Thijs Gadiot, Harris Blondman
related works:
Website [www.absolutecountdown.com]
Screen size
Online since 31.12.2008
Website [www.absolutecountdown.com]
Screen size
Online since 31.12.2008
A countdown that starts at ten seconds and counts time in absolute value potentially forever, or as long as the browser window remains open.
Absolute Countdown is the second part of the online trilogy, No Time for Nostalgia [dot] Now.
Design: Sam de Groot
Production: Thijs Gadiot, Harris Blondman
related works:
Installation, passive infrared motion sensor, sound
Device size 9 x 6 x 0.25 cm
2008
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.
related works:
Four engraved metal plaques, chairs
1.8 x 9 cm each plaque, 85 x 45 x 45 cm each chair
2018
Four engraved metal plaques, chairs
1.8 x 9 cm each plaque, 85 x 45 x 45 cm each chair
2018
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.
related works:
Digital print
24 x 18 cm
2007
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.
related works:
Archival pigment print
100 x 150 cm, framed
2009
Archival pigment print
100 x 150 cm, framed
2009
An existing interval of two minutes between two working clocks on the facade of a church. The photograph was taken at noon with the left clock face showing one minute after noon and the right, one minute before noon. While wandering around Berlin, I noticed a two-minute difference between the two clocks on the façade of the Saint Thomas church in Kreuzberg. I returned to the site with a 35mm camera to photograph the façade at precisely 12:00. This symmetry between the clocks and the work’s palindromic title underscore both the fundamental absence of a non-disrupted “present” and the excessive presence of the past and future.
related works:
Engraved text on trees
Variable dimensions
2015
Engraved text on trees
Variable dimensions
2015
Both Sides Now (On Shuffle) is composed of eleven titles engraved on the bark of different trees around the park. The titles are taken from Joni Mitchell’s album Both Sides Now which traces the arc of the modern romantic relationship. In the words of musician Larry Klein: “from initial flirtation through optimistic consummation, metamorphosing into disillusionment, ironic despair, and finally resolving in the philosophical overview of acceptance and the probability of the cycle repeating itself”. The work is named after the last track which shares its title with the album, and is the only one not engraved.Spread around the park without any precise indications of the location of each engraved tree, the work takes on the associative gesture of a popular music technology and “shuffles” the titles of the album’s songs around the park. I chose not to give any precise indication of their locations of each engraved tree in order to offer the visiting public an unplanned encounter with each title; an intimate experience.These botanical relics have a limited lifespan; etched into living wood, their existence is typically limited to that of the tree. Their form shifts slowly over time. As the seasons transition, this organic work changes constantly, without my control. The work also raises questions around marking and possessing landscape, while offering a poignant response to the often male-dominated tradition of Land Art.
related works:
Graphite, two cotton pillowcases, bedding set
55 x 65 cm each
2018
Graphite, two cotton pillowcases, bedding set
55 x 65 cm each
2018
“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.
related works:
Installation, mirror, tripod, sunlight, ceiling
Variable dimensions, 5 hours duration
2018
Installation, mirror, tripod, sunlight, ceiling
Variable dimensions, 5 hours duration
2018
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.
related works:
Rubber and nylon, colors variable
135 x 85 cm
2009
Rubber and nylon, colors variable
135 x 85 cm
2009
Site Specific is an ongoing series of rugs that are based on the house number of their locations. The shape and size are determined according to the designated spot of the existing doormat.(34) was designed especially for the entrance of Galerie Gabriel Rolt in Amsterdam (which no longer exists) and was on view during my solo exhibition :-)-: in 2009. It was inspired by the spirit and persona of the gallerist himself and made available as a multiple by request. During my solo exhibition Cool Lonelinessthe rug was also on view. When placed at the entrance of my apartment, this doormat lost its site-specificity, becoming an artifact instead.
related works:
Alternating residency, blog
Blog [http://fabzimmer.wordpress.com]
2011
Alternating residency, blog
Blog [http://fabzimmer.wordpress.com]
2011
Over a period of seven weeks I invited seven female artist friends from different countries to stay with me – each one for one week – for an in-situ dialogue in Kunsthuis SYB. These artists are important personas in my life and practice. During this time, I was looking to bridge the physical distances that separate us and to examine notions such as: leisure and friendship and the lack of togetherness in today’s world. Our time together was meant to provide ideal conditions for communication, for projection of individual information, for collecting in order to create a greater whole – in order to look into how things are created and how we create things.The project is accompanied by a blog – a log of our moments together, a collection of information, experiences and emotion. In 2012 the artist book Exstatic+Streaming was published as a reflection upon this residency through texts and images.
Participating artists: Keren Benbenisty, Gaëlle Boucand, Rada Boukove, Halina Kliem, Shana Moulton and Anat Spiegel.
Zimmer for FAB was made possible with the support of Kunsthuis SYB, Mondriaan Fonds, Fonds BKVB and Institut Français des Pays-Bas.
related works:
A daily alternating installation, various objects
De Inkijk and different locations around Amsterdam
2009
A daily alternating installation, various objects
De Inkijk and different locations around Amsterdam
2009
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.
related works:
With Robin Vanbesien
Site specific installation, mixed media, website (active for the duration of the project only)
2009
With Robin Vanbesien
Site specific installation, mixed media, website (active for the duration of the project only)
2009
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.
related works:
Postcard, archival pigment print
43.5 x 30 cm, framed
2009
Postcard, archival pigment print
43.5 x 30 cm, framed
2009
A found postcard of a fountain presented alongside a photograph of the real location in another era, revealing the changes in water-streams over the years.While in a secondhand bookshop in Berlin, I came across a postcard of a fountain with a golden deer statue atop a high column. With neither name nor address, I eventually located it with the help of local people in Berlin: Stag Fountain located in the neighbourhood of Schönberg. I visited the fountain and took a photo of it from the same angle.
related works:
Light installation, vertical blinds, cellophane papers, daylight, daylight bulbs
Variable dimensions
2007
Light installation, vertical blinds, cellophane papers, daylight, daylight bulbs
Variable dimensions
2007
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.
related works:
Website [www.verticalelement.faith]
Screen size
Online since 16.11.2016
Website [www.verticalelement.faith]
Screen size
Online since 16.11.2016
An endless scrolling site. Visitors to Vertical Element are first exposed to an image of an inverse mountain, taken from the world of emojicons symbolizing Mount Fuji in Japan. At the bottom of the screen, the scroll bar begins its countdown – in pixel units – towards the zero point, and from there continues an infinite ascent into the measured and numbered void. The scroll operates at a fixed internal rhythm, and while manual intervention is possible – up, down – inactivity engenders surrender to adjusting direction and speed, which are preset.
Vertical Element is the third and final part of the online trilogy, No Time for Nostalgia [dot] Noa.
The website was created following an invitation by Udi Edelman and Yael Messer (The Institute for Public Presence) to take part in Ma’arav, an online art and culture magazine dedicated to artist Ezra Orion.
Production: Harris Blondman
related works:
Installation, black spray on wall, sunlight
Painting on the wall: 160 x 240 cm
2005
Installation, black spray on wall, sunlight
Painting on the wall: 160 x 240 cm
2005
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.
related works:
Exhibition, Home, Amsterdam, NL
2018
Exhibition, Home, Amsterdam, NL
2018
Cool Loneliness – a term coined by Pema Chodron in her book When Things Fall Apart – is a home exhibition created in response to an invitation by artists Sascha Pohle and Tao G. Vrhovec Sambolec to contribute to their self-organized exhibition titled Home Sequence. The exhibition took place over one weekend in the private homes of different Amsterdam-based artists. For this event, I chose to show a mix of old and new artworks rearranged within my intimate space, surrounded with objects and collection that are not necessarily regarded as “art” per se – my cabinet of curiosities. And as artworks were dispersed around the apartment, a floor plan assisted in navigating. It was an opportunity for me to both experiment with works and ideas – final and draft, and to share other private layers of my world with the public. Some works are site specific and were made especially for this occasion and their existence ceased once the exhibition ended.
related works:
Hair
25 x 17 cm
2018
Hair
25 x 17 cm
2018
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
related works:
Video installation, 10’30” loop
Variable dimensions
2005
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.
related works:
Exhibition with Bas Jan Ader, Halina Kliem, Jennifer Tee
Curated by Noa Giniger
puntWG, Amsterdam, NL
2014
Exhibition with Bas Jan Ader, Halina Kliem, Jennifer Tee
Curated by Noa Giniger
puntWG, Amsterdam, NL
2014
The word ‘status’, by definition, refers to a given now which does not necessarily guarantee its relevance for the moments to follow. Therefore, it expresses a position that is subject to constant examination and change. Social media has appropriated the word status and incorporated it into today’s jargon as a space for sharing one’s feelings, thoughts and actions with friends and followers — ‘What is on your mind?’. This endless verbose time-line is an attempt to not let any moment be forgotten or left behind.Status brings together works by three artists in which text – the written word – performs as solid matter and confronts its own unstable and fragile content. Words are presented in different techniques: installation, video and sculpture, thus offering different encounters with text; hand-written, typed, and engraved. The pieces shift between temporary and permanent, laconic and wordy, restless and stillness, awareness and oblivion, spirit and matte. Thoughts Unsaid, Then Forgotten (1973) by Bas Jan Ader is a wall-text installation, illuminated by a lamp and paired with flowers in a vase. This reconstruction of the piece is following drafted instructions; the sentence is traced, based on the original handwriting. The decaying flowers and the text about forgetting, emphasize Ader’s attraction to the inescapability of loss in fleeting moments. Thoughts will be forgotten, whether unsaid or spoken aloud, and Ader’s laconic phrase does not guarantee otherwise.The two videos from the series Real World (2007-2008) by Halina Kliem are fast and intensive. The restless typing creates a rhythm that is occasionally disrupted by re-writing and correcting. Each video lasts a few minutes before repeating itself. Here, the linear time-line is replaced by an eternal loop. Expressed as an inner monologue, Real World explores the boundaries between art and life, fiction and truth, and as the videos are simultaneously watched and read, the text turns into a form of poetry.As if observing from the mezzanine, a collection of works by Jennifer Tee is displayed; nine pairs of ceramic urns, colorful in a spectrum of glazed soft pastels. The sculptures, among which are Thought~Forms, Wild~Patience, and Occult~Geometry (all 2014), are arranged on a long table. They are a hybrid of a tomb and a totem, striving for eternal duration beyond decay. One word is stamped on each of them. Isolated but paired, the urns do not tell a narrative but a riddle. Hence, by placing them outside of their regular context, the words resonate different vibrations that transcend their common use.
Status was made possible with the support of Amsterdams Fonds voor de Kunt (AFK).
related works:
Two vintage chairs, cat’s nails
70 x 50 x 60 cm each chair
2015 – 2020
Two vintage chairs, cat’s nails
70 x 50 x 60 cm each chair
2015 – 2020
The work is composed of two vintage chairs that I found in the streets of Paris before moving to Amsterdam. Since 2015 the chairs have been used by Mimi my cat, to sharpen her claws. This performance of wild instincts, as she maintains her survival tools and prepares for unknown encounters, has since confronted me with automatic disapproval – watching how the chairs slowly got ruined – mixed with the pleasure of witnessing her satisfaction while doing so. Moreover, despite the apparent vandalism they underwent, I found myself being hypnotized by Mimi’s ongoing effort and the symmetrical result of her work: the soft upholstery has unraveled like two wings on both sides of each chair, while her nails got knitted in it as hidden pearls. On the occasion of the home exhibition Cool Loneliness (2018), I decided to declare the chairs as an artwork. This pronouncement was a result of reflecting on animalism, female craft, artistic labor, and ownership. In May 2020 the chairs left my home to participate in the exhibition Poeticizing Leisure at Gallery Hofland Althuis in Amsterdam. This has signalized the end of Mimi’s work; in my eyes they have reached their final touch.
related works:
Programmable LED Message Fan
Fan diameter: ⌀88 mm, length 40 cm
2011/2020
Website [www.forthetimebeing.be]
Variable dimensions and durations
Online since April 2020
Programmable LED Message Fan
Fan diameter: ⌀88 mm, length 40 cm
2011/2020
Website [www.forthetimebeing.be]
Variable dimensions and durations
Online since April 2020
A words-based loading circle and the uploaded data itself. The first text-cycle displays: FOR THE TIME cycling clockwise. Then followed by the second text-cycle: BEING cycling counterclockwise. These two cycles repeat endlessly while also creating a current of air. In April 2020, I turned the actual object into a website, where viewers can intimately experience the work in their chosen location, correspondingly to the speed of their own internet. Time, screen, saver.
related works: