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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

• Durational Boundaries, ICA, Philadelphia, PA, USA (2014)
• Absolute Countdown, Western Front, Vancouver, CA (2013)

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 Here, an unresolved interval is slowed down and played on a piano.This work was originally made for the occasion of the exhibition Master Humphrey’s Clockat Het Gebouw: the pavilion dedicated to artist Stanley Brouwn.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

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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.

• Dark Times, The Genia Schreiber University Art Gallery, Tel Aviv, IL (2014)

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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.

• Ephemeral Art in the Landscape, I-Park Foundation, East Haddam, Connecticut, USA (2015)

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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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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.

• Cool Loneliness, as part of Home Sequence, Home, Amsterdam, NL (2018)
• :-)-: Galerie Gabriel Rolt, Amsterdam, NL (2009)

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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.

• Zimmer for FAB, Kunstvlaai, Amsterdam, NL (Conversation with Yael Messer) (2012)
• Zimmer for FAB, Kunsthuis SYB, Beetsterzwaag, NL ((Residency + presentation) (2011))
• Zimmer for FAB, Galerie Jeanine Hofland, Amsterdam, NL (Conversation with Angela Serino) (2011)

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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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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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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.

• ANACHRONISMS & INTERFERENCES, Cathedral Magazine #3 (2009)

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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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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

• Maarav, Launch Sites, Ezra Orion, The Israeli Centre for Digital Art, Holon, IL (2016)

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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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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.

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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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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)

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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.

• Poeticizing Leisure, Althuis Hofland Fine Arts, Amsterdam, NL (2020)
• Cool Loneliness, as part of Home Sequence, Home, Amsterdam, NL (2018)

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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.

• Viral Self Portraits, MG+MSUM, Ljubljana, SI (2020)
• Chapter 3HREE, Het Hem, Zaandam, NL (2020)
• ĐİĽƐƬŤÂƝŤƎƑÓÑƮ ~ ĮMİƓĤŤŁĨƘÉ YÓŪ, video collection as part of Friday Late: What the Font?, V&A Museum, London, UK (2014)

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