Hurricane 901 is a video project , which examines the symbiotic relationship between spectacle in show business and that of war, terror and trauma.
Speaking in front of smoke machines, is an event that does not fit the usual models of testimony, re- enactment, dramatic monologue and performance but tries to blur between them.
The testimony or the verbal re enactment are expressions pretending to unveil an illusion of truth, understanding and order that gone out of control and out of balance.
The video re-enactment presents an “excess” of reality, so to speak, that is saturated with descriptions and expressions of emotion and raw grief – but actually reveals fragmented utterances, empty of meaning and logic and lacking substance and tangibility.
Hurricane 901 is one of the commercial models of smoke machines. In this interpretation, the exhaling machines are technological recipients of a testimony that exposes trauma as a trendy product in an ostentatious society that consumes excitements and indulges in temptations.
The re-enactment and testimony relate to the grandiosity of the spectacle, to the world of show business. They remind us of a malfunction during a stage performance, echoing one of Beyonce’s intensely powerful performances, and naturally flow into the realms of battlefield and terror.
The exhaled smoke is a common image in the worlds of stage performance and battlefield.
Alongside manifestations of power, the smoke is a violent simile for a terrorist act, which serves to screen, blur and conceal truth – a cover, for obfuscation and camouflage.
16 mm + text
This work presents sculptures of founding figures in Israeli Zionist history.
They are located in center of Kfar Shalem’s neighborhood in Tel Aviv and their faces were vandalized.
‘Kfar Shalem’ was built on the ruins of the Arab village, ‘Salama’, from which the residents were expelled during the 1948 war. The sculptures are part of the foundation of the ethos that stands in stark contrast to the history of this village. The text is taken from testimonies of people who were expelled from the village of Salama.
SA LA ME
The work conducts a renewed encounter with a Textual source, undermines its exclusiveness, challenging his prior credibility and offers new conditions for the emergence of the hidden or potential elements repressed in it
Textual elements, associated with the Yom Kippur War such as: places, concepts and identities, are deleted from the protocols depicting wartime cabinet meetings. The text remains, without any addition of words, and keeps the chronological succession of the protocol, then reassigned into the spectacle. Now, the text is different, copied into the new frames belonging to the audition and the conventions of popular culture and entertainment establishments.
The actress in the audition offers a speculative and dramatic interpretation of Golda Meir’s part in the protocols. What is taking place is a functional media event, apparently coherent, examining the possibility of documentation, its boundaries and status. The event does not create sense, it neutralizes the trauma, and eliminates any content. Thereby the message of the performative medium collapses and loses control.
My loving people
The project is an installation consisting of six moving sculpture-like bodies that project images taken from Meyerhold Vsevolod’s Arming the Imagination, a study that contains an index of positions aimed at performative enhancement and arousal. The projected images are accompanied by the sound of an actress in an acting lesson, focusing on English pronunciation. The actress utters a passage from Queen Elizabeth I’s speech to her troops on the eve of the battle against the Spanish Armada in 1588 (an original recording by Daniella Kertesz, New York). The project examines the connection between the moving bodies and the recording and echoes the historical event. The objects, taken from entertainment performances, facilitate a fresh look at historical conventions through representations of speech and national consciousness, associated with aspects of war and mechanisms of power.