I’m excited to announce my participation in the #NFT #exhibition #SINGULARITY at the Decentral Art Pavilion in #Venice starting on April 20 during the La Biennale. There I present the NFT series IS IT NFT, which questions the effects and changes that NFT art emphasizes and brings with it, to the ways of consumption and creation of art.
—> Scan the image and find more information.
September / 27 / 2019 - January / 1 / 2020
Museum On The Seam, Jerusalem
Marshall Arisman, USA
David Tartakover, Israel
Shirley Faktor, Israel
Rachel Erdos, USA, Israel
Noam Braslavsky, Germany, Israel
William Kentridge, South Africa
Drawings, photographs and installations which challenge the visitor to examine what is left from democracy, and what remains of the promise for a new world of equal rights and opportunities.
Have we lost hope in democracy? Has democracy become a synonym for corruption? Have the mission of democracy and those it was meant to serve been forgotten?
Upcoming in Hannover. New works. Stay tuned…
New series of works in progress …
Installation “Who’s bad?” at the Mediations biennial, Poland 2016
Branding has two meaning levels: In literal sense it signifies the burning of patterns into the skin, and in figurative sense the developing of trade marks, this means: the burning of semantic patterns and symbolic connotations into our mind. The work „Who’s bad?“ is sabotaging the current branding of a global and “fundamentalized” image of the good and the evil. It displays the still of a video showing the beheading of the American journalist James Foley that (supposedly) was released by the ISIS. The photo shows a masked ISIS executor wearing black and the victim, James Foley to represent, in Orange. Instead of the two faces there are holes in which the visitors can stick their heads in order to get photographed as victims or perpetrators.
This video, from which the picture was taken, belongs to a series, showing a executor named Little John, which is suspected by many YouTube users as a fake video, produced by the CIA. This series differs from all other ISIS videos in that it works strongly suggestively on a symbolic-religious and thus biblical level. First, you see the ISIS executorers all in black like their flag, which is not the case with most other videos, where they wear khaki uniforms with black scarfs. Second, the victim is shown entirely in orange (that is reminiscent of the uniform of the US prisoners condemned to death). Third, with this color contrast also arises connotation of the color signal effect in nature—black and yellow (or orange) is the most powerful symbol of danger and Poison. Fourth, the relocation of execution in the desert is also a relocation of evil, evil is there, in the desert, and not here, where we are.
It is not clear whether this video is from the ISIS itself or by the CIA, but it unmasks the technology of polarization and the branding of a fundamental victim-perpetrator opposition. And in case that Youtube doubters were right, we would have to ask again: Who’s actually bad?
The creation of global problems allows the application of global solutions. The ISIS and therefore Islam is suggested by this cementing of good and evil as the final global, social cataclism. The work “Who’s bad?” reacts to this act of branding of the evil. The carnivalesque roleplaying allows visitors to take pictures of themselves as Little John or Foley, as executor or victims, and to post them in the networks. That way the work parodies, sabotages and defuses this cemented and suggested victim-perpetrator pattern. And every visitor, by experiencing the victim or the perpetrator, debunks this media manipulation. Each playful act is also an attack on this ideological branding and pictorial fundamentalism.
As artist & curator. Great works!
“Analog chatroom” at Vorspiel/Transmediale 2016
Installation: “Intimization” at the 5th Nakanojo Biennal, Japan 2015
THE SHORES OF BIKINI. LAYERS OF TRUTH (2014)
at the exhibition “Above the Roofs of Berlin”
in a two-story penthouse at Olivaer Platz, Berlin.
During the nuclear tests on Bikini Atoll between 1946 and 1958, the white sands of Bikini melted and streamed into the sea, where it solidified and then broke apart again. These pieces of glass were brought back from the Bikini Atoll in 2007, the year in which radioactivity sank to a non-threatening level and the indigenous people were allowed to return home.
OBSOLESCENT FUTURE (2012-14)
at the exhibition “Above the Roofs of Berlin”
in a two-story penthouse at Olivaer Platz, Berlin.
(Height 6.20 m)
May 2 - 18, 2014
A show about the play between architecture & form.
With over 50 art works by James Welling, Michan Ullman, Guillermo Srodek-Hart,Miguel Rothschild, Tobias Rehberger, Nina Pohl, Heribert C. Ottersbach, Jean-Luc Mylayne, Shahar Marcus, Michael Laube, Sigalit Landau, Kristof Kintera, Uri Katzenstein, Ik-Joong Kang, Jenny Holzer, Chen Guangwu, Dan Graham, Noam Braslavsky, John Baldessari, Karíma Al-Mukhtarová, Ron Aloni
The glass capsules contain prophesies that were written in the last five years and attempt to predict what will be in 50 years. The capsules were glued on the “motherball” in different times with different glues. As a result of this asynchronous mounting, the glue will degrade at different times, causing the capsules to fall one by one, making the old prophecies available.
The way we try to catch the future is ageing. Although we are getting better and faster with haunting it, although we are not getting tired to write manifests, when we talk about what will be we still talk about what should be, what are our heart desires and future anxieties. We talk about the present. And at the same time, there is always arising this presentiment that the humankind will never be able to “reach the future” and to “arrive there” as if future was not a condition but a point in space and time. What makes this “future” so uncalculable? If I throw a knife to a point that I have selected and calculated as an ideal position, the probability of achieving this aim is enormly high, almost sure. And if ten people are doing so at the same time? And if hundreds of people want to throw their knifes to their “ideal spots”, where will all the knifes landing? All in the same point?
The way we predict future today is moving away from our personal and present wishes and fears toward very cool machine-like computing algorithms, which we cast like brave futuristic fishing rods. On one hand hereby lies a real chance for move- and development beyond our fears and wishes, on the other hand this loss of emotional ties to the future is also a loss of humaneness.