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Work TitleDescriptionYearLengthLanguageSubtitleCountry #FileFormatOnlinePermission
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100101110101101NikegroundYou wear it! Why shouldn't our cities? Nike representatives propose the re-branding of the famous and historic Karlsplatz, in the heart of Vienna, to Nikeplatz. www.0100101110101101.org Found on the DVD - “13 Experiments in Hope” - 13 videos of creat1001L
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80 Bit Ensemble402aSound Only
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A. Omer, MichalI Said Angels200615'29''HebrewNoneIsrael575O
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Abu Hamdan, LawrenceMarching with Lawrence Abu HamdanLawrence Abu Hamdan is a London-based artist whose projects imaginatively deconstruct sound, in particular the voice and its relation to the city. This CD collects together the documentation of a series of performances that happened across Glasgow through200725'00'' total1602Sound Only
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Abu Latif, Qa'idBaabousTwo directors, two cameras and one team struggle with the making of their films without success, on the axis between Rahat and Muesi. One documents a group of freedom fighters at Rahat – the chosen base for their struggle for liberatation, and the other d200819'33''ArabicEnglish, HebrewIsrael1488A
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Achituv, RomyBeNowHere InteractiveThe BeNowHere Interactive installation integrates twelve one-minute, 360-degree video panoramas filmed at four UNESCO World Heritage cities: Jerusalem, Dubrovnik, Angkor-Wat, and Timbuktu. The endangered status of the sites, which are threatened with imminent destruction by natural, social, or political circumstances, endows the scenes with the quality of time-capsuled specimens presented to the viewer/user for dissection and exploration.

The user can maneuver back and forth within the encapsulated time-modules, creating and erasing moments in time, laying down a panoramic still that also represents a captured slice of time, then returning to view the scene unfold and come alive.

BNHI was created with footage shot by Michael Naimark and Interval Research Corp. for Naimark’s Be Now Here installation (1996).

Additional credits

C programming consultant: Matt Antone

Footage: Michael Naimark and Interval Research Corp.		19972'43''Israelmp4√Full Access
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Achituv, RomyGlobal VillagerThe Global Villager project entailed hiring and training a Korean marketing model (Dou-mi) to promote and distribute sentiments of local patriotism back to the Israeli public. The project speaks to a global culture in thrall to branding and merchandising, where patriotism too may become just another floating signifier to be delivered as a mere commodity by a migrant worker. On March 16, 2005 a professional Narrator Model welcomed visitors to the opening of the third chapter of Hilchot Shchenim at the Israeli Center for Digital Art, Holon. With affected courtesy and a smile she administered a potion of good marketing to any willing client - a patriotic Hebrew song of love for the homeland - the listeners’ homeland, that is, not her own.

The promotional event was accompanied by video documentation of the model’s training process.

For more information in Hebrew, also see this website: http://m--a--p.net/heb_1.html

Catalogue No. 488
File: Hilchot Shchenim C

Catalogue No. 434
File: A

Cultural exchange Gender Intervention Asia HILCHOT SHCHENIM C 		200515'37''Israel434A√Full Access
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Achituv, RomyGlobal VillagerThe Global Villager project entailed hiring and training a Korean marketing model (Dou-mi) to promote and distribute sentiments of local patriotism back to the Israeli public. The project speaks to a global culture in thrall to branding and merchandising, where patriotism too may become just another floating signifier to be delivered as a mere commodity by a migrant worker. On March 16, 2005 a professional Narrator Model welcomed visitors to the opening of the third chapter of Hilchot Shchenim at the Israeli Center for Digital Art, Holon. With affected courtesy and a smile she administered a potion of good marketing to any willing client - a patriotic Hebrew song of love for the homeland - the listeners’ homeland, that is, not her own.

The promotional event was accompanied by video documentation of the model’s training process.

For more information in Hebrew, also see this website: http://m--a--p.net/heb_1.html

Catalogue No. 488
File: Hilchot Shchenim C

Catalogue No. 434
File: A

Cultural exchange Gender Intervention Asia HILCHOT SHCHENIM C 		200515'37''Korean, English, HebrewIsrael488Hilchot Shchenim # C√Full Access
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Achituv, RomyHusk and AshHusk and Ash (2013)

"…like the whirling dust, Like chaff before the wind." (Psalms 83:13-15)

Husk and Ash is a participatory installation that invites its audience to "sow" a large standing canvas with handfuls of rice husk ("chaff") and rice husk ash. A multilayered fabric canvas is stretched over a large aluminum frame, behind which are forty suction pumps that transform the canvas into a large suction wall. While engaged, the pumps hold the husk and ash to the canvas that visitors “paint” on. In addition to the participation of the general public, over the course of the exhibition in Seoul, a number of young local artists trained in traditional Korean Painting were invited to treat the installation as a blank canvas for their creations.

Before the close of the galleries each night, while participants watched, the pumps were turned off and the compositions collapsed to the floor.

With its use of rice husk and rice husk ash, the inedible and industrial byproducts of the fundamental sustenance of Korean life – rice – the Husk and Ash installation suggests the changing Korean cultural landscape and the fragility of its historical traditions. Centuries-old customs relating to everything from family life to architecture are being paved over by homogenizing pragmatic solutions to the social and material problems arising from Korea’s rapid economic boom.

The Husk and Ash installation literally inverts the Biblical verse, utilizing the power of air suction to hold the materials in a state of tensed suspension. 		20133'38''Israelmp4√Full Access
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Achituv, RomyJo-Gak-BoJo-Gak-Bo (traditional Korean patchwork, 2013)

“…they are like chaff which the wind blows away.” (Psalms 1:4)

Jogakbo is a participatory project and mixed media installation that evolved from a study of the impact of Korea’s rapid industrialization, urbanization and Westernization on the traditional structure of the Korean family. The project turns a spotlight on the large number of elderly Koreans who are living in poverty, and on the disproportionally high percentage of suicides amongst this population. The project was created with residents of Geumcheon, an impoverished and underdeveloped neighborhood in Seoul, and the locale of the residency program that fostered the project.

Resident participants were initially engaged in dyeing rice husk in traditional fabric colors in preparation for the performance events. In the installation-performance, residents and other visitors to the show were invited to collaborate in creating a large scale, Jogakbo-inspired, physical installation, by placing the dyed rice husk on a large scale vertical canvas--a "suction wall" created with an array of industrial blower fans.. The husk was suspended on the surface of the canvas by air suction created with an array of suction motors.

The husk ("chaff"), a worthless byproduct of grain processing, evokes the leftover pieces of fabric used in fabricating traditional Jogakbo patchwork. The impermanent and precarious nature of the installation and the symbolic resonance of the dyed rice husk, allude to the fragile fabric of Korean tradition, and to the active engagement that is required for its sustainability and survival. 		20132'58''Israelmp4√Full Access
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Achituv, RomyKrapp's Last TapeKrapp's Last Tape (2012)
Mixed-media installation

The Krapp's Last Tape installation transcodes a 45-minute video performance of Samuel Beckett’s one-act play into a stream of viscous honey. The honey pours from a height of three meters creating a continuous floating seismographic string that oscillates to the sound of the performance, visualizing every Beckettian pause, cough and stutter, and leaving its transient traces on the surface of an overflowing honey pool.

In the course of the performance, the suspended vat gradually empties out. The honey, which momentarily transforms into a semantic carrier, slowly accumulates in the base container, which becomes, in effect, an embodiment of the performance. The honey intermixes inside the container, reconstituting a volume of undifferentiated mass. As it settles back into its immobile state, the “interpretive data” is visually and symbolically absorbed back into its material carrier, and all interpretive schemes are reconstituted as potentialities.

Beckett’s play is an exposé of the life of Krapp, a bitter and self-contemptuous 69-year-old man, disillusioned with the hubris of his youth and with the narratives that had fed his choices and sacrifices. In a birthday ritual of self-indulgence, Krapp records his musings on the passing year, while scornfully retorting as he listens to similar recordings he had made in his late twenties and thirties.

Within the Israeli cultural context, Krapp’s obsessive regurgitation of his past narratives alludes to the compulsive recycling of Israel’s national historical narratives. Krapp’s obsession echoes that of a 67-year-old state absorbed in the recapitulation of its own childhood and adolescent myths.		20123'31''Israelmp4√Full Access
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Achituv, RomyLost Communities Installation (Ghetto Fighters Museum)Lost Communities Installation Ghetto Fighters Museum (2007) The Lost Communities Installation is a generative installation created for the Hall of Memory at the Ghetto Fighters Museum in Israel. The installation is comprised of a rubble-like base of random letters from which single letters perpetually rise. In their ascent, the letters momentarily come together to form names, then immediately fall apart, rising until they disappear. The installation symbolically complements the archive by reflecting the notion that the viewer is responsible for sustaining historical memory. As each name falls apart, its memory lingers on only in the mind of the beholder. The Lost Communities Installation displays the names of over 4,500 communities that had Jewish populations before WW2. 20072'00''Israelmp4√Full Access
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Achituv, RomyOpen Archive, Hall of Memory (Ghetto Fighters Museum)Open Archive Hall of Memory
Ghetto Fighters Museum (2007)

The Ghetto Fighters' House Museum commemorates Jewish resistance during World War II. In 2007, the museum inaugurated a new Hall of Memory, designed to incorporate the museum’s artifact and fine art archives, and to allow visitors direct access to the archival material. The open archive entrusts visitors to determine their own paths through the physical “database” of historical memorabilia, and to fashion an independent understanding of the historical narrative.

Credits
Museum director
General design concept
Architecture and interior design
Media design
Additional interface design
Electronic system R&D, integration and implementationBina Sela Tzur
Romy Achituv, Meira Kowalsky
Meira Kowalsky
Romy Achituv
Guy Saggee (Shual.com)
Sharon Ehrlich, RADION ENGINEERING CO. LTD		20077'50''EnglishIsraelmp4√Full Access
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Achituv, RomyPillar of AshPillar of Ash (August 2015)
Ash, suction fans, aluminum scaffolding; height: 8.5m

"And the Lord went before them by day in a pillar of a cloud, to lead them the way;
and by night in a pillar of fire, that they might go by day and by night." (Exodus 13:21)

The installation was created in the wake of the Gay Pride Parade stabbing rampage by an ultra-orthodox extremist in Jerusalem on July 30th, 2015, and the "price tag" arson attack by radical Israeli settlers on a Palestinian family home in the West Bank village of Duma the following day, July 31st, 2015.

In memory of
Ali Saad Dawabshe, age 18 months
Shira Banki, age 16
Saad Dawabshe, age 32
Riham Dawabshe, age 27		20151'17''Israelmp4√Full Access
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Achituv, RomySediment (excerpt)In Romy Achituv’s generative new media installation, Sediment, an aerial video of Jerusalem and its surroundings is digitally processed in real-time. The landscape is interspersed with an exceptional diversity of habitats: ancient and modern, privileged and impoverished, rural and urban, Arab and Jewish. Using the camera’s motion to reshape the landscape, the algorithmic manipulation deconstructs and morphs the captured view, symbolically reifying the subjective eye cast upon this turmoil-riddled land. The subjectively constructed, real-time landscape is created by and with motion, and can be modified continuously as the viewer desires. The morphed geography can be perceived as reflecting the oscillation of present-day Israeli topography between the urban and the rural—a landscape in which the characteristic structural distinctions between cities, suburbs, villages, and nature often seem to dissolve. (Sediment is one in a series of works created with a digital slit-scan photographic technique called Pixel Present developed by Achituv in 1997-98.) The DVD is only a generated preview.

Catalogue No. 1202
File: Speed of Light

Installation Land Media Israel SPEED OF LIGHT 		20081'42''Israel1202Speed of Light√Full Access
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Achituv, RomyText Rain, Pendulum Drawings, Landscape Painting (documentation)Documentation of three groups of artworks that Achituv presented at the “Tozeret Haaretz" show in 2003. The “Pendulum Drawings” are a series of dynamic images generated by the trail of a simulated light as it swings back and forth or spirals in and out at varying speeds. “Landscape Painting” is a series of site-specific environmental interventions in which physical portions of the landscape are combined with computer-generated dynamic and interactive abstract animations. The projection light is utilized as a sculptural tool to mold the natural and man-made surroundings by emphasizing―or alternatively blurring―the shapes of the projected-upon objects. The composition of digital image with physical form and space creates hybrid objects imbued with characteristics of both the virtual and the real. Like the American-Indian sand paintings, these transitory drawings invite the viewer to witness the process of their making and unravelling.“Text Rain” (created in collaboration with Camille Utterback) is an interactive installation in which participants use the familiar instrument of their bodies, to do what seems magical — to lift and play with falling letters that do not really exist. In the Text Rain installation participants stand or move in front of a large projection screen. On the screen they see a mirrored video projection of themselves in black and white, combined with a color animation of falling letters. Like rain or snow, the letters appears to land on participants’ heads and arms. The letters respond to the participants’ motions and can be caught, lifted, and then let fall again. The falling text will ’land’ on anything darker than a certain threshold and ’fall’ whenever that obstacle is removed. If a participant accumulates enough letters along their outstretched arms, or along the silhouette of any dark object, they can sometimes catch an entire word, or even a phrase. The falling letters are not random, but form lines of a poem about bodies and other subjects.

Also see: Text Rain:http://gavaligai.com/Text-Rain
Pendulum Drawings:http://gavaligai.com/Pendulum-Drawings
Landscape Painting:http://gavaligai.com/Landscape-Painting


Catalogue No. 383
File: A

Animation Installation Language Poetry Body 		19993'43''Israel383A√Full Access
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Achituv, RomyThe Dance (after Matisse)The Dance (after Matisse, 2015)
Laser-cut birch plywood, pumps, mock honey: glycerin, rooibos tea extract, food coloring, honey fragrance

The installation depicts a tight-knit circle of generic male figures immersed in a ritualistic male dance. The figures are steeped in their own saccharin juices. Five pumps continuously suck the liquid out of the pool, infusing the figures through their big toes. The Dance is one of a series of recent works that addresses aspects of Israeli cultural identity. The installation utilizes generic digital design and production tools to fabricate an installation that is wholly synthetic. It plays on new media concepts of Modularity, Automation and Variability to reflect upon a society inundated with self-indulgent chauvinistic and nationalistic rituals of masculinity. 		20151'20''Israelmp4√Full Access
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Achituv, Romy & Camille UtterbackText Rain (documentation)Text Rain (created in collaboration with Camille Utterback) is an interactive installation in which participants use the familiar instrument of their bodies, to do what seems magical — to lift and play with falling letters that do not really exist. In the Text Rain installation participants stand or move in front of a large projection screen. On the screen they see a mirrored video projection of themselves in black and white, combined with a color animation of falling letters. Like rain or snow, the letters appears to land on participants’ heads and arms. The letters respond to the participants’ motions and can be caught, lifted, and then let fall again. The falling text will ’land’ on anything darker than a certain threshold and ’fall’ whenever that obstacle is removed. If a participant accumulates enough letters along their outstretched arms, or along the silhouette of any dark object, they can sometimes catch an entire word, or even a phrase. The falling letters are not random, but form lines of a poem about bodies and other subjects.

Also see: http://www.gavaligai.com/main/sub/installation/Text%20Rain/TextRain.html

Catalogue No. 383
File: A

Animation Installation Language Poetry Body 		19992'51''Israelmp4√Full Access
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Achituv, Romy and Orit KruglanskiOther WordsIn ״Other Words״ Romy Achituv and Orit Kruglanski (Israel) document the reading of stories in sign language and add its translation in subtitles (short texts written by Orit Kruglanski- ‘eleven short notes to my psychopathic lover and several other nights’). The work deals in the limitations of language as a tool for expression and hearing. It demonstrates the gap between the building blocks of vocal language- sound, the silences between the words- by presenting text simultaneously in two languages, in written Hebrew and signed Hebrew. Viewing the work is a deciphering process that operates on each axis of interpretation- between written and signed words. The translation between languages is minimal in terms of semantics and presents an almost perfect set of physical parallels for each written expression. And so the viewer must unravel meaning in that space amid words and the form that shapes them, the physical expression that represents them and the gap between them. The work was exhibited in the framework of Hapzurah IIIIsrael√Still Only
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Actions / Performative events between theatre and realityAlthmar TR 2 ActionAt 5 o'clock in January freezing morning Althamer invited audience to the most unexpected place in Warsaw, to the clock at the top of Palace of Culture (Warsaw's Big Ben). Participants of an early trip where supposed to wait for a sunrise. A parallel acti2006PolishPoland758Stage Performance
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Actions / Performative events between theatre and realityFacesBy Katarzyna Kozyra
Video dance installation. Artist continues to work on dance and performance subjects by concentrating purely on the faces of miscellaneous dancers. The spectator walks into an installation of many screens and is given a close look into		PolishPoland758Stage Performance
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Actions / Performative events between theatre and realitySleeplessness in The TheatreSpectators are invited to spend a night alone in the theatre. A life sized replica of visual artist Anna Baumgart's room was set up on the small stage of TR Warszawa. A solitary spectator experienced the condition of sleeplessness – both in empty theatre 2005-06PolishPoland758Stage Performance
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Actions / Performative events between theatre and realityVirus in Performanceby Sedzia Glowny. Two performance artists are virus in ongoing play. They are told by the audience how and when interfere with the action of Fredro's play "Magnetism of Hearts". Dangerous clash was produced between performance and the thatre. Virus can be20069'44"PolishEnglishPoland758Stage Performance
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ActivisionAsylum City 1932Activism
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Adamo, DavidAnniversary WaltzThe artist appear on screen dressed in white tailcoat and with bare feet. He is in a hall, a gymnasium, mysteriously filled with fog. Balloons are scattered accross the floor. To the soundtrack of classical music the artist performs a dance with himself,s20074'00''1273Mobile Archive / Art in General
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Adamo, DavidAnniversary Waltz I'm Afraid. It is Hungry. It is Immortal. Curated by Adina Popescu.1416
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Adar Bechar, OritGatewaysThe camera is moving in what seems to be a large public space, there are no windows and the space might be underground. The camera shifts and moves through walls as if in a "surgical manner". The spaces are abandoned, yet there are signs of life – flickering light, the move of a shadow, smoke arising from an unknown source.
The voice of an anchor or stewardess is heard from an announcement system, she is trying to deliver a message but her voice is disrupted by the continuous beeping sounds coming from the speaker.
Once in a while she is heard clearly: "Ladies and Gentleman, we would like to announce an important announcement. This is an emergency message. Please pay attention…"
A series of destruction events begin – the ceiling collapses, fire, glass walls explode, etc.
The anchors voice emerges and then it is lost alternately until its final silencing.
In the final phase, the spaces ruins are visible, all has become silent and the light is dwindling.
The project was filmed in a large miniature model (measured 5 meters wide and 4 meters deep), constructed especially for this piece. All destruction actions were actually executed within the miniature model.
The work is addressing an apocalyptic state, all is ruined and there is nothing left to count on. Time and space dimensions are collapsing.
Language (communication, society, culture) are collapsing as well – the anchors pleading voice is begging for attention, repeating the introduction over and over again, unable to say anything else.		20113'53''1976Deviantsmp4√Full Access
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Adar Bechar, OritGatewaysThe camera is moving in what seems to be a large public space, there are no windows and the space might be underground. The camera shifts and moves through walls as if in a "surgical manner". The spaces are abandoned, yet there are signs of life – flickering light, the move of a shadow, smoke arising from an unknown source.
The voice of an anchor or stewardess is heard from an announcement system, she is trying to deliver a message but her voice is disrupted by the continuous beeping sounds coming from the speaker.
Once in a while she is heard clearly: "Ladies and Gentleman, we would like to announce an important announcement. This is an emergency message. Please pay attention…"
A series of destruction events begin – the ceiling collapses, fire, glass walls explode, etc.
The anchors voice emerges and then it is lost alternately until its final silencing.
In the final phase, the spaces ruins are visible, all has become silent and the light is dwindling.
The project was filmed in a large miniature model (measured 5 meters wide and 4 meters deep), constructed especially for this piece. All destruction actions were actually executed within the miniature model.
The work is addressing an apocalyptic state, all is ruined and there is nothing left to count on. Time and space dimensions are collapsing.
Language (communication, society, culture) are collapsing as well – the anchors pleading voice is begging for attention, repeating the introduction over and over again, unable to say anything else.		20113'53''1921Deviants√Full Access
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Adar Bechar, OritHimellweg (the road to Heaven)The artwork consists of three cycles of events (loops), each is similar to the previous one, yet shorter and quicker. In every cycle the artist (dressed as a worker) is shown with the photographer in the studio. At a certain moment there is a swift transition – from the studio to a long tunnel, leading the viewer into gray, concrete spaces. The unnerving concrete space is revealed as an architectural miniature. The manipulation of fear, claustrophobia and the associations with gas chambers invoke a cinematic illusion, despite the exposure of the miniature scale.

The relationship between the artist and the photographer is ambiguous. They work together, yet in silence and lack of coordination. Their setting, the studio, resembles the miniature itself.

The work attempts to follow the idea of creating a mechanism, and examine to what extent it is possible to predict events, and to what degree one can be ready for them (and resist them). The artwork recreates the element of surprise, the abrupt transition between the "ordinary" world and the tunnel (the Nazis named the tunnel that led to the gas chambers "the road to heaven"). This transition happens at once, without warning. The viewer cannot plan ahead and prepare; although the artwork is comprised of three cycles that might hint at the turn of events to the viewer – he or she finds out that the mechanism is efficient and the transition between worlds is quick and violent.		20127'34''√Full Access
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Adar Bechar, OritMatissaThe video is relating Matisses' famous painting-" Harmoney in Red" from 1908.

The female figure, the maid, is transforming from a passive and intimidating figure to an artist persona. She gets into the Matisses' "Big Shoes". She is destroying his well-known painting by using artistic meens(-papir cut outs and painting). Meanwhile she is forgetting that she destroys her own world. The video piece is based on dialogues and contradictions between volume and flatness, Painting and Sculpture, "Real" and "Artistic". 		20139'30''√Full Access
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Adar Bechar, OritRamidA VIDEO PROJECTION THAT WAS FILMED IN A SITE CALLED ”RAMID”. THE FILM DOCUMENTS ACTUAL EVENTS THAT TAKE PLACE AT THE SITE - TRUCKS ARRIVING, LOADING GRAIN AND DEPARTING, PIGEONS FEEDING ON THE REMAINS OF THE GRAIN. THE ARCHITECTURE OF THE SITE IS REMINICENT OF CLASSICAL BUILDINGS, WITH GIANT PILLARS, THE NATURAL LIGHT SHINING DOWN FROM ABOVE CREATING A THEATRICAL AND UNNATURAL EFFECT ON THE COMINGS AND GOINGS.
INTO THIS REALITY, I INSERTED STAGED EVENTS ON CHARACTERS WANDERING WITHIN THE SPACE OF THE SITE, APPEARING TO FOLLOW A SET OF UNKNOWN ORDERS, RULES AND PROCEDURES.
IN SPITE OF THE FACT THAT “RAMID“ IS AN OPEN AIRED MUNICIPAL SITE, THE ATMOSPHERE IN THE VIDEO IS CLOSED AND OPPRESSIVE. THE FOOTAGE IS EDITED TO CONVEY A FEELING OF URGENCY AND IMPENDING DISASTER. ”RAMID” WAS INFLUENCED BY SAMUEL BECKETT’S SHORT STORY ”THE LOST ONES”.
”RAMID” WAS SCREENED AT THE ISRAEL PHILARMONIC’S OPENING GALA, AND AT THE “KIBBUTZ GALLERY” 2015, TEL AVIV.		20158'50''√Full Access
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Adar Bechar, OritThe Arnolfinis (standing)13'16''Hebrew√Full Access
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Adar Bechar, OritThe Arnolfinis (the whistle)8'14''Hebrew√Full Access
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AdbustersThe Production of MeaningHere is the challenge of media democracy: to change the way information flows, the way we interact with the mass media, the way meaning is produced in our society. This DVD - a collection of television spots and video clips produced over the years by regu200514'35''English-USA786Free Radicals
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AdbustersUncommercialsHere is the challenge of media democracy: to change the way information flows, the way we interact with the mass media, the way meaning is produced in our society. This DVD - a collection of television spots and video clips produced over the years by regu6'00''English-USA786Free Radicals
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Adler, TalCultureDead Images is an exploration of the complex and contentious legacy of two collections held at the anthropology department of the Natural History Museum in Vienna: a collection of over 40,000 human skulls and, within this collection, a collection of over 50,000 anthropological photographs.

Methods of measuring, categorising, numbering, storing and displaying the skulls bring forward ethical questions of objectification and legacies of racism in science. At the same time, anthropometric photography – the attempt to use photography to measure, categorise and racialise the living – flourished alongside the disciplines of researching the remains of the dead.
Large collections of human skulls and anthropometric photographs were assembled during the 19th and early 20th centuries. While some skulls were collected, and photographs were taken close to home, in both cases many of them were of colonial subjects, war prisoners, genocide victims, or their ancestors. They were taken without consent, by force or under unequal power positions, in spite of and in violation of local practices and beliefs.

Through a travelling exhibition, an education programme and public events, the Dead Images project reflects on the ethical, scientific and political implications of these collections and their display.

www.dead-images.info
www.traces.polimi.it		201825'29''English, GermanEnglishIL√Full Access
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Adler, TalDarkroomDead Images is an exploration of the complex and contentious legacy of two collections held at the anthropology department of the Natural History Museum in Vienna: a collection of over 40,000 human skulls and, within this collection, a collection of over 50,000 anthropological photographs.

Methods of measuring, categorising, numbering, storing and displaying the skulls bring forward ethical questions of objectification and legacies of racism in science. At the same time, anthropometric photography – the attempt to use photography to measure, categorise and racialise the living – flourished alongside the disciplines of researching the remains of the dead.
Large collections of human skulls and anthropometric photographs were assembled during the 19th and early 20th centuries. While some skulls were collected, and photographs were taken close to home, in both cases many of them were of colonial subjects, war prisoners, genocide victims, or their ancestors. They were taken without consent, by force or under unequal power positions, in spite of and in violation of local practices and beliefs.

Through a travelling exhibition, an education programme and public events, the Dead Images project reflects on the ethical, scientific and political implications of these collections and their display.

www.dead-images.info
www.traces.polimi.it		201821'05''English, GermanEnglishIL√Full Access
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Adler, TalLectureFor example, the melody’s repeated pattern reminded me of a building’s structure.200493'50''IL359Hilchot Shchenim # B√Full Access
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Adler, TalPetek PartyThe Petek project aimed at running for the Israeli Knesset elections. The idea was to use the Party Financing Law to submit a list for the Knesset and receive air time as part of the television and radio propaganda broadcasts.
Written by Tal Adler and Avi Ofer
Animation by Avi Ofer
Music by Aviad Albert
Party anthem by Roy Chicky Arad		20031'55''Hebrew-IL780Free Radicals√Full Access
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Adler, TalPetek PartyThe Petek project aimed at running for the Israeli Knesset elections. The idea was to use the Party Financing Law to submit a list for the Knesset and receive air time as part of the television and radio propaganda broadcasts.
Written by Tal Adler and Avi Ofer
Animation by Avi Ofer
Music by Aviad Albert
Party anthem by Roy Chicky Arad		200301'05''HebrewIL√Full Access
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Adler, TalPetek PartyThe Petek project aimed at running for the Israeli Knesset elections. The idea was to use the Party Financing Law to submit a list for the Knesset and receive air time as part of the television and radio propaganda broadcasts.
Written by Tal Adler and Avi Ofer
Animation by Avi Ofer
Music by Aviad Albert
Party anthem by Roy Chicky Arad		200300'54''HebrewIL√Full Access
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Adler, TalPhotographDead Images is an exploration of the complex and contentious legacy of two collections held at the anthropology department of the Natural History Museum in Vienna: a collection of over 40,000 human skulls and, within this collection, a collection of over 50,000 anthropological photographs.

Methods of measuring, categorising, numbering, storing and displaying the skulls bring forward ethical questions of objectification and legacies of racism in science. At the same time, anthropometric photography – the attempt to use photography to measure, categorise and racialise the living – flourished alongside the disciplines of researching the remains of the dead.
Large collections of human skulls and anthropometric photographs were assembled during the 19th and early 20th centuries. While some skulls were collected, and photographs were taken close to home, in both cases many of them were of colonial subjects, war prisoners, genocide victims, or their ancestors. They were taken without consent, by force or under unequal power positions, in spite of and in violation of local practices and beliefs.

Through a travelling exhibition, an education programme and public events, the Dead Images project reflects on the ethical, scientific and political implications of these collections and their display.

www.dead-images.info
www.traces.polimi.it		201815'15''English, GermanEnglishIL√Full Access
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Adler, TalReturnDead Images is an exploration of the complex and contentious legacy of two collections held at the anthropology department of the Natural History Museum in Vienna: a collection of over 40,000 human skulls and, within this collection, a collection of over 50,000 anthropological photographs.

Methods of measuring, categorising, numbering, storing and displaying the skulls bring forward ethical questions of objectification and legacies of racism in science. At the same time, anthropometric photography – the attempt to use photography to measure, categorise and racialise the living – flourished alongside the disciplines of researching the remains of the dead.
Large collections of human skulls and anthropometric photographs were assembled during the 19th and early 20th centuries. While some skulls were collected, and photographs were taken close to home, in both cases many of them were of colonial subjects, war prisoners, genocide victims, or their ancestors. They were taken without consent, by force or under unequal power positions, in spite of and in violation of local practices and beliefs.

Through a travelling exhibition, an education programme and public events, the Dead Images project reflects on the ethical, scientific and political implications of these collections and their display.

www.dead-images.info
www.traces.polimi.it		201829'31''English, GermanEnglishIL√Full Access
45
Adriaans, JanEl Secreto Amor20033'30"IL660The Archive
46
Adriaans, JanJanske: Guitar20038'IL660The Archive
47
Afkar MediaUnder AshA technically easy action game was unusually emotional in the way it presented players with a story starting with the Palestinians conflict with Israeli soldiers at the al-Aqsa Mosque in Jerusalem. The first mission of the game starts with the main hero, 20021213Forbidden GamesMulti-Media
48
Afkar MediaUnder SiegeThe game UnderSiege is a sequel to the video game Under Ash designed by Radwan Kasmiya. Like Under Ash, it is a first-person shooter, with the option of playing the game as a third-person shooter. Under Siege is about the modern history of Palestine and2005Syria1223Forbidden GamesMulti-Media
49
Agassi, NellyVideo Works20061'37''NoneIL603AStill Only
50
Agmon, YairAvrushmi"Avrushmi" follows the events of February 10th, 1983 when a grenade was launched at a "Peace Now" rally protesting the Sabra and Shatila massacre and resulting in the death of Emil Grunzweing and the injury of 9 others. The movies attempts to compile a comprehensive image of the events and determine what really happened, whilst understanding it is doomed for an epic failure in the process.201316'15''HebrewEnglishIsraelmp4√Full Access
51
Agmon, YairStart the Forgetting MachineStart The Forgetting Machine Explores the subjugation of knowledge in photographic archives in Palestine and Israel. The spotlight is turned to both historically and contemporary photographers who are subverting nationalist narratives using counter archives. 201729'10''Hebrew, EnglishEnglishIsraelmp4√Still Only
52
Ahn, SekweonIn China...In the summer of 1996, Sekweon made an 8mm analogue film on a normal train from Peking Station to the Tumen River during a trip to China. Unexpected situations, various shapes of lives, the fatigued expressions of an old husband and wife and tea bottles 20034'Korea998Catalogues World
53
Al Solh, MouniraThe Sea Is a Stereo, Video Number 2, Paris without a Sea Found on Art Compilation #55 of the Internationale Kurtzfilmtage Oberhausen from 2009 on the theme of “Unreal Asia" The Sea Is a Stereo is an ongoing series of reflections on a group of men who swim everyday at the beach in Beirut no matter the circumsta200813'00''Lebanon1461Catalogues World
54
Alimpiev, VictorMy BreathTwo women opera sing about breath. Found on the Art Compilation of the International Short Film Festival Oberhausen "Internationale Kurzfilmtage Oberhausen" 3-8 May, 2007. Collective running time 122'00''.20076'00''EnglishRussia997Catalogues World
55
Allamoda, BettinaFashion History NewsFashion History News combines catwalk „Radical Chic“ and fashion photography with images of demonstrations and political violence almost unnoticed. Bettina Allamoda reveals the interaction between every day culture, politics, architecture and fashion in20035'07''English1040Mobile Archive / Halle fur Kunst e.V.
56
Alon Shaul, Anastasia Slovadzki, Efi Ben Yossi, Dima Kleiman, Elad Meir, Hagar Mamisthvalov, Kami Ezgti, Mor Shmilovich, Natali Malada, Chen KalimiOne Minutes Jr. Workshop; February 17 – 21, 2008One minute videos from the One Minutes Jr. Workshop at Mikve Israel, run by the Israeli Center for Digital Art in collaboration with ECF and Unicef, February 17 – 21, 2008.20081'00'' eaHebrewEnglishIL942 c.IIOne Minutes
57
Alon Shaul, Anastasia Slovadzki, Efi Ben Yossi, Dima Kleiman, Elad Meir, Hagar Mamisthvalov, Kami Ezgti, Mor Shmilovich, Natali Malada, Chen KalimiOne Minutes Jr. Workshop; February 17 – 21, 2008One minute videos from the One Minutes Jr. Workshop at Mikve Israel, run by the Israeli Center for Digital Art in collaboration with ECF and Unicef, February 17 – 21, 2008.20081'00'' eaHebrewEnglishIL942One Minutes
58
Aloni, UdiForgiveness"Forgiveness" tells the story of David Adler, a young American-Israeli. David decides to leave New York in order to join the israeli army, only to find himself committed to a mental institution that sits on the ruins of a palestinian village. In this trau200697'EnglishHebrew, Arabic, FrenchIL937AStill Only
59
Aloni, UdiLocal Angeltheological political fragments200367'EnglishHebrew, Arabic, FrenchIL938AStill Only
60
Amichai, Emanuela & Winer, AmnonLove Song2005HebrewIL644The Archive
61
Amichai, YehudaMayor2005HebrewIL644The Archive
62
Amir Kariel, Lior & Hanan, TalTal, What do you see?The process that began in April 2010 under the title "Life Stories: Women Write" with a group of seven women from Holon’s Jessy Cohen Neighborhood reaches its conclusion in this exhibition as a well-processed and multilayered product of various types of c2011IL1773+4Metabolism
63
Amir, EinatA Light Bulb with Little LinesA youthful crowd is camped opposite the white house in an organized event with large screen and organizing committee. But what they are waiting and cheering for is unclear and the result is a video not of the main event, but instead of the exchanges and conversations that happen while waiting (one of which is centred on a hand-made sign in support of Obama that features a lit-up light bulb).

Catalogue no. 1387
File: A

Government Activism Identity Perception Youth		20087'45''Israel1387A√Still Only
64
Amir, EinatAcknowledgementAmir’s work unfolds in a cultural center which explores the notion of “otherness” under the classical colonialist model: named after an IDF pilot, the museum celebrates “exotic” Bedouin culture. At the core of this cultural enterprise, which evokes esotericism and provinciality, Amir positions herself as a crude cultural implant, a prosthesis for the barren discourse taking place in it. The site is typified by vivid coloration, the aroma of coffee, and the sounds of its grinding, but Amir introduces a new, foreign color into this set in her own figure: a young artist, a lesbian woman.

The recitation of artist names known to Amir occurs on set as an act of factual recitation. She is making a discernible effort to pronounce their names accurately as well as to remember them all. Her tone of voice indicates that she is satisfied when she succeeds in recalling as many names as possible in a sequence. With regard to some of the names she makes various comments that tie her with the figures, albeit never art-related comments. One may say that Amir endeavors to generate a genealogical structure of the local art scene, provocatively. Initially it appears as though the name-dropping will be characterized by some modus, possibly a narrative, or fall into some coherent statement in terms of movements, perceptions, or even doctrines. But this is not the case. The artist names are uttered in an entirely arbitrary manner, associatively and offhandedly. Under this random, deconstructed structure, however, a personal statement is devised about local cliques, anti-artistic socio-hierarchical structures, in a manner underlain by a fair bit of humor and self-criticism. Thus the name dispersal seems to spawn a text which undermines canonical hierarchy, while generating a new hierarchy at whose top the artist situates herself. The result is an accumulation of names which activates the viewer only if he is a part of that restricted inner world which Amir describes. The very same sense of total strangeness elicited by the list of names is experienced by the figure of the Bedouin man standing next to Amir in the film, at whom the viewer looks, as if seeking salvation, or possibly a response, a sign of belonging. He belongs to the place, yet is foreign to the words; he feels at home on the set, yet planted between the lines as an extra, as a mute object. Amir’s tranquil pose begins to crack in view of his passive presence which becomes mutely active, a muteness that will gradually grow as the film progresses. The restricted, local, artistic structure constructed by Amir via the accumulation of names is complemented in both endings of the film by an oppressive sense. In her first ending, the artist climbs onto a camel and is led by its owners towards the horizon which signifies macabre emptiness at the heart of the work, as Elvis’s You were Always On My Mind is heard in the background; in the second ending, which was also isolated from the film’s sequence, and is presented here as a separate work, Amir is seen in a lengthy kiss, apparently with a man, photographed in cyclical motion, like a quote from a romantic film, yet displaying difficulty and distress. As the kiss drags on, it becomes more and more disturbing to watch and highly unsettling. This ending reinforces Amir’s preoccupation with the national situation, leaving the viewer, who becomes an “everyviewer,” confused and with contradictory feelings. All the work’s undecipherable texts are abruptly pushed aside, and their absence is replaced by the presence of a disconcerting act. (2006 – 2007)

Catalogue no. 1387
File: A

Community Memory Narcissism Other, the Power Power Relationships Art Eroticism Confession 		2006-200712'43''Israel1387A√Still Only
65
Amir, EinatBecomingEinat Amir is directing her lover according to a photo of Sadie Coles, a London Gallerist, that is hung on the wall. She is changing her outfit, styling her hair and changing her posture, using an authoritative voice, in Hebrew. The power relations in the art world that are portrayed by the picture of the Gallerist, are the ground for a much wider interpretation of desire and role play, power and weakness, and cultural mixtures.

Catalogue no. 1387
File: A

Power Relationships Appropriation Art Eroticism 		20088'50''Israel1387A√Still Only
66
Amir, EinatBoi“Boi” was filmed during the “Jerusalem Day” celebrations in Jerusalem. This day marks the conquest of the old city of Jerusalem by the Israeli forces in 1967. These celebrations clearly combine religious faith with political belief. On this day, young religious Jewish men and women dressed in white and carrying Israeli flags parade from the center of town towards the Wailing Wall. Einat Amir arrives at the event in search of a bride. From the first moment it is clear that she doesn’t belong. The presence of her persona seems to be disturbing and provokes questions: Is s/he one of the “Boys”, or the “Girls”? Why does s/he come to a place where s/he is clearly unwanted? This action examines anew the whole situation and sheds a different light on it. From the private place that touches the heart, it emphasizes the political complexity, and challenges almost all possible categories of identity and belonging.

The work is also found on the compilation, "Presence of Unknowing" (or "What is it that You know?) curated by Michal Heiman and Eitan Buganim, and the compilation "Video Bar".

Catalogue no. 647
File: The Archive

Catalogue no. 665
File: Video Bar Project

Catalogue no. 675
File: A

Catalogue no. 1387
File: A

Gender Jerusalem Judaism Other, the Relationships Religion Flag Sex		20044'25''HebrewEnglishIsrael675A√Still Only
67
Amir, EinatBoi“Boi” was filmed during the “Jerusalem Day” celebrations in Jerusalem. This day marks the conquest of the old city of Jerusalem by the Israeli forces in 1967. These celebrations clearly combine religious faith with political belief. On this day, young religious Jewish men and women dressed in white and carrying Israeli flags parade from the center of town towards the Wailing Wall. Einat Amir arrives at the event in search of a bride. From the first moment it is clear that she doesn’t belong. The presence of her persona seems to be disturbing and provokes questions: Is s/he one of the “Boys”, or the “Girls”? Why does s/he come to a place where s/he is clearly unwanted? This action examines anew the whole situation and sheds a different light on it. From the private place that touches the heart, it emphasizes the political complexity, and challenges almost all possible categories of identity and belonging.

The work is also found on the compilation, "Presence of Unknowing" (or "What is it that You know?) curated by Michal Heiman and Eitan Buganim, and the compilation "Video Bar".

Catalogue no. 647
File: The Archive

Catalogue no. 665
File: Video Bar Project

Catalogue no. 675
File: A

Catalogue no. 1387
File: A

Gender Jerusalem Judaism Other, the Relationships Religion Flag Sex		20044'25''Israel1387A√Still Only
68
Amir, EinatBoi“Boi” was filmed during the “Jerusalem Day” celebrations in Jerusalem. This day marks the conquest of the old city of Jerusalem by the Israeli forces in 1967. These celebrations clearly combine religious faith with political belief. On this day, young religious Jewish men and women dressed in white and carrying Israeli flags parade from the center of town towards the Wailing Wall. Einat Amir arrives at the event in search of a bride. From the first moment it is clear that she doesn’t belong. The presence of her persona seems to be disturbing and provokes questions: Is s/he one of the “Boys”, or the “Girls”? Why does s/he come to a place where s/he is clearly unwanted? This action examines anew the whole situation and sheds a different light on it. From the private place that touches the heart, it emphasizes the political complexity, and challenges almost all possible categories of identity and belonging.

The work is also found on the compilation, "Presence of Unknowing" (or "What is it that You know?) curated by Michal Heiman and Eitan Buganim, and the compilation "Video Bar".

Catalogue no. 647
File: The Archive

Catalogue no. 665
File: Video Bar Project

Catalogue no. 675
File: A

Catalogue no. 1387
File: A

Gender Jerusalem Judaism Other, the Relationships Religion Flag Sex		20044'25"Israel647The Archive√Still Only
69
Amir, EinatBoi“Boi” was filmed during the “Jerusalem Day” celebrations in Jerusalem. This day marks the conquest of the old city of Jerusalem by the Israeli forces in 1967. These celebrations clearly combine religious faith with political belief. On this day, young religious Jewish men and women dressed in white and carrying Israeli flags parade from the center of town towards the Wailing Wall. Einat Amir arrives at the event in search of a bride. From the first moment it is clear that she doesn’t belong. The presence of her persona seems to be disturbing and provokes questions: Is s/he one of the “Boys”, or the “Girls”? Why does s/he come to a place where s/he is clearly unwanted? This action examines anew the whole situation and sheds a different light on it. From the private place that touches the heart, it emphasizes the political complexity, and challenges almost all possible categories of identity and belonging.

The work is also found on the compilation, "Presence of Unknowing" (or "What is it that You know?) curated by Michal Heiman and Eitan Buganim, and the compilation "Video Bar".

Catalogue no. 647
File: The Archive

Catalogue no. 665
File: Video Bar Project

Catalogue no. 675
File: A

Catalogue no. 1387
File: A

Gender Jerusalem Judaism Other, the Relationships Religion Flag Sex		20044'25''Israel665Video Bar Project√Still Only
70
Amir, EinatBorder LoveSituated on the Italian-Swiss border, the video ‘Border Love’ is an improvised action, consisting of a conversation instigated across ´no man´s land´ between Amir and an unknown Tunisian/Italian man. The characters are speaking to each other from opposite sides of the border about peace, language, sex, music. They cannot always understand each other. The dialogue is switching from identity and politics to more flirty behaviour and soon both parties are attempting to meet between the two fences for what seem to be shaping up as a ‘happy ending’ of a kiss…the video was made in collaboration with Irish Artist Treasa O’Brien.

Catalogue no. 1387
File: A

Cultural exchange Dance Music Border(s) Eroticism Europe		200817'08''Israel1387A√Still Only
71
Amir, EinatDisgraceful Retreat"Disgraceful Retreat" a breakup scene consisting of several chapters taking place on the doorstep, on the sofa, in the bedroom. Einat Amir, playing both roles, breaks up. Through fine hints – of dress, behavior and tone – that lend the figures a “male” or “female” character, she skips between the sexes. Amir photographs herself in her apartment, explaining herself to herself with words extracted directly from the disengagement lexicon. Her texts are all derived from speeches delivered by Israeli prime ministers, Barak and Sharon, between 2000 and 2005, gathered from various media. In her video, Amir depicts intimate situations, desperate attempts at an impossible separation, where the text is at times articulated with irony and pathos, at others – with frozen laconicism. It is a highly tragic, intimate confession with which the listener must identify, but what if your listener is yourself? Amir creates a unilateral breakup, a dialogue which is a monologue. She converses with an other who is absent from the discourse, and at the same time – it is the self. Each of the figures desperately attempts, in vain, to preserve the “safe borders,” basic rights, human dignity. Notions such as “self-defense”, “retrenchment”, “struggle for one’s home” reflect both a general “national state” and a private “existential state”. The exhausting relationship and breakup negotiations are permeated with the “national” speech patterns, all about separation: “They’re there and we’re here”, “pullback”, “disengagement”. Disgraceful Retreat under Pressure crosses a private breakup with a national one. Amir introduces a state-of-affairs where not only the personal is political, but the political is personal as well.

Catalogue no. 675
File: A

Catalogue no. 1387
File: A

Israeli Palestinian relations Occupation Relationships Disengagement Eroticism Struggle		20056'HebrewEnglishIsrael675A√Still Only
72
Amir, EinatDisgraceful Retreat"Disgraceful Retreat" a breakup scene consisting of several chapters taking place on the doorstep, on the sofa, in the bedroom. Einat Amir, playing both roles, breaks up. Through fine hints – of dress, behavior and tone – that lend the figures a “male” or “female” character, she skips between the sexes. Amir photographs herself in her apartment, explaining herself to herself with words extracted directly from the disengagement lexicon. Her texts are all derived from speeches delivered by Israeli prime ministers, Barak and Sharon, between 2000 and 2005, gathered from various media. In her video, Amir depicts intimate situations, desperate attempts at an impossible separation, where the text is at times articulated with irony and pathos, at others – with frozen laconicism. It is a highly tragic, intimate confession with which the listener must identify, but what if your listener is yourself? Amir creates a unilateral breakup, a dialogue which is a monologue. She converses with an other who is absent from the discourse, and at the same time – it is the self. Each of the figures desperately attempts, in vain, to preserve the “safe borders,” basic rights, human dignity. Notions such as “self-defense”, “retrenchment”, “struggle for one’s home” reflect both a general “national state” and a private “existential state”. The exhausting relationship and breakup negotiations are permeated with the “national” speech patterns, all about separation: “They’re there and we’re here”, “pullback”, “disengagement”. Disgraceful Retreat under Pressure crosses a private breakup with a national one. Amir introduces a state-of-affairs where not only the personal is political, but the political is personal as well.

Catalogue no. 675
File: A

Catalogue no. 1387
File: A

Israeli Palestinian relations Occupation Relationships Disengagement Eroticism Struggle		20056'Israel1387A√Still Only
73
Amir, EinatJohn, PleaseEinat Amir hired a comedian to stand in for her art at a gallery opening. The Piece was performed in SCARAMOUCHE c/o Fruit and Flower Deli, New York. The actor is John Carlton. The Project was exhibited in VOLTA Basel o9 with a custom made wood box, containing the video and 100 copies of the actor’s Headshot and Resume’.

Catalogue no. 1352
File: A

Dialogue Humor Perception Art		200942'46''Israel1352A√Still Only
74
Amir, EinatSimulation of “Ideal Viewer"Simulation of “Ideal Viewer" is a video composition for three actors. The actors are improvising according to a general character description they received from the artist. The videos were shot simultaneously, while the actors interrupt and react to each other’s monologues.

Catalogue no. 1331
File: A

Dialogue Performance Collaboration		200914'00''EnglishIsrael1331A√Still Only
75
Amir, EinatWomen DancingEinat Amir uses a well-known Israeli song in order to create a complex discussion of femininity. The “optimistic words” describe the functional dance appropriate for women of different age groups, within their given reproductive role. The words turn into a seduction song of one woman to another, a harsh monologue, a melodramatic and complex drag, that crosses butch toughness with emotional fragility.

The work is also found on the compilation "The Zionist Ventriloquist - A Compilation of Video Hits curated by Roee Rosen. The Zionist Ventriloquist brings together Israeli video works based on pop, rock and other musical tunes. All of the featured works employ practices of doubledvoices, such as drag, karaoke, puppet mastering, mash-up and dubbing. These are performances that relish the pleasures of singing and dancing, even as they bind them with parody and deception, self-contradiction and simulation. This collection, then, is both a compilation of artworks, a lopsided sequence of music clips, and an ongoing reflection on the voice as a hybrid.

Catalogue no. 390
File: The Archive

Catalogue no. 675
File: A

Catalogue no. 1387
File: A

Dance Gender Music Eroticism Sex Israel Women		20049'22"HebrewEnglishIsrael675A√Still Only
76
Amir, EinatWomen DancingEinat Amir uses a well-known Israeli song in order to create a complex discussion of femininity. The “optimistic words” describe the functional dance appropriate for women of different age groups, within their given reproductive role. The words turn into a seduction song of one woman to another, a harsh monologue, a melodramatic and complex drag, that crosses butch toughness with emotional fragility.

The work is also found on the compilation "The Zionist Ventriloquist - A Compilation of Video Hits curated by Roee Rosen. The Zionist Ventriloquist brings together Israeli video works based on pop, rock and other musical tunes. All of the featured works employ practices of doubledvoices, such as drag, karaoke, puppet mastering, mash-up and dubbing. These are performances that relish the pleasures of singing and dancing, even as they bind them with parody and deception, self-contradiction and simulation. This collection, then, is both a compilation of artworks, a lopsided sequence of music clips, and an ongoing reflection on the voice as a hybrid.

Catalogue no. 390
File: The Archive

Catalogue no. 675
File: A

Catalogue no. 1387
File: A

Dance Gender Music Eroticism Sex Israel Women		20049'22"Israel1387A√Still Only
77
Amir, EinatWomen DancingEinat Amir uses a well-known Israeli song in order to create a complex discussion of femininity. The “optimistic words” describe the functional dance appropriate for women of different age groups, within their given reproductive role. The words turn into a seduction song of one woman to another, a harsh monologue, a melodramatic and complex drag, that crosses butch toughness with emotional fragility.

The work is also found on the compilation "The Zionist Ventriloquist - A Compilation of Video Hits curated by Roee Rosen. The Zionist Ventriloquist brings together Israeli video works based on pop, rock and other musical tunes. All of the featured works employ practices of doubledvoices, such as drag, karaoke, puppet mastering, mash-up and dubbing. These are performances that relish the pleasures of singing and dancing, even as they bind them with parody and deception, self-contradiction and simulation. This collection, then, is both a compilation of artworks, a lopsided sequence of music clips, and an ongoing reflection on the voice as a hybrid.

Catalogue no. 390
File: The Archive

Catalogue no. 675
File: A

Catalogue no. 1387
File: A

Dance Gender Music Eroticism Sex Israel Women		20049'22''Israel390The Archive√Still Only
78
Amnon, IzhakPropagandaThe Zionist Ventriloquist brings together Israeli video-works based on pop, rock and other musical tunes. All of the featured works employ practices of doubled-voices, such as drag, karaoke, puppet-mastering, mash-up and dubbing. These are performances bo200411'10"IL654The Archive
79
Anastas, Ayreen and Gabri, ReneDay 1- "Good Architecture" From the project, "Searching for our Destination," Anastas and Gabri say, "For a period of approximately 20 days, the length of our sojourn in Ramallah, we engaged with a variety of individuals: shepherds, thinkers, revolutionaries, street vendors, bus dr200717'English931Liminal Spaces
80
Anastas, Ayreen and Gabri, ReneDay 12 – Valley of the GracesFrom the project, "Searching for our Destination," Anastas and Gabri say, "For a period of approximately 20 days, the length of our sojourn in Ramallah, we engaged with a variety of individuals: shepherds, thinkers, revolutionaries, street vendors, bus dr200632'30''Arabic, EnglishEnglish941Liminal Spaces
81
Anastas, Ayreen and Gabri, ReneDay 5- "We Accepted the Misfortune but the Misfortune Didn't Accept Us" From the project, "Searching for our Destination," Anastas and Gabri say, "For a period of approximately 20 days, the length of our sojourn in Ramallah, we engaged with a variety of individuals: shepherds, thinkers, revolutionaries, street vendors, bus dr200724'English931Liminal Spaces
82
Anastas, Ayreen and Gabri, ReneDay 8 – Building Vacancy MapsFrom the project, "Searching for our Destination," Anastas and Gabri say, "For a period of approximately 20 days, the length of our sojourn in Ramallah, we engaged with a variety of individuals: shepherds, thinkers, revolutionaries, street vendors, bus dr200621'30''Arabic, EnglishEnglish941Liminal Spaces
83
Ancarani, YuriBaalBaal is a trip inside a pine forest. A child is walking through the trees in the dark. The rhythm and the narrative mode of the video seems refer to the police stories and the visions of the sci fiction. The silhouette of a chimney appears through the lea20075'00''Italiann/aItaly 1101Mobile Archive / Careof DOCVA Viafarini
84
Antar, Ziadselected works A big empty space where there is a box of a of 5 x 4 x 5 meters made from wooden construction material and plasterboard. This box is lifted 60 cm above the floor. The two sidewalls, under the floor and above the ceiling there are spaces, corridors of 60 --ArabicEnglishLebanon818A
85
Antille, EmmanuelleBy the River (Angel Camp, Part 1)Found on the Netherlands Media Art Institute sample compilation, "Single Channel Works, Installations, 2004 – II"/17'00''CH704Montevideo
86
Arad, Boaz100 Beats100 Beats is an attempt to chaplinize Hitler, to make him human, to control him like a puppet.


Catalogue no. 460
File: A

Power Puppet Satire Appropriation Black & white Body Found-footage Pornography 		19991'05''Israel460A√Full Access
87
Arad, BoazCanal St.A figure takes a walk down Canal Street. He is a symbol for the man who feels that he alone is forward-moving and progressive while everyone else is backwards-moving and strange.

Catalogue no. 460
File: A
Progress Performance Body Walking		20012'04''Israel460A√Full Access
88
Arad, BoazCensusArad's census in Israel, 2016201617'12''Israelmp4√Full Access
89
Arad, BoazGefilte FishArad’s video Gefilte Fish, a hybrid of documentary and performance, addresses Ashkenazi identity within a post-Holocaust multicultural Israeli society. The video includes an interview with his mother as she prepares fish in her kitchen, footage of Arad himself lip-synching to his mother’s voice as she responds to questions that range from the banal to the provocative, and a talking-head puppet resembling the artist who pronounces with great authority that gefilte fish may be the last link to Eastern European traditions in contemporary Israel. A pet bird, resting on Arad’s shoulder, ultimately subverts the artist’s attempt to parrot his mother and his critique of ethnic traditions.

Also found on the compilation, ”Why Don’t You Say It?” curated by Michal Heiman.

Catalogue no. 460
File: A

Catalogue no. 652
File: The Archive
Judaism Family Puppet Home Food Israel		200511'34''HebrewEnglishIsrael460A√Full Access
90
Arad, BoazGefilte FishArad’s video Gefilte Fish, a hybrid of documentary and performance, addresses Ashkenazi identity within a post-Holocaust multicultural Israeli society. The video includes an interview with his mother as she prepares fish in her kitchen, footage of Arad himself lip-synching to his mother’s voice as she responds to questions that range from the banal to the provocative, and a talking-head puppet resembling the artist who pronounces with great authority that gefilte fish may be the last link to Eastern European traditions in contemporary Israel. A pet bird, resting on Arad’s shoulder, ultimately subverts the artist’s attempt to parrot his mother and his critique of ethnic traditions.

Also found on the compilation, ”Why Don’t You Say It?” curated by Michal Heiman.

Catalogue no. 460
File: A

Catalogue no. 652
File: The Archive
Judaism Family Puppet Home Food Israel		200511'34''HebrewEnglishIsrael652The Archive√Full Access
91
Arad, BoazGordon and IAn intimate relationship between man and animal, one propped up by the other.

Also part of the project ”Video Bar” curated by Yuval Orly and initiated on 28.9.2004, concluding on 20.10.2004. The project’s target was to create a new model for showcasing video art.

Catalogue no. 665
File: Video Bar Project

Catalogue no. 460
File: A
Animal(s) Body Collaboration		20024'20''Israel460A√Full Access
92
Arad, BoazGordon and IAn intimate relationship between man and animal, one propped up by the other.

Also part of the project ”Video Bar” curated by Yuval Orly and initiated on 28.9.2004, concluding on 20.10.2004. The project’s target was to create a new model for showcasing video art.

Catalogue no. 665
File: Video Bar Project

Catalogue no. 460
File: A
Animal(s) Body Collaboration		20024'20''Israel665Video Bar Project√Full Access
93
Arad, BoazHaAsphan (The Collector)A psycho-analytical piece on the nature of collecting and national narratives.20155'00''HebrewIsraelmp4√Full Access
94
Arad, BoazHebrew LessonFractions of public addresses by Hitler are edited down to create a sum of Hebrew words, ”Shalom Yerushalayim, ani mitnazel” – in translation – ”Shalom Jerusalem, I’m sorry.”

Catalogue no. 460
File: A
Shoah Communication Deconstruction Guilt Jerusalem Language Black & white		20000'26''Israel460A√Full Access
95
Arad, BoazHebrew LessonFractions of public addresses by Hitler are edited down to create a sum of Hebrew words, ”Shalom Yerushalayim, ani mitnazel” – in translation – ”Shalom Jerusalem, I’m sorry.”

Catalogue no. 460
File: A
Shoah Communication Deconstruction Guilt Jerusalem Language Black & white		20000'26''Israel654The Archive√Full Access
96
Arad, BoazImmense Inner PeaceA mix of historical footage and new footage in which Hitler shaking hands with his citizenry is juxtaposed with a figure donning an Adolf Hitler mask giving detailed accounts of the concentration camps.

Catalogue no. 460
File: A

Shoah Performance Appropriation Found-footage		20015'42''HebrewEnglishIsrael460A√Full Access
97
Arad, BoazKelev AndeluziAfter Salvador Dali and Luis Bunuel’s Un Chien Andalou.

Hebrew with English subtitles

Catalogue no. 460
File: A
Cinema Language Appropriation Black & white		200314'34''HebrewEnglishIsrael460A√Full Access
98
Arad, BoazKings of IsraelThe exhibition, “Kings of Israel” by Boaz Arad attempts to bridge the historic and the personal, to say something about the historical through the personal, something historical through the personal. It reflects the moment the "Kings of Israel Square" becomes “Rabin Square" – the murder scene as a meeting point of ideologies, as a rupture, an archaeological site.20099'32''HebrewEnglishIsraelmp4√Full Access
99
Arad, BoazLoopLoop is an eerie look at masculinity and representations of power. A figure donning a mask of Adolf Hitler flexes and stares down the camera.

’Loop’ is also found on the compilation ”Video Trip” curated by Diana Delal.

Catalogue no. 460
File: A

Catalogue no. 667
File: The Archive
Identity Performance Power Appropriation Body		20010'59''Israel460A√Full Access
100
Arad, BoazLoop Loop is an eerie look at masculinity and representations of power. A figure donning a mask of Adolf Hitler flexes and stares down the camera.

’Loop’ is also found on the compilation ”Video Trip” curated by Diana Delal.

Catalogue no. 460
File: A

Catalogue no. 667
File: The Archive
Identity Performance Power Appropriation Body		20010'59''Israel667The Archive√Full Access