Liquid Memory
Site specific installation 2018.
Liquid Memory was inspired by the mikveh – the Jewish ritual bath – that was rediscovered in the Ashkenazi synagogue when it was converted into the Jewish Historical Museum in the 1980s. The exhibition explores the evolution of the Jewish bathing ritual from natural caves to tiled floors, creating non-linear connections between Amsterdam’s seventeenth-century mikveh and archaeological sites of mikvehs in and around Jerusalem that date back 2000 years. In the work Liquid Memory we wanted to interweave the past and the present through contradictions. In a video work we combined for example, Neolithic masks from 9000 years ago with current ritual bathing ceremonies of Orthodox Jews in Jerusalem's public water springs. Next to this video we placed a Kinetic sculpture of a hair wig immersing in water. Hair has long been a symbol of the "cultivation of woman".
Furthermore in judaism hair is considered a connection between what is living and what is still.
The work was created together with Izek Mizrahi, commissioned by Curator Sara Tas and shown at the the Jewish Historical Museum Amsterdam 2018.
Special thanks: Stephan Kuderna.
Furthermore in judaism hair is considered a connection between what is living and what is still.
The work was created together with Izek Mizrahi, commissioned by Curator Sara Tas and shown at the the Jewish Historical Museum Amsterdam 2018.
Special thanks: Stephan Kuderna.
Lifta – Mei Neftoach, video still, 2018 from Yitzhak izek Mizrahi on Vimeo.
Future present
video poem
2020
‘Future present’ is a video of Weisstubs pregnant belly in profile,abstracted by the close framing and backlighting that recasts it asa desert landscape. Viewers can see the horizon rising and fallinggently as she breathes, the surface interrupted suddenly by thecounter movements made inside thr stomach.
Created together with Yitzhak Izek Mizrahi
Presented at a group exhibition 2020, at A rose is a rose is a rose, Amsterdam NL
Made with the support of: Mondrian fons
Silent Gallop
Site specific installation 2018
In this installation a horse gallops against the backdrop of Jerusalem's Old City walls, on the cusp of the desert, in what has been his natural habitat for thousands of years. The sound of his stomping hooves echoes a time before car emissions. A sound that besides being a symbol of authority, government and war, also alludes to a romantic image of independence and freedom of thought. The horse’s legs were crafted in the Louvre in 17th Century Paris, as part of Neoclassical studies in old Greek and Roman sculptures of arabian horses. While a horse is a horse and a flag is a piece of floating fabric, this landscape has framed a city for thousands of years. What changes is the ownership of the land, the symbol on the flag, the Man on the horse.
Silent Gallop tries to see a whole in the fragment in order to challenge the dichotomic separation between holy and secular, temporary and eternal, barbaric and civilized, and live and inanimate.
Construction:Shavit Yaron.
Mechanisms: Stephen Kuderna, Oded Rimon, Kees Reedij.
Library Collection guidance : Marietta Dirker.
The horse’s legs were loaned from the Rijksakademie in Amsterdam.
Studies by Conrad Schick on the Terrain maps of Carl Ferdinand Zimmerman From the Deutsches Evangelisches Institut Jerusalem. Culture Of Season Jerusalem, Beyond and Above At.IL, Jerusalem, Mekudeshet. Curated: Yogev-Shlosberg Yehudit , Yitzhak Mizrahi
Silent Gallop tries to see a whole in the fragment in order to challenge the dichotomic separation between holy and secular, temporary and eternal, barbaric and civilized, and live and inanimate.
Construction:Shavit Yaron.
Mechanisms: Stephen Kuderna, Oded Rimon, Kees Reedij.
Library Collection guidance : Marietta Dirker.
The horse’s legs were loaned from the Rijksakademie in Amsterdam.
Studies by Conrad Schick on the Terrain maps of Carl Ferdinand Zimmerman From the Deutsches Evangelisches Institut Jerusalem. Culture Of Season Jerusalem, Beyond and Above At.IL, Jerusalem, Mekudeshet. Curated: Yogev-Shlosberg Yehudit , Yitzhak Mizrahi
I DON’T BELIEVE IN DEATH
Theatrical Installation 2016
Dealing with technology over riding human limitation (as forgetting) and becoming an ephemeral spiritual ground beyond our conceptions of time and space (as the ability never to forget) A part of the installation was a sculpture of a rubber bust, the bust was attached to a vacuum cleaner, which sucks all the air out of it, turning it into an old, wrinkled body. Because air is constantly pumped in and out of the body, it seems as if the sculpture breathes. Surfacing the tension of a female body aging in western society, a society that worships the young fit body.
During the exhibition this sculpture was placed in front of a Peppers ghost (hologram projection) of my grandmother, next to witch was a record player, playing my grandmother's voice as she was describing in Hebrew and German memories of technology entering her life. Weisstub found inspiration for making this video (hologram projection) from magic shows from the 19th century, a time where technological innovations were presented to a live audience.
Animation: Georgi Stamenov,
Music: Sachi Piro,
Construction: Oded Rimon, Nicola Arthen
Molds: Anthony Sqard, With Support of : Marianne Peijnenburs, Chaja Hertog.
Video documentation : Izek Mizrahi,
Produced in : Rijksakadamie Van Beelden De Kunsten, With the support of: Mondrian fons and Prins Bernhard Culturefonds.
During the exhibition this sculpture was placed in front of a Peppers ghost (hologram projection) of my grandmother, next to witch was a record player, playing my grandmother's voice as she was describing in Hebrew and German memories of technology entering her life. Weisstub found inspiration for making this video (hologram projection) from magic shows from the 19th century, a time where technological innovations were presented to a live audience.
Animation: Georgi Stamenov,
Music: Sachi Piro,
Construction: Oded Rimon, Nicola Arthen
Molds: Anthony Sqard, With Support of : Marianne Peijnenburs, Chaja Hertog.
Video documentation : Izek Mizrahi,
Produced in : Rijksakadamie Van Beelden De Kunsten, With the support of: Mondrian fons and Prins Bernhard Culturefonds.
Attempting logic
installation 2017
Notebook drawings converted into Toyobo Etchings.
Toyobo Print : Yitzhak Mizrahi, Pieter Verweij
Metal Construction: Oded Rimon
Produced in the Rijksakademie van beeldende kunsten.
Toyobo Print : Yitzhak Mizrahi, Pieter Verweij
Metal Construction: Oded Rimon
Produced in the Rijksakademie van beeldende kunsten.
Produced in the Rijksakademie van beeldende kunsten 2017.