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 and The Israel Antiquities Authority.

Silent Gallop


Site specific installation: Sculptures of : A horse, A flag made of horses hair, and A print of a map, studies on the terrain by Conrad Schick. 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.

Curated by: Izek Mizrahi Yehudit Shlosberg-Yogev.   
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.






Installation 2017

For Manhandled I worked with artifacts from the Rijksakademie’s historical art collection, specifically ones that depict scenes from the holy land. After claiming the artifacts I created kinetic apparatuses that give an allusion of almost destroying the original works (works that date back to the 17 century). The aesthetics of the work was defined by the negotiation between the safety regulations of treating an artifact and my desire to destroy it. This violent action was aimed at evoking the feeling that when something is being destroyed its value becomes apparent. Throw this action the work addresses the collective cultural memory of barbarism. 

The term ” barbarian” has been inflicted upon different ethnical groups throughout history from Latin Greek “barbaros“ meaning ‘foreign’, the Romans referred to the Germanics as "barbarian". Now days populist descendants of the Germanics tribes have adopted the legacy of the Greek and Roman empires self attributing the set of cultural values, religious beliefs, and the highbrow position of the so called “civilized”, pointing to term” barbarians” to the Near East. Suppressing the fact that during Europe's dark ages the preservation of the Greek philosophy was retained in the Near East. Thus Barbarism is a founding concept of European identity. A concept that generates a dynamic of forcing the alien others to convert to ones own beliefs.


The The work was made in collaboration with:
Digital image and video : Yitzhak Mizrahi,
Library Collection guidance : Marietta Dirker,
Moldmaking : Anthony Seqard and Boyd de Jong.
Construction : Stephan Kuderna and Oded Rimon,
Electronics : Kees Reedij,
Print : Pieter Verweij,
Wood : Roger Cremers and Seamus Cater,
Produced in the Rijksakademie van beeldende kunsten 2017.

Manhandled Part two: Salome    

Performance 2017

A performance interpretation to the New Testament story and Oscar Wildes 1891 tragedy play Salome. Because it has been a favorite subject for many Artist, it can also be found in different variations in the Rijksakademie Collection. This performance was made in collaboration with: Haian Arshied, Tarek Al Muazen and Manar Al Sammour. Together we engaged with the middle east  the place we grew up in is a site of memory and the formation of religious and political identities of the Western world. Because much of the art surviving from Europe after the fall of the Roman Empire is Christian art, biblical stories have been pillars in art history. This unlikely collaboration between Syrian and Israely artist. collapsed the boundaries between fragile and lasting, barbaric and civilized, and symbolic and prejudiced. Premiered at RijksOpen ,Rijksakademie van beeldende kunste, Amsterdam NL 2017.

HAWAII - Escaping the Inevitable

Site-specific experience, 2014 - 2021

After coming back from a two week vacation in St. Jacob home for the elderly. We created "Hawaii" = a three-stage site-specific experience. First part was in Dokzall: A performance based on our interpretations of the time we spend at St. Jacob, Second was a walk with the audience to the third part where we entered a concert that had already started in St. Jacob home for the elderly Amsterdam. For “HAWAII” I created mechanical apparatuses that imitate the constraints that elderly bodies endure. Two young body’s : one was wearing motors that we’re shaking, and the other was wearing wire springs shortening the muscles and pulling the body towards the ground. The young body’s wearing the constraints of elderly bodies, exemplified how in the Inevitable process of aging our efficiency deteriorates. Thus the work revolted against social values that are defined by productivity and speed.

29 : "what is your ultimate vacation?"

95 : "To fall asleep and not wake up"

Hoping to hear a more hopeful answer, 29 asked again: "Where would you like to go on a vacation?"

95 replied: "My life is a Constant vacation, I don’t work anymore."

29 : "All expenses paid, It doesn't have to be realistic, you can go with whoever to where ever. Where would you go?"

95 : "Why should I imagine something I cannot do?" and “A vacation is about sharing time with a loved one and all my friends have died”.

On stage ; Maja Engelsman , Jan Reints, Gertjan Franciscus future and myself.
Partner in crime, Advisor , stage design : Miguel Angel Melgares,
Partner in crime spiritual guide : Gertjan FranciscusAdvisor,
Music Composer : Yamila Ríos,
Organ playing and Arrangement : yuval reuben Machines,
Stan Wannet, Machines advice : Itamar mendes Flohr,
Advisor : Siegmar Zacharias,
Production: Lisa Reinheimer,
Stage construction : Cedric Daoud,
Technical advice: Rein Hartog .
First part was in Dokzall Amsterdam, Second part at St. Jacob Home for the elderly Amsterdam, created in Das-Arts Amsterdam.