Appendix: documentation of the art works:
1. HAMAVDIL: "Distinguishing between the sacred and the profane", 2004. A series of 40 photographs, colour print 30 x 40 cm. The series of photographs made before my doctoral studies is presented here as artistic background material. It is a documentation of fictitious creations, tracing an imaginary impersonation of an ultra-orthodox. The photos were taken during my residence time in Jerusalem as I was an art student. Over one year I changed and manipulated my own identity and my surroundings to produce faked Orthodox figures. Relatives and friends were asked to perform in ceremonies and rituals so as to behave like “friends and family” in an Orthodox context. The photos offer evidence for my attempts to create such an imaginary but also possible alternative reality. Through the visual presence of the Orthodox world I addressed the implications of what the ultra-Orthodox society tries to convey: the promise inherent in religion, the way to redemption, the family values, stability and faith, power and integrity.
2. My Ghetto. Video Installation: video, photography, performance, 2010. The walls of the exhibition space of My Ghetto were covered with thousands of computer printed flowers – photos I took during one year. During the show I sat in the exhibition space to print more and more of them. On a big screen I projected a 15 minutes long video, which compressed the documentation of 80 hours of intensive speech in front of a camera. The video consists of reporting (partly imaginary) experiences I had in my ghetto. After the testimonial part, the video ends with live translation of the song My Ghetto by Hanoch Levin.
3. Documentary about the holocaust, 2012. A 20 min. video work which attempts to trace how to make memorial films about the Holocaust. It exposes the mechanisms through which collective memory is being constructed through institutional imagery, manipulation and clichés.
4. The Artistic Institute for Disappearing, 2011. Mixed media installation. The AID – Artistic Institute of Disappearing – was established in April 2011 on the ground of an active human sewage treatment plant near Tel Aviv. The institute addresses – through a Kafkaesque experience – the clear motivation to disappear or to reshape identity through artistic tools. The sham institute aims to guide the disappearing person through different didactic stages and guide lines based on a complete failure.
5. Sorry, 2013. A video installation, documents, tables and screen. A work commissioned by a gallery owner on the topic “Impostors”. The project deals with the lack of ability or willingness to produce a work of art and the artist's reaction to it: escape. It raises questions about the role of the artist and the responsibility he has in relation to social and political matters.