The electronic composition Gal made on the EMS Synthi 100 at Radio Belgrade is based on the artist’s brain wave activity during cycles of sleep. Interlaced within the electronic sound are voices reading dreams.
These dreams found in historical sources were told by individuals who were subjected to various conditions of political oppression across histories and geographies.
As Part of the process of denazification and democratic reeducation in occupied West Germany by the U.S. Military government in (1945-1952) military officials used surveys and studies to understand and influence the occupied population. Found in the OMGUS (Office of Military Government, United States) archives in Munich, are psychological surveys made by the U.S. military to map the democratic tendencies and the psychological attitudes of Germans who until recently lived under National Socialism. While reading these surveys from today’s perspective much of the information corresponds with current political debates in contemporary Germany regarding the rise of the far right, militarization, war, anti democratic tendencies of youth and the future of Germany.
In his new video-work/podcast Gal transforms a selection of these studies into conversational forms and wraps archival material into the contemporary genres of video-podcast and TikTok selfie videos.
Written and directed by Dani Gal
Camera: Itay Marom
With: Lara Babalola and Daniel Stern
Production: Heiner Schirmmacher
Supported by: Hans Purmann Stiftung
Furniture music, or Musique d’ameublement in the original French, is a style of composition written by the French com- poser Erik Satie (1866–1925) from 1917 onwards. It is consid- ered the first “ambient” or “easy listening” music, designed to be played in the background rather than as a centrepiece. The name refers to the fact that the pieces are intended to “furnish” the room without attracting too much attention.
In 1980, the American composer John Cage (1912–1992) responded to Satie with a composition titled Furniture Music Etcetera. Particularly influenced by the idea of background music in his famous silent work 4’33”, especially Muzak (easy listening music played in office buildings), Cage used the piano parts from Satie’s furniture music and his own work Etcetera from 1973 to form a new composition for two pianos. The score consists of a timetable indicating which pianist is to play excerpts from either score. Durations are given, while dynamics, tempo and specific choices as to material are left to the performer.
In Gal’s work, the piano parts from the furniture music and Etcetera are each pressed onto a vinyl. The two record players built into the furniture sculpture are connected by a voltage control system. Each turntable motor is triggered by short dynamic sound events – known as transients – made by the piano on the other record. The piano pieces cause each other to play according to random automated elements. The composition thus reaches a new level of indeterminacy and becomes a new piece played by the furniture itself.
The curtains that divide the exhibition space are props from the concert scene with George Antheil from Gal’s film Three Works for Piano (2020). The geometric pattern comes from Marcel L’Herbier’s film L’Inhumaine (1924), which is primarily famous for its experimental approach to the medium of film and the involvement of numerous avant-garde artists in its music and set design. While L’Inhumaine met with criticism and incomprehension upon its release, its significance for film and art history is recognized today, particularly its synthe- sis of the various arts. The film also includes scenes from a concert at which dissonant compositions by George Antheil were performed and caused riots among the audience of extras – another source of inspiration for Gal’s film and the reconstruction of Antheil’s concert in Budapest.
Fotos: Daniel Sadrowski
Dani Gal, LAUTFIGUREN, Museum Ostwall, MO_Schaufenster #36, Dortmund
The thirty-five brass shapes are enlarged replicas of Eduard Sievers’s “Personal Curves” from 1915. The Leipzig phoneti- cian and linguist Sievers (1850–1932) developed a method known as “Schallanalyse” (sound analysis) to reproduce the original voice of an author and to capture the musical charac- teristics inherent in a given literary text.
As a way of representing different voice types, Sievers created a series of brass wire shapes that he called “personal curves”. These were based on observations by the musicologist Gustav Becking, who developed the curves from movements made while conducting; they are also known as “Becking curves”. These visualized curves, also referred to as “optical signals”, were then used in an experiment: several people read a text by Friedrich Schiller aloud while holding a brass wire in each hand. A phonograph was used to record the vibrations of their chest and larynx, which supposedly corresponded to Schiller’s original tonality and emphasis due to the brass forms. The question of whether such linguistic theories can be proven remains unanswered.
Fotos: Daniel Sadrowski
Dark continent, Written and Directed by Dani Gal, 25min, 2023 Dark Continent deals with the racial phobias resulting from the colonial imaginary and their transmission through music. His film is an adaptation of a case study from Martinican psychiatrist and anti-colonial writer Frantz Fanonʼs book Black Skin, White Masks (1952): a young White French woman suffers from a nervous disorder triggered by the sound of African drums—prohibited by colonial regimes and slave owners because they were suspected of carrying signals of rebellion.
Written and Directed by Dani Gal
With: Yoli Fuller, Maj-Britt Klenke, J.David Hinze and Patrick Joswig
Camera: Itay Marom
Production: Kirberg Motors and Dani Gal
Commissioned by Steirischer Herbst Festival 2020
The film examines the roles of silence, silencing and listening in the politics of dominant national narratives and how socially accepted violence is constructed through the disciplines of witness testimonies in historical trauma studies and in post-colonial and post-Holocaust discourses.
The artwork reconstructs three piano performances of the 20th century avant-garde: John Cage’s seminal work 4’33 in the late 1970s, where the intended silence was interrupted by an Israeli audience’s spontaneous performance of a nationalistic song; the radical composer George Antheil’s confrontation of his audience with a loaded gun in a concert in Budapest in 1923; and the first documented art performance of a piano demolition by the Wiener Gruppe in 1959. The three events function as hallucinatory allegories to contemplate the complex dynamics between the historical witness and society.
This triangulation of performer-sound-audience is reflected in a recent real-life event, where the testimony of an Israeli soldier as a violent perpetrator in the occupied territories, was discredited and denied by the state. This negation of culpability sidelines the story from the real victims and exposes the soldier’s moral ambiguity.
Written and Directed by Dani Gal
Camera: Itay Marom
Produced by: Kirberg Motors and Blood Mountain Projects
With: Itay Tiran and Dulcie Smart
Dani Gal in conversation with David Riff
Steirischer Herbst – Paranoia TV, 2020
Commissioned by Staatsgalerie Stuttgart on the occasion of the Bauhaus centennial, this staged television-style interview with Ludwig Mies Van Der Rohe depicts the architect late in his life, confronted with his time as the final Bauhaus director, and his refusal to take a political stance amid pressure from the newly established Nazi government and communist students. The interviewer confronts Mies about his unwillingness to take a political position amid pressure both from communist students and the newly established Nazi government. Focusing on the events that led to the closure of the Bauhaus by the Gestapo in 1933, including Mies’s meeting with Alfred Rosenberg, his meeting with a young Gestapo officer in an attempt to keep the Bauhaus open under the Nazi regime, and his interest to continue his practice in Germany, the film questions cultural notions of modern architecture as an aesthetic reflection of progressive humanistic values.
By examining the nature of the relationship between Mies and the Nazis, insight is gained not only into the climate of the last days of the Bauhaus and its clash with fascist forces, but also into historic and contemporary principles of morality.
On August 16, 1933 Arthur Ruppin wrote the following entry in his diary:
“Through Dr. Georg Landauer I travelled to Jena on August 3rd to meet Prof. Hans F.K. Günther, the founder of National-Socialist race theory. The conversation lasted two hours. Günther was most congenial but refused to accept credit for coining the Aryan-concept, and agreed with me that the Jews are not inferior but different, and that the Jewish Question has to be solved justly.”
The film revolves around the complex character of Arthur Ruppin (1876-1943), one of the founders of the Zionist Settlement who promoted coexistence with the Palestinians before the establishment of the state of Israel. Ruppin was also an enthusiastic researcher of the science of race, which explains his motive in paying a visit to Hans F.K. Günther (1891-1968), the German race researcher and eugenicist who later became a major influence on National Socialist racial thought. The film shows Ruppin as he visits the Weissenhof Estate, a neighborhood in Stuttgart famous for its modern architecture style, and experiences flashbacks which reflect his views. The monologues and dialogues within this film are based mainly on Ruppin’s diaries.
Camera: Itay Marom
Production: pong film
With: Alexander E. Fennon, Christian Harting and Yousef Sweid
Art director: Merle Vorwald
A fictionalized account of Wiesenthal and Speer’s meetings, that uses dialogue based on their letters. Speer first wrote to Wiesenthal in 1974 after his release from prison, in an effort to accept some responsibility for his war crimes. His public admission of his moral misconduct impressed Wiesenthal, and they began a correspondence that lasted until the early 1980s.
Despite their profoundly contrasting personal histories, they shared common interests—both were trained architects and successful authors. They pursued their unlikely friendship despite controversy and occasionally visited each other. Gal takes this strange relationship as a starting point for a meditation on how historical events are recalled, recorded, and distorted.
Camera: Emre Erkmen
Production: Caroline Kirberg
With: Charles Brauer, Pavel Fieber and Gideon Zinger
Read article on forward.com: Nazi Hunter Meets Nazi Architect
Commissioned for the 54. Venice Biennale
On April 11, 1961, the trial of Adolf Eichmann began. He was tried in an Israeli court and charged for committing crimes against humanity and war crimes. He was convicted and executed by hanging on May 31, 1962. On a night, between the 31st of May and the 1st of June 1962 shortly after the execution and the cremation of the body, a group of police officers sailed on a boat 6 miles off the shores of Jaffa port. Their mission was to scatter Eichmann’s ashes into the international waters of the Mediterranean Sea. The purpose of the highly secret mission was to ensure that there could be no future memorial and that no nation would serve as his final resting place. Based on an interview Dani Gal made with Michael Goldman, a Holocaust survivor who was one of the policemen on the boat, the film re-enacts the scene of the group of policemen sailing on a dark foggy night with Eichmann’s ashes in a jug of milk.
Camera: Itay Marom
Production: Jonathan Dowek
With: Yaron Mottola, Moris Cohen and John Fulton
Book of the Machines, Dani Galʼs new film, explores the fear of and fascination with the other by looking at automatons, primitive mechanical robots popular in the 19th century. Close-ups of these exoticized figures and their racial stereotypes are accompanied by excerpts from Samuel Butler’s novel Erewhon (1872), which describes a society that has banned all machines after recognizing that they might take over the world. This resonates with today’s debates on AI and its potentially demonic powers.
Written and Directed by Dani Gal
Camera: Itay Marom
Voice: Alix Martin
Historical Records is a collection of commercially produced vinyl records that documents recorded political events of the twentieth century. The collection contains over 700 LP’s of speeches and interviews of those who were in power, others who objected to this power, of war and peace agreements, human rights struggles, and other radio broadcasts of the events that shaped history from the invention of the phonograph to the fall of the Berlin wall. The project examines how recorded political events turned into a commodity, and what role sound documentation has in the interplay between personal and collective/national memory.
In Semi Automatic, Gal uses sound generating devices such as a radio receiver, recorded sounds or electro magnetic recorders to mechanically and electronically activate other sound sources, such as musical instruments. By using sound activated small electric-motors to vibrate string instruments which by turn generate electronic noises through another device Gal creates a dialogue between two or more sound sources. For example, by switching stations on a radio receiver, shifts in the sound level affect the movement of the motor that by result plays
a string instrument.
In relation to one another the sources, which the player has only partial control over, create an indeterminate musical composition.
One of the main aspects in this project is the use of speech. Through the radio receiver or pre recorded voices, speech acts as an activating sound source. When stimulating a motor that excites a string instrument it creates a sort of Speech Surrogacy; the practice of imitating verbal speech without the use of the larynx. When both the voice and the instrument braid into each other, spoken language become music.
Inherent Resolve installation view, America is Back, yellow Solo
June 12—July 18, 2021
An actor is laying on the floor making a selfie video while addressing the viewer in an intimately seductive manner staged as a homage to Vito Acconci’s seminal video work “Theme Song” from 1973. In contrast to Acconci, who seduces the viewer, entices him or her to join him, and as a result points to the unbridgeable barrier created by the medium, the actor in Gal’s video recites audio messages broadcasted by the U.S. military through local Iraqi radio stations during the Battle of Mosul in 2016. During this battle, also known in the U.S. military as “Operation Inherent Resolve,” radio messages were designed as psychological warfare in an attempt to persuade ISIS fighters who were holding Mosul at the time to abandon their cause and join the U.S. backed authorities.
Actor: Angus McGruther
The work refers to one of the key moments of post cold war American foreign policy – the invasion of Panama in 1989 and the apprehension of General Manuel Noriega. During Christmas 1989 Noriega had fled to the Vatican Embassy, whereupon the American military installed speakers and ‘blasted’ the Vatican Embassy building with Rock songs like Guns N Roses, “Welcome to the Jungle”, or Billy Idols, “Flesh for Fantasy”. This military operation was the ‘blueprint’ for dealing with future conflicts on many strategic aspects – one of which was the militaries control over the media.
a golden brooch object which is a replica of a clip-on microphone typically used in documentary films and interviews. It bears the title of a poem by Samuel Taylor Coleridge from 1798. This poem, which gives an account of the experiences of a homecoming mariner, was mentioned by the Holocaust survivor Primo Levi as an example of the necessity of reporting as a witness for those who can no longer do so. In this sense, the object signifies the moment of transference between witness and listener and the juncture between oral testimony and aural document.
Eleven American foreign policy experts from think tanks, military offices and the CIA, describe their perspectives on American foreign policy. These conversations, which revolve around such issues as Islam, the military industrial complex, American wars, cyber security and the notion of freedom, provide a soundtrack for scenes from an entire day in Washington D.C. The camera gaze over the city is mundane and banal. Monuments, nature and people, are given the same focus. This manner of filming the city provides an alternative to the iconic imperialistic cinematic representation of the American Capital.
By juxtaposing these non-iconic images with oppositional voices of strategy makers, those who promote certain agendas to the U.S. government, and others who harshly criticize it, the audience can take a distanced and critical view of America as a dominant hegemony or as an empire in decline. Electromagnetic fields in the city were recorded during filming as sound and then mixed with the general ambiance of the scenes. These sounds, which can only be heard using a special device, serve as a metaphor for the hidden forces that create what is called American power.
Lifta, a former village on the outskirts of Jerusalem, represents the tragedy of the Palestinians.
Their homes and culture, once a booming and wealthy village with more than 2500 inhabitants, had to flee in the 1948 Arab Israeli war. The abandoned village was at first settled with Jewish refugees from Yemen and Kurdistan, who on their part had been expelled from their Arab home countries as a result of the founding of Israel. However, Lifta was later partially deconstructed by blowing holes into the ceilings of buildings in order to prevent the return of Palestinians. In contrast to most Palestininan villages Lifta was never entirely destroyed, several plans to rebuild it as a neighbourhood and turn it into a luxury resort, have failed.
In close reference to Gordon Matta-Clark’s practice, and with a reversal of his title „Reality Properties: Fake Estates“ (1973), photographs, historical documents and news clippings ensemble a diverse illustration of a history where politics, economical interests and concerns of cultural identity are represented in architecture and structural characteristics. Using various techniques of printing and reference to sources, „Reality Estates: Fake Properties, Lifta“, does not create a linear narration of historical events or try to provide a specific political or moral point of view – it much rather functions as a lose assemblage of material that on one hand illustrates the diversity of the conflict itself. However on an abstract level, the work uses the purely formal character of the found architecture – holes in ceilings while the supporting walls seem stable. This gesture acts as another reference to Matta-Clark‘s work, with the distinction that these holes are the result of strategical and political destruction, rather than sculptural decisions made by the artist.
The phrase Sono vietate le discussioni politiche (Italian: Political Discussions Are Prohibited)
refers to signs with the same message as they could be found in Italian bars in the 1930’s.
The video documents Hedy Epstein during her visit to South Germany where she returned to her village and stayed for two nights in the house she was displaced from as a Jewish child in 1939.
In the interview, Epstein is talking about her childhood in Nazi Germany, returning to Germany after the war, the Palestinians right of return, her attempts to enter the Gaza strip, her activities in the West bank, Hunger strikes and more.
Camera: Francisco Domínguez
The Video documents a visit to the Palestinian village Al Midya. The village which is located in the west bank, was used by the Israeli film director Ram Loevy, as a set for his film Hirbet Khiza (1978). This film was an adaptation of the controversial classic novella by the same name, by the Israeli author S. Yizhar, in which he describes the expulsion of Palestinian Arabs from their village by the Israeli Army during the 1948 Arab-Israeli War.
In the visit, Gal interviewed locals who remembered the film production, and the controversy surrounding its production. He screened the original film with a performance by a live translator, the rapper and actor Tamer Nafar, for the villagers. The resulting documentation was edited according to the original film narrative.
Camera: Itay Marom
Production: Rozeen Bisharat
Performance: Tamer Nafar
In collaboration with Zochrot and Eitan Bronstein
An architectural model used as a prop in the film “As From Afar”.
The sculpture is simultaneously a miniature of the Mauthausen Nazi concentration camp and a model for a set, for a night scene in a
fictional film.
Multiple frottage drawings of a grave stone of a British military drummer who died during the British colonial invasion to Palestine in World War I – the last war to use drums as an active battlefield instrument. Through the act of repetition in frottage making, and the repetition of hanging the multiple drawings in a sequence, the installation gives a sense of rhythm created by drumming. The title refers to the basic patterns used by musical drummers and takes its origin from military drumming.
At the beginning of the transcript of the 5th conversation between Morton Feldman and John Cage, the transcriber writes that in the middle of the paragraph the tape is damaged for 15 sec. Because of the damage, or the missing part, one can read the paragraph as a loop with a new meaning. I created a loop, a digital voice reading as Cage, with a break in the middle. The two are talking about the musician Edgar Varese who coined the term ‘organized sound’, as opposed to music. The damaged tape becomes a part of the composition in relation to the three composers and their conversation.
Krapp’s Last Tape is a one-act play, written in English in 1958, by Samuel Beckett. The play consists of a cast of one man and a tape recorder. The plot takes place on Krapp’s sixty-ninth birthday and, as has become his custom, he hauls out his old tape recorder to review one of the earlier years – in this case the recording he made when he was thirty nine and makes a new recording commenting on the events of the previous twelve months. The play is structured as a monologue/dialogue between Krapp and his voice recorded on tape. He listens and comments. Through the recordings Krapp reviews his own past, and slowly the audience understands that he has nothing left but his past as his voice on tape.
The play was adapted as a sound performance. The theatrical set of objects: Krapp’s desk, chair, the stage and the tape recorder were amplified using contact microphones – a type of microphone that amplifies vibrations into sound. When Beckett directed the play himself he instructed the actor to try to become one body with the machine, saying: “Krapp no longer owns the memories on the tapes. His mind is no longer capable of holding onto them”. Taking a musical approach to the play, the text is used as a musical score, while the objects are the instruments played by the actor, and the actor’s amplified movements become a sonic composition that is no longer attached to his body, but returns as a playback to the stage. The character’s behaviour conducts the way it will be heard by the audience. However loud audio feedback occurs, and the character becomes irritated by what is created by his own body – an analogue action that is his reaction to his recorded voice from the past.
A collection of Current Affairs Photos from different newspapers and magazines between the 70’s until today runs parallel too a collection of statements made by visual artists in interviews through the same period of time. Two slideshows play next to each other; one shows the texts the other shows the images. The viewer confronts the two as connected, obliged to impose a new meaning while, by confronting the texts and the images together. The news photos are being decontextualized from their reality and the artists statements are being observed in relation to images of “real” events.
The terror attack in the Munich Olympics in 1972 is one of the most iconic terror events in the history of the 20th century due of the special conditions, which it happened in, and the excessive media coverage. There are over 10 films- both fiction and documentaries that re-enacted this event. Using these films as a reference point, the video examines the mechanism of re-enacting historical events using cinematic and television tools, and show how the viewer’s understanding of an event can be changed through subtle changes in the characters looks.
In the films one can see how the terrorists entered the Olympic village dressed up in tracksuits to disguise themselves as sportsmen, changed to eccentric costumes like a safari suit and a cowboy costume, and woke up the sportsmen who slept in their underwear. Later German policemen wore tracksuits, in order to ambush the terrorists – again, disguised as sportsmen but wearing military helmets too, than changed to pilots costumes trying to ambush them in an airplane that was suppose to take them to Cairo. Finally the Israeli Olympic team wore tracksuits and other civilian clothing when they left the room where they were held hostage. The action of changing clothes and costumes during the event serves as a Leitmotiv and establishes the characters into the roles of those who were involved in the real event, but also the characters in the re-enactments. It is the connecting thread between the event and its representation through cinematic means.
During the video 11 men with the help of a costumes designer, constantly changed clothing, according to the plot re-enacted in the films and therefore constantly changing roles from being a victim to a perpetrator and back. two large double-sided mirrors (spy mirrors) were placed in the filmed room; these mirrors served as extras for the costume fittings, but also function as a window for the cameras to shoot from the outside. The use of the mirrors gave the video a look of a reality show like “ Big brother”, where people are put on display for 24 hours, and created an effect of multiplicity and resemblance of characters.
Camera : Itay Marom
Production: Eyal Vexler
More than ten films, have re-enacted the terror attack in the Munich Olympics in 1972. The video shows these films layered on top of each other using transparencies. The films show the event in a chronological order, showing identical scenes of the event, but represented differently in each film – only the same characters appear similar to each other. Layering them on top of each other points at the gap between the event, its representation through media, and between each account. None of the films tell the exact same story.
This effect happens not only because of different interpretations of the event, but is also due to media standards and production values. The work examines the mechanism of re-enacting historical events using cinematic means, emphasizing different perspectives on how confusion is created about different roles and their evaluation in relation to this event.
Iancu Dumitrescu (Romania, 1944) is one of the leading avant-garde composers working today. His music is defined as spectral – a musical arrangement practice where compositional decisions are often informed by the analysis of sound spectra. During the last 30 years he has composed a large body of works for acoustic instruments as well as electro-acoustic compositions and music for tape and computer.
One of the key aspects of his work is the exploration of possible connections between the most archaic Romanian music, Byzantine music, and today’s Avant-Garde music. The video is an adaptation of a story Dumitrescu told in an interview about a dream he had during his military service in Romania. The dream, which had a very strong effect on the composer’s work, is an expression of sound in the most violent primary fashion in a context of an absurd military situation.
Camera: Emre Erkmen
Urformen is a documentary about the avant-garde composers Iancu Dumitrescu and Ana Maria Avram. The video focuses on a visit to their house in a rural part of Romania and a to a museum in Romania that preserves ancient local ways of living which the composers take their inspiration from.
The phrase „The Shooting of Officers“ is taken from the book Fatal Words: Communication Clashes
and Aircraft Crashes (1994) by linguist Steven Cushing. One of Cushing’s fields of research examines misunderstanding in communication due to phonological, syntactical, and semantic polysemy.
Fatal Words takes a look at misunderstanding in aviation communication and can be read as a manual for the intelligible exchange of information as countless accidents in aviation result from misinter pretation by pilots and air-traffic controllers. „The Shooting of Officers“ is a sample phrase in Cushing’s book that is used to disclose multiple possible interpretations that follow linguistic ambiguity.
The work is a transformation of this phrase into a light sculpture that depicts a multiplicity of understandings by literally illuminating various meanings of the phrase and making the fragility of language and interpretation visible in letters made of glass.
Black Magic Marker’ shows musician and producer Lee ‘Scratch’ Perry in his current residence at Einsiedeln (Switzerland). The Lee Perry operated Black Ark Studio in Kingston, and its unique sounds central to the progression and promotion of the Jamaican music scene, mysteriously went up in flames in 1979.
Lee Scratch Perry, known as the ‘Upsetter’, psalmodises, in the midst of walls strewn with characters strongly reminiscent of his former studio, on divine power, animalistic objects and the power of symbols and words to become reality.
Camera: Carlotta Steinemann
The work derives from a controversy around the classic Hebrew novella Khirbet Khizeh by Israeli author S. Yizhar published in 1949, in which he described the expulsion of Palestinian Arabs from their village by the Israeli Army during the 1948 Arab-Israeli War. The story became a bestseller, was included in the Israeli high school curriculum in 1964 and adapted into the television film in 1978, titled “Khirbet Khizeh”.
On February 15th, 1978, the film should have been shown on the Israeli TV. 90 minutes before the showing of the film it has been cancelled by the Minister of Education and Culture due to its content shedding doubt on the Zionist narrative. The unprecedented cancellation of a TV show through the government prompted protests against censorship from a coalition of artists, authors, lawyers, parliament members, journalists and TV technicians. However, the public polemic for and against airing the film became a fight for the freedom of information rather than an argument about the content of the film.
As result of this, TV newsmen vented their feelings by letting Israeli screens go dark for 50 minutes- the length of the controversial film, on the day after the Minister’s order.
The installation consists of three unsynchronized elements: The original sound track of the TV film Khirbet Khizeh was translated into English and adapted into a radio play with professional actors, combining it with an interview with film’s director Ram Loevy. The piece is played through a surrounding sound system. As a graphic translation of his audio work, the artist also adapted the optical soundtrack of the mentioned film, shown on a black and white television monitor. The visual result is a thin, moving and horizontal line. Among other references, this video projection relates to Nam June Paik’s Zen For TV, 1963, which shows astatic, white line running vertically across a black TV screen. Paik adapted his work into a second version where the line runs horizontally in 1976, the year the production of the TV film was started. For the presentation, I will show the video part of the work with the direct referens to “zen for tv” by paik witch is part of monuk collection.
A record player, which is connected to motion sensors, installed in a space. When sensing movement in the room the sensors send signals the record player, which starts to spin according to the speed and frequency of the visitors. The record used to create the sound is a „ Architecture Regarding the Future of Conversations “, which documents interviews with famous Western 20th century architects. The movement of visitors in a given room activates and manipulates the record while the speakers play the resulted sound in the space.
A Foley artist filmed in his recording studio, during the process of creating new sound effects for a historical documentary called “Grenade in Gaza”.
The film is an Israeli television production from 1970 where a television crew entered Gaza strip for the first time, shot a documentary and tried to create an image of Gaza for Israeli audiance three years after the ocupation.
Camera: Emre Erkmen
I.E. (id est– latin) means “that is” or “in other words.” Every word in the Oxford Dictionary has one or more example sentences that demonstrate how the word should be used in a sentence. The sentences cover every possible topic in culture so when they are taken out of context, the examples appear to be fragments of a story, a dialogue or references out of another text. The work is a random slide show of all the example sentences in the dictionary (over 70,000). When projected in a space, new assosiations emerge between the sentences and authorship can be generated by the viewer.
