Salted Lake, 2011

• 
  Salted Lake, 2011
  HD-Video, 11:04 min

  Salted Lake, 2011

  I made shoes covered in heavy salt crystals by suspending them in the saline waters of the Dead Sea. After this, I took them to a frozen lake in the middle of Europe and placed them on the ice. Each shoe melted a big hole in the ice. At night, they finally fell and drowned in the freshwater lake. From the heights of the 3rd strata of the pavilion, they fall and dive downwards burdened with history and gravity. I shot the video in Poland, in the revolutionary city of Gdansk, to create a work that touches upon collective memory and pain.
• 
  Azkelon, 2011
  HD-Video, 16:32

  Azkelon, 2011

  I filmed people playing the "knife" game. Azkelon is a hybrid of Aza (Gaza) and Ashkelon. These two towns share a beach but are separated by a border. The Gaza strip is one of the most crowded districts in the world, populated mostly by refugees; Ashkelon was conceived by Jewish immigrants from Arab countries. From my point of view, young people on both sides play this "game". Where there is play - there is life. It is an agreement to simple rules: they may win, they may lose; the interaction is possible interaction.
• 
  Laces, 2011
  12 channel HD-Video, 11:03

  Laces, 2011

  The negotiating table is not theatre or fiction, but rather an engagement, a dream and a lament for the future. This future is the life of the child who appears on the laptop-computer screens.
  A childish joke indeed, but, along with the carefree quality of the game, it is also an act that expresses the underlying truth of this project: the same fate inevitably links us all to one another. The failure and abandonment of the discussion by one becomes the failure of the other.
• 
  Mermaids [Erasing the Border of Azkelon], 2011
  HD-Video, 11:03

  Mermaids [Erasing the Border of Azkelon]2011

  On a beach on the border between Gaza and Ashkelon: three women repeatedly fall from the waves. They slowly scratch the sand of the beach with their hands and nails, as they are pulled back
  to the waves.
• 
  Working Title WM I+II, 2010
  HD-Video, 9:06 min

  Working Title WM I+II, 2010

  Water W Woman, Melon M man. And behind every scene there always is another scene... The only people who pick watermelons in Israel are men coming from an Arab-Israeli village called Manda, near Nazareth. Why? They say they are professionals, very much stronger... and have been the ones picking watermelons for decades. [The first mention of Watermelons in the area was in Egypt 5000 years ago]. The only way to look at landscape without political blindness/barriers/guilt and also without romanticism is looking down at the earth/ the sea/the street/ones feet with the camera, facing down. Like looking at a map, and at a text. "Working Title WM" is a wake to the monumental work 'DeadSee' of 2005, a work where some 500 watermelons were composed, linked and juxtaposed in a different gravity – metaphoric, dead and sterile. In "WORKING TITLE WM" the fruit is removed from its growth stem, lined up, and collected. In the diptych I show several men throwing individually one hidden melon at a time, passing the heavy fruit from one to the other - they are many pickers and the green explosive melon is removed "one at a time".
• 
  Working Title WM III+IV, 2010
  HD-Video, 9:06 min

  Working Title WM III+IV, 2010

  Water W Woman, Melon M man. And behind every scene there always is another scene... The only people who pick watermelons in Israel are men coming from an Arab-Israeli village called Manda, near Nazareth. Why? They say they are professionals, very much stronger... and have been the ones picking watermelons for decades. [The first mention of Watermelons in the area was in Egypt 5000 years ago]. The only way to look at landscape without political blindness/barriers/guilt and also without romanticism is looking down at the earth/ the sea/the street/ones feet with the camera, facing down. Like looking at a map, and at a text. "Working Title WM" is a wake to the monumental work 'DeadSee' of 2005, a work where some 500 watermelons were composed, linked and juxtaposed in a different gravity – metaphoric, dead and sterile. In "WORKING TITLE WM" the fruit is removed from its growth stem, lined up, and collected. In the diptych I show several men throwing individually one hidden melon at a time, passing the heavy fruit from one to the other - they are many pickers and the green explosive melon is removed "one at a time".
• 
  Salame', 2007
  Video, 16:14 min

  Salame', 2007

  The work shows a view of south Tel Aviv near the New Central Bus Station [west gazing east]. An urban roof top landscape. From a window in a side wall of an old building I am seen painting with a 'roller' on a stick, a large growing black mark, around the windows sill. I am working while standing inside the house; my body, arms, and long roller are exiting this small window, which is in the center of the frame. Proceeding slowly -- like a dark and manual sun dial -- this act of blackening - is a window into some the memory of this place. A large Billboard dominates the lower left side of the frame. It originally carried a cellular "Orange" advertisement slogan. I changed it on the editing table. I made a advertisement making reference to a song about a town that is burning [the original song was about a 1938 pogrom]. In the work the text reads: 'There is a fire brother, a fire'.
• 
  Day Done, 2007
  Video, 17:15 min

  Day Done, 2007

  The work shows a static view of a dilapidated house in south Tel Aviv. A person appears with a paint roller and begins painting in a radial way, a black mark around the window- frame. This gradual blackening – like a sundial - is a performative 'painting' act and stands in opposition to the traditional artistic view of landscape painting and its usual existence on an internal wall, inside a 'home'. My black mark on the house, on its external shabby surface indicates there is something wrong with this home, and place and with its representation all in one – a hole, a wound, and a void in memory. When my black circle is complete, a man with another extended paint roller appears, in the now lit window, and starts painting over my black circle with similar radial strokes, but he is using white paint. It was an old tradition in newly built Jewish houses in the Diaspora, to leave an eastern wall unfinished, bare, and without paint -- in memory of the "Churban" -- the destruction of the Jerusalem temple – and also the fleeing from home [land] into exile. So painting an unfinished surface of an exterior wall in Tel Aviv is a 'black mirror' to this tradition of remembering and yearning.
• 
  Standing on a Watermelon in the Dead Sea, 2005
  Video, 5:21 min

  Standing on a Watermelon in the Dead Sea,2005

  A female body struggles to balance and remain vertical on top of a watermelon a few meters lower than the lowest place on earth, in the salt saturated waters of the Dead Sea. The under-water of the Dead Sea has never been filmed or seen. Under these fiery waters, the small round planet/plant -- the watermelon; gravitates upwards, to overthrow me and bounce to the surface. All is buoyant and apt to float horizontally here, so verticality is a challenge involving considerable arm movement. Like a bird flapping her wings… height above.
• 
  DeadSee, 2005
  Video, 11:39 min

  DeadSee, 2005

  A cord of 250 meters penetrates 500 watermelons forming a 6 meter spiral raft in the saturated salt waters of the Dead Sea. The spiral turns as a whirlpool in reverse from its normal direction. I am floating locked inside the layers of the spiral, between the center and the periphery of the sweet raft. I am reaching out against the direction of the turning raft towards a small area where the fruit is wounded, red, and exposed, like me, to the sting of the salt. The salt solution of the Dead Sea enables everything to float. The spiral gradually becomes a thin green line abandoning the frame. "DeadSee" was first exhibited as part of "The Endless Solution" installation at the Helena Rubinstein pavilion, the Tel Aviv Museum of Art, January-May 2005. The film was shot in mid August 2004 in the area of Sodom south of Masada.
• 
  Under the Dead Sea, 2005
  Video, 4:08 min

  Under the Dead Sea, 2005

  Under the Dead Sea was shot a few meters lower than the lowest place on earth. This salt lake has never been seen or filmed from bellow. A cord of 250 meters penetrates 500 watermelons forming a six meter floating spiral raft. The sweet spiral of fruit turns as a whirlpool re-versed from its normal direction. My body is locked inside the layers between the center and the periphery of the red and green raft. The spiral gradually becomes a thin green line abandoning vision. As part of "The Endless Solution" I also used the rapid fossilization that occurs to objects in these waters - all is transformed within weeks into the same clutter of salt crystals as seen in this video, on the sea bed.
• 
  Dancing for Maya, 2005
  Video, 16:13 min

  Dancing for Maya, 2005

  Markings on a sandy beach.
  Digging trails in the shape of waves. A snaky shape. A serpent's path drawn with bare hands, between the legs of the two crawling performers, arriving from opposite directions. My dance partner - dark skinned, dark eyed. I, bright skinned and eyed. Sand gets under our nails. Meaning is doubled as each wave we draw is now a half of the symbol 'infinity'. A chain of D.N.A. - and also a row of eyes being washed away by the waves of the Mediterranean, as we leave the field of vision.
• 
  Pohenician Sand Dance, 2005
  Video, 8:54 min

  Pohenician Sand Dance, 2005

  Phoenician Sand Dance presents the behind-scenes of my video triptych 'Dancing for Maya'. We dig and crawl and the waves continuously blur our dug lines. The body—and the labor — are explored in affinity with the sea, the earth, and the changing of the sky. In this video, the digging marks are mysterious – the panoptic [historic] perspective showing the shapes we make is not available.
• 
  Arab Snow, 2001
  Video, 6:09 min

  Arab Snow, 2001

  Sweet snow storm / sweet cob webs / sweet walls of cotton candy. White sugar > transformed into candy floss > transformed into a nest. Thatched [light colored pink cotton candy dissolves into red liquid when it touches my lovers sweat and wounds]. This piece was shot around an ecstatic process of work in a sugar creator built in 2001 at the "Thread Waxing Space" in Manhattan - a cob web dance, a transformation cycle, around the floor. Hyper-Pop art fibers, empty energy, of the [late] fashion and passion industries of the deceased SoHo of New York City. Music: from Um-Kulthums' "Sakara" / sung by Sappho/ arranged by Ran Slavin.
  
• 
  Eye Drum, 2001
  Video, 16:32 min

  Eye Drum, 2001

  A study with a music box for 'Bauchaus', depicting 'D.J. Jew' … : " I am a sleep walker; as I walk, my eyes revolve in their holes, like a concrete mixer's drum ... sand songs in my eyes " — In collaboration with my brother Daniel Landau.
• 
  Barbed Hula, 2000
  Video, 1:52 min

  Barbed Hula, 2000

  This act of desensitization - spinning a hula hoop of barbed wire - I performed at sunrise on a southern beach of Tel-Aviv, where fishermen and old people come to start their day and exercise. The beach is the only calm and natural border Israel has. Danger is generated from history into life and into the body. In this video loop I am performing a hula belly dance. This is a personal and senso-political act concerned with invisible, sub-skin borders, surrounding the body actively and endlessly.
  All my work relates, in one way or another, to a loss of orientation. The pain here is escaped by the speed of the act, and the fact that the spikes of the barbed wire are mostly turned outwards.
• 
  Three Men Hula, 1999
  Video, 1:36 min

  Three men hula, 1999

  Three young men trying to act as one, a corporation, a corps made of three, trapped in speed. In a centrifugal pull, they dance inside a closed world, centralized but shifting, a center with dynamic gravities, A playful, sensual, quasi-achievable task.
  I built a large three meter diameter hula-hoop and shot the video with three actors from Cambridge, who knew each other since childhood. This video was filmed in the Chisenhale gallery, London, 1999.