info at duprass dot com


april 28th - july 27th 2012
curating/participating; 'mother, ravens!' art exhibition at
the israeli center for digital art, holon (israel/palestine)

curatorial text (hebrew/english)

mother, ravens! invitation


the ragatka's kloiz (2011), movable sound performance in ten channels.
haifa museum of art, haifa (israel/palestine)
27 october, 2011
curator: ruti direktor

'the ragatka's kloiz' is a movable audio performance for minyan participants. it is based on an autobiographical tale by moshe gurin (1921-1990), a poet and author, survivor of the holocaust. the tale spreads out an event that occurred to ten men in a distance suburb of vilnius (poland) at the beginning of 1940, who were coerced into burn up their most precious thing of all, and maybe, even themselves. 'the ragatka's kloiz' enables its participants to travel through a dynamic audio sphere and by that invites them to take a physical and active part at the narrative's depths.

narrator: zohar eitan

galut (diaspora) (2011), sound installation/radio drama; eight sound channels and text.
solo exhibition; barbur gallery, jerusalem (israel/palestine)
3 – 31 march, 2011
curator: masha zusman

texts by moshe gurin (gurevich, govrin):
‘from a prisoner's old notepad’
‘mrs. vislevska’
‘yerushalaim’ [previously published, ‘with seven eyes’, ‘hamenora’ tel-Aviv (1973)]
‘yerushalaim shel maala’ [previously published, ‘di grine brik’, ‘i.l peretz’ tel-Aviv (1966)]
‘unterwegs’ [previously published, ‘with seven eyes’, ‘hamenora’ tel-Aviv (1973)]
yiddish translation by daniel birnbaum and ido govrin

piano, shira legmann
cello, dan weinstein
recording assistant, amit cabesa
catalog text, yonatan amir

the characters:
the narrator, zohar eitan
tzvi g., ido govrin
m. gurevich, daniel birnbaum

[‘galut (diaspora)’ is dedicated to moshe gurin (gurevich, govrin) 1921-1990 and his family]

"the night is appropriate to anything, and in particular, when it comes to things which under no circumstances should be done during the day, moreover, in that night the skies had began to be covered by low thick clouds and much snow came down, soft snow out of softness, and covered the villages’ roofs, and trails, which in the afternoon seemed tightened and leveled off by the walkers’ shoes, had disappeared from sight, as if they never were.
tzvi g. snuggled in his short coat, rolled up the jute sack, whispered a short sentence to his mother, which apart from her doubtless no one else managed to grasp anything from what he said, and left for the snow.
his clumsy wooden shoes left conspicuous footprints in the snow. as he kept on walking his shoes became taller and one snow layer had stuck to another until it seems to him as if he becomes a giant.
where did he go? – his mother knows. he also knew.
he heads towards the forest and after crossing it he will reach the edge of the peat fields. among the piles of peat and the group of oak trees, a pit of potatoes is found, as a stock hidden from one’s sight." (m.gurin)

exhibition catalog

galut (diaspora)

galut (diaspora)

attentiveness foldings no.2 (2011), sound installation; 'lab report' exhibition at 'shafdan' (israel/palestine)
7-21 april
curator: galia yahav


attentiveness foldings (2010), sound installation – presented at ‘mute: the politics of no-sound’ exhibition, the center for contemporary art, tel-aviv israel/palestine (july 8th to august 15th 2010).
curator: liora belford

a thing occurs at the field, an event in addition. whether the event and the thing are different, similar or identical to each other, or not, it is necessary for one field to exist in relation to its neighbor. that is the form, the field’s arrangement character – the tangible within it, in attentiveness folds into the other, crossing a borderline. the borderline conditions the relation between the fields. It is being conceived, simultaneously, as both abstract and concrete. the paper; four borderlines, three dimensions, two fields and a single poem which reads out loud:

‘keshev’ (attentiveness) / t.carmi
it is difficult for two shells to truly converse.
each one lends an ear to its own sea.
only the pearl diver or the antiques trader
can determine without a fear: same sea.

video documentation

attentiveness foldings

if the walls could speak (2010), sound installation, sound archeology; yafo23, the bezalel academy of arts and design, jerusalem israel/palestine (june 2010).
curator: dr. roy brand

the structure, literally, is a material exists as limited information, defined in a closed and finite reality. sound is contained in the structure as part of the happening within the structure and around it, but even when the happening had past, the sound remains intact, floating, burned into dense layers as simultaneously existing derivatives, as a known testimony to the thing itself and as an unknown testimony to the thing which was lost. the installation, ‘if the walls could speak', carves the layers of sound, unfold time and decipher the local history which existed and still exists.

if the walls could speak

if the walls could speak


the giving tree (2009), a plastic-sound installation; 48 breast pumps horns, air compressor, pressure valves, controller, wind chimes, fishing sinkers and stereo sound; laptopia#5 exhibition, bat-yam museum for contemporary art, israel/palestine (jan 15th to april 18th 09)
curators: liora belford, ido govrin, eyal vexler

each person carries his vein deep inside his eye
each person his desert weighs on his shoulder
if two were to hold the desert together
a splendid oasis could have flourished
but as honey starts oozing from the ripe dates
a desire for sovereignty increases
one – considers it as his very own
the other – as its rightful guard
each carries his desert on his shoulder
withering and sighs.

video documentation

the giving tree


stele (2008), stereo sound with 2 channels video projection on relief; 'Blind Spot' exhibition, petach-tikva museum israel/palestine
5.6.2008 - 25.10.2008
curators: carmella jacoby volk, einat manoff

steles, at ancient times, established for the purpose of perpetuation and memory or as territorial border indicators. although bearing no caption, the many worldwide scattered steles provide comprehensive information about the cultures that created it. the wall, the pit and the tunnel are modern steles; architectural structures which passes and process information both in a material and thematic ways. the wall, in and on itself, adds information as an object which was added to the surface, for example, dividing the unlocked territory or boarders determining.
the tunnel, on the other hand, being dug beneath the surface, leaves an empty space that alters the information while reducing the existent material. a tunnel is an action of subtracting and hiding of information, a concealed passage.
the pit, to compare with, distorts the material. its construction leaves it apparently as it was. it is being assimilated into the ground, appearing natural, although it will never be as such… the pit, as an abandoned warlike outcome, becomes a battles memorial which glorifies the violence and death while exhibiting an incomplete factual image.
in those structures, the material exists as limited information, defined in a closed and finite reality. the wall, the tunnel or the pit are different expressions for processing the actual material. addition, position, subtraction, excavation, drilling, flattening or sedimentation of the material creates a change in it. the genealogy of the change leaves self seeding on or beneath the surface. those self-seeding simultaneously exist as revealed evidence for the thing itself and as hidden evidence for what is not there.
the architectural structures, once built, become steles, and move away from the primal causativeness of their actual existence. they appear in front of us, though present as their time has passed by. from now on they are only objects of nothing, structures which simplicity stand there.

video documentation


force, violence, motion, speed – art and technology through futurism (2008), quad sound with video, pvc surface; daila gallery, jerusalem israel/palestine (march 1-13 2008).
curators: lea mauas and diego rotman

‘the futurist manifesto’ wished to construct a new aesthetic model which would suit the modern world. the typical representation of that aesthetic was the machine and especially the modern modes of transportation.
the aim of the manifesto was to encourage the driving forces behind those modern technological symbols: force, violence, motion and speed; in order to release the world from the investigation of the ancient past. Indeed, a large section of the manifesto was dedicated to the idea of ruination of museums and galleries which symbolized archaisms and old sanctifications and called for their destruction as a metaphor for ruination of the old society, a ruination which will release the artists from their blind loyalty to the past. ‘to make a visit once a year, as one goes to see the graves of our dead once a year, which we could allow! We can even imagine placing flowers once a year at the feet of the gioconda!’
the enchantment from the speed and strength of the machines was translated to the wish for change and to an overall political and social revolution that by the time it comes to an end, a new society will rise. ‘we declare that the splendor of the world has been enriched by a new beauty: the beauty of speed’ writes marinetti (poet, editor and an italian philosopher, founder of futurism). ‘a roaring motor car which seems to run on machine-gun fire…’ that warlike aesthetic manifested at the ‘art of war’ – ‘we want to glorify war - the only cure for the world - militarism, patriotism, the destructive gesture of the anarchists, the beautiful ideas which kill…’

‘power, violence, motion, speed’ is an audio-plastic-visual installation which constitutes a futuristic element by it means out of being technology dependent. at the core of the installation lies a digital well; surrounded by fractured urban landscape made out of many angles of structural elements directing at the stock market area in ramat-gan. both elements represent the old times cultural/artistic center as opposed to the modern one – a source, the well, versus money, connections and go-getters. in the world of power, violence, motion, and speed, what role does art carry and is it separated in its progression, language and actual being? what place does silence, compassion, slowness and steadiness have in the digital language? is violence possible in this equation as well?

force violence motion speed (excerpt)

force, violence, motion, speed – art and technology through futurism


island (2007), 5.1 surround sound with 1 channel video projection; Heara #11 art event (Oct. 11th 07), jerusalem israel/palestine
curators: lea mauas and diego rotman

island is an audio-visual installation exhibiting a utopian alternative to banal dispute intersections by re-processing the familiar reality. the island exists as an irrational hallucination, a dionysiac lust for appeasement or ruling and presents the city as being an isolated space made by its own rules, being created specifically out of inner oppositions and contradictions.
the island is made out of an apparatus named 'sound dryer' and a screening surface.
the sound dryer is in fact a mechanical and conceptual transformation of the hair dryer, the electro-magnetic device for drying out the hair which was invented at the end of the 19th century in the first stages of the era of modernity. the internal electronic parts were taken out and replaced by tiny loudspeakers which produce directional, surround and precise sound, while the apparatus sits on the head. the practicable transformation of the sound dryer enables it to achieve its primary goal; disconnecting the subject from the ‘normal’ existence and relocating it on the island.
the completion of the disconnecting process from existence is done by the screening surface which allows, relatively to space, a comprehensive visual experience. the visual/aesthetic representation is of a recognized though strange images simultaneously – a deconstructed reality which was differently rebuilt. the deconstructive process of the audio-visual narrative permits utopian realization as a withdrawal to an imaginary space.



digital aquifer (2005/6), stereo sound with 15 channels visual structure; El Hama’ayan exhibition (the yarkon stream as a cross-section in the israeli metropolis) tel-aviv museum of art tel-aviv, israel/palestine, nov. 2005 – feb. 2006.
curator: meira yagid

the aquifer is the source, gushing forth, as a cornucopia of nature treasures bubbling up through the eternal spirit of the world - the umbilical cord of life. the River, a defined hydrological unit where the processes within it are dynamic and finite, has been turned, in this industrial world, into a software bug, a type of ecological mutation which seems to endlessly continue producing filth, dirt, decay and death.

digital aquifer

video documentation

digital aquifer