The Forty Part Motet 2001

(A reworking of “Spem in Alium” by Thomas Tallis, 1573)

40 loudspeakers mounted on stands, amplifiers, playback computer
14 min. loop with 11 min. of music and 3 min. of intermission

Forty part Motet by Janet Cardiff was originally produced by Field Art Projects with the Arts Council of England,the Salisbury Festival, BALTIC Gateshead, The New Art Gallery Walsall, and the NOW Festival Nottingham

Singers Salisbury Cathedral Choir
Recording and Postproduction SoundMoves
Editing George Bures Miller
Installation Titus Maderlechner

Collection of Pamela and Richard Kramlich. Fractional and promised gift to American Fund for Tate Gallery, 2003

The Forty Part Motet by the Canadian artist Janet Cardiff is a reworking of Thomas Tallis’ 1573 composition Spem in Alium, and features forty loudspeakers playing Tallis’ well-known piece. Arranged in an oval, these loudspeakers are the only presence in the exhibition space.

The motet is laid out for eight choirs of five voices (soprano, alto, tenor, baritone and bass). Beginning with a single voice from the first choir, other voices join in imitation, each in turn falling silent as the music moves around the eight choirs. All forty voices enter simultaneously for a few bars, and then the pattern of the opening is reversed with the music passing from choir eight to choir one.

The specific positioning of the speakers in the exhibition space, and the fact that each of the singers’ voices was recorded individually, create a three-dimensional field of sound, in which the viewer may choose to focus on a single, particular voice or to stand at the center of the space and listen to the entire choir.

The result is a polyphonic structure that deconstructs the conventional spatial relations underlying the experience of listening to music in general, and to classical music in particular. In contrast to the acoustic conditions prevalent in cathedrals or concert halls, which are designed to direct the sound created by different voices to the center of the space, in this work it is sound that shapes and defines the space rather than being defined by it.

“Motet” is a term applied to a number of highly varied choral musical compositions. It derives, most probably, from the Latin movere (to move), and describes the movement of the different voices against one another in space. Cardiff’s work underscores this dimension of vocal movement, so that it becomes a palpable occurrence in space.

Still, since the voices appear and disappear, unexpectedly emanating out of the loudspeakers and then falling silent, the viewer’s movement in space cannot be coordinated in response to them. The viewer has no ability to anticipate what direction the next voice will arise from, even if he is familiar with this musical composition. The result is an ongoing sense of surprise, together with the experience of pursuing a moment of intimacy with a longed-for voice.

This work raises psychological questions concerning the tension between human presence, which is largely absent from the exhibition space, as well as from contemporary technological culture, and between interpersonal relations and intimacy, which arise nevertheless in relation to the singing voices. In fact, the work offers an individuation of the singing voices, as well as of the viewers. In addition to the voices having been recorded separately, every viewer may choose his own preferred trajectory of viewing and listening, a trajectory that may be transformed upon reentering the space. And so, detached voices and roaming bodies lacking a specific spatial orientation combine to create an intimate experience entirely based on sound.

Janet Cardiff

Born in 1957 in Brussels, Ontario, Canada;
lives and works in Berlin, Germany, and Grindrod, British Columbia, Canada

Selected Solo Exhibitions


“Retrospective-solo show,” Sammlung Goetz im Haus der Kunst, Munich, Germany


“Janet Cardiff and George Bures Miller: Transport to Now,” Art Gallery of Ontario, Toronto, Canada

“Janet Cardiff & George Bures Miller – Works from the Goetz Collection,” Haus der Kunst, Munich, Germany

“The Murder of Crows,” Kiasma – Museum of contemporary art, Helsinki, Finland; Park Avenue Armory, New York, NY


“Janet Cardiff and George Bures Miller,” Artpace, San Antonio, TX

“The Forty Part Motet,” The Great Hall, Winchester, UK

“The Forty Part Motet,” Fabrica, Brighton, UK

“The Forty Part Motet,” Aubette 1928, Strasbourg

“Ship O’ Fools: An Installation and Ghostmachine: A Videowalk by Janet Cardiff and George Bures Miller,” HAU Hebbel am Ufer, Berlin, Germany

“Käthe Kollwitz Preis 2011: Janet Cardiff and George Bures Miller,” Akademie der Künste, Berlin, Germany


“Ghostmachine: A Videowalk by Janet Cardiff and George Bures Miller,” HAU Hebbel am Ufer, Berlin, Germany “The Murder of Crows and Storm Room,” Art Gallery of Alberta, Alberta, Canada “Janet Cardiff & George Bures Miller,” Luhring Augustine, New York “Ship O’ Fools,” Luminato Festival, Toronto, Canada.


“Opera for a Small Room,” Carnegie Museum of Art, Pittsburgh, PA.

“The Murder of Crows,” Musikwerke Bildender Künstler, Hamburger Bahnhof, Berlin, Germany.

“Janet Cardiff & George Bures Miller,” Maison Hermes (Le Forum), Tokyo, Japan

Cardiff & Miller



“The House Of Books Has No Windows,” The Fruitmarket Gallery, Edinburgh, Scotland and Modern Art Oxford, Oxford, England. (catalogue)


“Janet Cardiff & George Bures Miller: The Killing Machine and Other Stories 1995-2007,” Museu d’Art

Contemporani de Barcelona (MACBA), Barcelona, Spain; Institut Mathildenhöhe Darmstadt, Darmstadt, Germany; and Miami Art Museum (MAM), Miami, Florida (catalogue).

“The Forty Part Motet,” Convento de Santo Domingo de Pollensa, Mallorca, Spain

“Feedback”, Magasin 3, Stockholm Konsthall, Stockholm


“Janet Cardiff & George Bures Miller,” Louisiana Museum for Moderne Kunst, Humlebaek, Denmark (exhibition catalogue).

“Jena Walk”, JenaKultur, Jena, Germany.

“The Forty-Part Motet,” Aberystwyth Arts Centre, Wales, U.K. (Cardiff).

“The Forty-Part Motet,” Cobra Museum voor Moderne Kunst, Amstelveen, The Netherlands (Cardiff).

“The Forty-Part Motet,” Moderna Museet, Stockholm, Sweden (Cardiff).

“The Forty-Part Motet,” The Wanås Foundation, Knislinge, Sweden (Cardiff).


“Berlin Files,” DAAD Gallery, Berlin, Germany.

“Janet Cardiff & George Bures Miller. The Secret Hotel,” Kunsthaus Bregenz, Bregenz, Austria.

“Directions: Words Drawn in Water,” Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. (Cardiff).

“Her Long Black Hair: An Audio Walk in Central Park,” presented by Public Art Fund, New York, NY (Cardiff).

“Pandemonium,” Eastern State Penitentiary Historic Site, Philadelphia, PA, curated by Julie Courtney.

“Ghostmachine: A Videowalk by Janet Cardiff and George Bures Miller,” HAU Hebbel am Ufer, Berlin, Germany.

“Feedback and Hill Climbing,” The Power House, Memphis, TN.


“Janet Cardiff and George Bures Miller: Road Trip,” Galerie Barbara Weiss, Berlin, Germany.

“The Forty-Part Motet,” Art Gallery of Alberta, Edmonton, Canada, and The Power Plant Contemporary Art Gallery, Toronto, Canada.

“Her Long Black Hair: An Audio Walk in Central Park,” presented by Public Art Fund, New York, NY (Cardiff).

“Walking Thru,” Thyssen-Bornemisza Art Contemporary, Vienna, Austria (Cardiff).

“Cardiff and Miller,” Luhring Augustine, New York, NY.

“Recent Work,” Millenium Galleries, Sheffield, U.K.

“Janet Cardiff and George Bures Miller,” Centro de Arte Contemporânea Inhotim (CACI), Inhotim, Brazil.

“Laura: A Web Project,” (, Vancouver Art Gallery, Vancouver, Canada (Cardiff)


“The Berlin Files”, Portikus, Frankfurt am Main, Germany.

“The Paradise Institute and Other Works,” Walter Phillips Gallery, Banff, Canada.

“The Forty-Part Motet,” Pori Art Museum, Pori, Finland (Cardiff).

“Janet Cardiff & George Bures Miller,” Whitechapel Art Gallery, London, UK.

Cardiff & Miller


“Janet Cardiff: A Survey, Including Collaborations with George Bures Miller,” Castello di Rivoli, Turin, Italy.

“Janet Cardiff and George Bures Miller,” Astrup Fearnley Museet for Moderne Kunst, Oslo, Norway.

“Janet Cardiff: The Forty-Part Motet and Muriel Lake Incident,” Tate Liverpool, Liverpool, UK.


“Whispering Room,” Art Gallery of Ontario, Toronto, Canada. (Cardiff)

“The Paradise Institute,” National Gallery of Canada, Ottawa, Canada. Travelled to: The Power Plant,

Toronto, Canada; Plug In ICA, Winnipeg, Canada; Morris and Helen Belkin Art Gallery, Vancouver,

Canada; Luhring Augustine, New York, NY; and Corcoran Gallery of Art, Washington D.C.

“Janet Cardiff: A Survey of Works, Including Collaborations with George Bures Miller,” Musée d’art contemporain de Montréal, Montreal, Canada.

“The Forty Part Motet and Ittingen Walk,” Kunstmuseum des Kantons Thurgau, Kartause Ittingen, Warth, Switzerland.

“Janet Cardiff and George Bures Miller,” Hamburger Bahnhof, Berlin, Germany.


“The Paradise Institute,” Canadian Pavilion, Biennale di Venezia, Venice, Italy.

“Janet Cardiff: A Survey of Works, Including Collaborations with George Bures Miller,” PS1 Contemporary Art Center, Long Island City, NY.

“The Muriel Lake Incident,” Southern Alberta Art Gallery, Lethbridge, Alberta, Canada

“The Forty Part Motet,” The National Gallery of Canada, Ottawa; Salisbury Cathedral Cloisters, Salisbury,

UK; Baltic Centre for Contemporary Art, Gateshead. UK; PS1 Contemporary Art Center, Long

Island City, NY; NOW Festival, Nottingham, UK; The New Art Gallery, Walsall, UK (Cardiff).


“Janet Cardiff,” Kunstraum München, Munich, Germany.

“A Large Slow River,” Oakville Galleries, Oakville, Canada (Cardiff).


“The Missing Voice (Cased Study B): An Audio Walk,” Whitechapel Library, organized by Artangel, London, U.K. (Cardiff).

“La Tour,” Side Street Project, Los Angeles, CA.

“Simple Experiments in Aerodynamics,” Owens Art Gallery, Sackville, Canada, and Mercer Union, Toronto, Canada (Miller).


“The Empty Room,“ Raum Aktueller Kunst, Vienna, Austria.

“The Dark Pool,” Morris-Healy Gallery, New York, NY.

“Playhouse,” Galerie Barbara Weiss, Berlin, Germany (Cardiff).


“Janet Cardiff: To Touch,” Gallery Optica, Montreal, Canada (Cardiff).

”Recontres de Video Art Plastiques," Centre d’Art Contemporain de Basse Normandie, Hérouville Saint-Clair, France (Miller).


“The Dark Pool,” Western Front Gallery, Vancouver, Canada.

“The Road,” Eastern Edge Gallery, St. John’s, Canada (Cardiff).

”The Dark Pool,” Walter Phillips Gallery, Banff, Canada.

Cardiff & Miller



The Powerplant Art Gallery, Toronto, Canada.

The Southern Alberta Art Gallery, Lethbridge, Canada.

Randolph Street Gallery, Chicago, IL.


La Chambre Blanche, Quebec City, Canada.

The Edmonton Art Gallery, Edmonton, Canada.


Eye Level Gallery, Halifax, Canada.

The New Gallery, Calgary, Canada.


Evelyn Aimis Gallery, Toronto, Canada.

YYZ, Toronto, Canada.


Latitude 53, Edmonton, Canada.


Macdonald Stewart Art Centre, Guelph, Canada.


Glendon Art Gallery, York University, Toronto, Canada.

Selected Group Exhibitions


“The Unspecific Index,” 601 Artspace, New York, NY


“dOCUMENTA (13): FOREST (for a thousand years...) & Alter Bahnhof Video Walk,” Kassel, Germany

“Le Nouveau Pleinairisme,” Musee National des beaux-arts du Quebec, Quebec

“Sound Art. Sound as Medium of Art,” ZKM Center for Art and Media, Karlsruhe, Germany

“Stage Presence: Theatricality in Art and Media,” San Francisco Museum of Modern Art, San Francisco, CA

“Telephone/Time,” “New Festival” Centre Pompidou, Paris, France


“Miner for a Heart: an Open Studio curatorial project / by Yael Brotman,” Monash University, Melbourne, Australia

“Dreamscapes,” The Pulitzer Foundation for the Arts, St. Louis, MO

“Hoehenrausch,” Ursulinenkirche, Linz, Austria (The Forty Part Motet)

“The Record,” Institute of Contemporary Art, Boston, MA

“Zürcher Theaterspektakel,” Zurich, Germany

“Festival Theaterformen,” Hanover, Germany

“September 11,” MoMA P.S. 1, New York, NY

“Spiele im Park, Sculpture Garden,” Villa Schoeningen, Potsdam, Germany Cardiff & Miller


“Tracing Mobility: Cartography and Migration in Networked Space,” Haus der Kulturen der Welt, Berlin, Germany


“Altstadtherbst Kulturfestival”, Düsseldorf, Germany

“Bilder in Bewegung. Künstler & Video / Film,” Museum Ludwig, Cologne, Germany

“CODE Live 2010, Bridging Art, Music and Audiences in a Digital World,” Emily Carr University of Art and Design, Vancouver, Canada

“Fallout,” GI Holtegaard, GI Holte, Denmark and Malmö Konsthall, Malmö, Sweden

“Festival of the Arts,” City Gallery Wellington, Wellington, New Zealand

“Intensif-Station: 26 Künstlerräume im K21,” K21, Düsseldorf, Germany

“New Zealand International Arts Festival”, City Gallery,Wellington, New Zealand

“Opera North,” The Howard Assembly Room, Leeds, UK

“People Meet in Architecture,” Biennale di Venezia (12. Mostra Internazionale di Architettura), Venice,Italy

“Passages: Travels in Hyper-Space Passages,” TBA 21 Collection, Laboral Art and Industrial Creation Centre, Gijon, Spain

“The Record,” Nasher Art Museum, Duke University, Durham

“Resonance”, Suntory Museum, Osaka, Japan

“SENT BY MAIL,” Galerie Barbara Weiss, Berlin, Germany

“Setouchi International Art Festival 2010,” Teshima, Japan

“Stratford Summer Music Festival,” Stratford, Ontario, Canada

“Täuschend echt: Illusion und Wirklichkeit in der Kunst,” Bucerius Kunst Forum, Hamburg, Germany

“Twenty Five,” Luhring Augustine, New York, NY

“White Light Festival,” Lincoln Center, New York, NY

“Storm House,” Setouchi International Art Festival (Island of Teshima), Toronto, Canada


“09.09.09,” Kinokino - Center for Art and Film, Sandnes, Norway

“Because I Say So…,” Patricia & Phillip Frost Art Museum, Florida International University, Miami Beach, Florida

“Distortion,” Curated by James Putnam, The Gervasuti Foundation, Venice, Italy.

“The Dwelling,” Australian Centre for Contemporary Art, Melbourne, Australia.

Embassy of Canada, Washington D.C.

“FEEDBACKSTAGE,” Galerie Thomas Schulte, Berlin, Germany

“The Kaleidoscopic Eye: Bornemisza Art Contemporary Collection,” Mori Art Museum, Tokyo, Japan

“Of Art and Music”, John Curtin Gallery, Perth, Australia

“Perth International Arts Festival,” Perth, Australia (Cardiff)

“Projections,” MacKenzie Art Gallery, Toronto, Canada

“Meeting Point,” Doris McCarthy Gallery, Toronto, Canada

“The Murder of Crows”, Centro de Arte Contemporanea, Inhotim, Brazil

“Nuit Blanche”, Église Saint Sévérin, Paris, France (Cardiff)

“Number Two: Fragile”, Julia Stoschek Collection, Düsseldorf, Germany

“The Storm Room,” Echigo-Tsumari Art Triennial, Echigo-Tsumari, Japan

“Tunnel 28,” organized by The Old Vic and Punchdrunk, Waterloo Station, London, UK.

“Yebisu International Festival for Art & Alternative Vision,” Tokyo Metropolitan Museum of Photography, Tokyo, Japan


Cardiff & Miller


“Act/React: Interactive Installation Art,” Milwaukee Art Museum, Milwaukee, Wisconsin. (catalogue)

“Cultural Olympiad Celebration 2008“, Surrey Art Gallery, Surrey, Canada

“Held Together with Water: Art from the Sammlung Verbund,” Istanbul Museum of Modern Art, Istanbul, Turkey

“Illuminating the Word: The Saint John’s Bible,“ Tacoma Art Museum, Tacoma, Washington

“It cannot be visited but is experienced,” Platform Seoul, Korea

“Le Printemps de Septembre Festival,” Toulouse, France

“Revolutions: Forms that Turn,“ 16th Biennale of Sidney, Sidney, Australia

“Stop. Look. Listen: An Exhibition of Video Works,” The Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY

“Voice & Void“, Galerie im Taxispalais, Innsbruck, Austria


“Call of the Wild,” curated by Alessandra Pace, Niels Borch Jensen, Berlin, Germany and Benveniste CP&P, Madrid, Spain.

“Other Than Yourself: An Investigation between Inner and Outer Space,” Thyssen-Bornemisza Art Contemporary, Vienna, Austria. (catalogue)

“Projections,” Justina M. Barnicke Art Gallery, Toronto, Canada

“Rencontre Vidéo #4,” Musée d’art contemporain du Val-de-Marne (MAC/VAL), Paris, France

“Idiot Joy Showland,” The IFC Center, New York, NY.

“Held together with Water: Art from the Sammlung Verbund,” Österreichisches Museum für angewandte Kunst, Vienna, Austria

“Voice & Void: 2006 Hall Curatorial Fellowship Exhibition,” curated by Thomas Trummer, The Aldrich Contemporary Art Museum, Ridgefield, CT.

“Cinema Paradiso,” Australian Centre for Contemporary Art, Victoria, Australia.

“Skulptur Projekte 07,” Muenster, Germany.

“Touris’st Tale. Travels, tourism and representation,” ARoS Aarhus Kunstmuseum, Aarhus, Denmark.

“Thyssen-Bornemisza Art Contemporary: Sammlung als Aleph,” Kunsthaus Graz, Graz, Austria

“WALK! Spazierengehen in der Kunst,” Künstlerhaus Bethanien, Berlin, Germany

“Off Screen: Spatial Soundings & Silent Musicalities,” Netherlands Media Art Institute, Amsterdam, The Netherlands

“The Invisible Show,” The Center for Contemporary Art, Tel Aviv, Israel

“Unidentified Emotions,” Art Statements Gallery, Hong Kong, China

“Silenzio,” Fondazione, Sandretto Re Rebaudengo, Turin, Italy

“Stereo Vision,” University of South Florida CAM, Tampa, FL


“And Therefore I Am,” The Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, NY.

Art Basel, Galerie Barbara Weiss, Stand V6, Switzerland

Berlin Artists, Bass Museum of Art, Miami.

“Constructing New Berlin,” Phoenix Art Museum, Phoenix, AZ, traveled to Bass Museum of Art, Miami Beach, FL.

“Complicit! Contemporary American Art & Mass Culture,” University of Virginia Art Museum, Charlottesville, VA.

“Sublime Embrace”, Art Gallery of Hamilton, Ontario, Canada.

“Insight-Out“, Wanås Foundation, Knislinge, Sweden.

“Sonambiente Berlin 2006“, Akademie der Künste, Berlin, Germany.

“Anstoss Berlin: Kunst macht Welt“, Haus am Waldsee, Berlin, Germany

“Tell Me,” Casino Luxembourg, Luxembourg.

Cardiff & Miller 7

“Touch My Shadows: New Media from the Goetz Collection,” Centrum Sztuki Wspøłczesnej Zamek Ujazdowski, Warsaw, Poland.

“DOKU ARTS, Internationals Festival für Filme zur Künste,” Akademie der Künste, Berlin, Germany.

“The Whitechapel Auction: Defining the Conteporary,” Whitechapel Gallery, London, U.K.

“The Invisible Show,” Museo de Arte Contemporάnes de Vigo, Spain (Cardiff).

“Sensorium,” MIT List Visual Arts Center, Cambridge, MA.

“Almost Cinema,” Kunstcentrum Vooruit, Ghent, Belgium.


“Take Two. Worlds and Views: Contemporary Art from the Collection,” The Museum of Modern Art, New York, NY (Cardiff).

“Almost,” Robert Miller Gallery, New York, NY.

“Ecstasy: In and About Altered States,” The Geffen Contemporary at MoCA, Los Angeles, CA.

“Faces in the Crowd: Images of Modern Life from Manet to Renoir,” Castello di Rivoli Museo d’Arte Contemporanea, Turin, Italy; Whitechapel Gallery, London, U.K.

“The Forest: Politics, Poetics, and Practice,” Nasher Museum of Art at Duke University, Durham, NC.

”Guardami - Percezione del video (Look at me - Video Perception)”, Palazzo delle Papesse, Contemporary Art Center, Siena, Italy.

“Istanbul Biennial Eindhoven,” Van Abbemuseum, Eindhoven, The Netherlands.

“Raconte-moi / tell me,” Musée national des beaux-arts du Québec, Québec City, Canada; Casino Luxembourg – Forum d’art contemporain Luxembourg.

“Sonic Presence”, Bergen Kunsthall, Bergen, Norway.

“Crowds / Conversations / Confessions”, Art Gallery of Alberta, Edmonton, Canada (Miller).

“Yokohama Triennale of Contemporary Art,” Yokohama, Japan.

“Realit:-)t”, Seedamm Kulturzentrum, Pfäffikon, Switzerland.

“Avance Rápido: Media Art de la Collecíon Goetz,” Centro Cultural Conde Duque, Madrid, Spain.

“Documentary Creations“, Kunstmuseum Luzern, Lucerne, Switzerland.


“Janet Cardiff, Laura Kikauka, John Kormeling,” The Power Plant Contemporary Art Gallery, Harbourfront Centre, Toronto, Canada. (Cardiff)

“Łodz Biennale,” Lodz, Poland.

“The Future Has a Silver Lining: Genealogies of Glamour,” migros museum für gegenwartskunst, Zurich, Switerzland.

“Thriller,” The Art Gallery of Alberta, Edmonton, Canada.

“Videodreams: Zwischen Cinematischem und Theatralischem (Between the Cinematic and the Theatrical),” Kunsthaus Graz, Graz, Austria.

“Everything Is Connected,” Astrup Fearnely Museet for Moderne Künst, Oslo, Norway.

“Files: Project in TRANS>area, New York,” Museo de Arte Contemporáneo de Castilla y León, Leon, Spain.

“Modus Operandi,” Thyssen-Bornemisza Art Contemporary, Vienna, Austria.

“Die Zehn Gebote (The Ten Commandments),” Deutsches Hygiene-Museum, Dresden, Germany (Cardiff).


“Performative Installation #1, Gegeben sind…Konstruktion und Situation (Given...Construction and Situation,” Galerie im Taxispalais, Siemens ArtsProgram, Innsbruck, Austria.

“Uneasy Space: Interactions with Twelve Artists,” SITE Santa Fe, Santa Fe, NM.

“On Stage,” Kunstverein Hannover, Hanover, Germany.

“Brightness: Works from the Thyssen-Bornemisza Contemporary Art Foundation,“ Museum of Modern Art, Dubrovnik, Croatia.

Cardiff & Miller 8

“Somewhere Better Than This Place,” Contemporary Arts Center, Cincinnati, OH (Cardiff).

“Silver: Dreams, Screen and Theories,” Art Gallery of Greater Victoria, Victoria, Canada (Cardiff).

“fast forward: Media Art Sammlung Goetz,” Zentrum für Kunst und Medientechnologie KZM, Karlsruhe, Germany.

“Love Planet”, Benese Corporation, Okayama, Japan.

“Fantasy Underfoot: The 47th Corcoran Biennial,” Corcoran Gallery of Art, Washington, D.C.

“Biennale Bern”, Bern, Switzerland (Cardiff).

“Octobre en Normandie,” Rouen, France (Cardiff).


“Walk Ways,” A traveling exhibition organized and circulated by Independent Curators International (ICI),

New York, Curated by Stuart Hordodner. Traveled to: Portland Institute of Contemporary Art,

Portland, OR.(September 10 – November 2, 2002); Western Gallery, Western Washington

University, Bellingham, WA (January 6 – March 1, 2003); Dalhousie University Art Gallery,

Halifax, Nova Scotia, Canada (March 20 – May 11, 2003); Oakville Galleries: Oakville Galleries in

Gairloch Gardens (June 14 – August 17, 2003) and Oakville Galleries at Centennial Square (June 21 – August 17, 2003), Oakville, Ontario, Canada;

Arthouse at the Jones Center, Austin, TX (September 6 – November 2, 2003);

University of South Florida Contemporary Art Museum, Tampa, FL (November 14, 2003–January 17, 2004);

Freedman Gallery, Albright College Center for the Arts, Reading, PA. (February 6 – March 19, 2004);

Surrey Art Gallery, Surry, Canada (September 25 – November 21, 2004).

“Sphere,“ Sir John Soane’s Museum, London, U.K.

“(The World May Be) Fantastic”, The Biennale of Sydney 2002, Sydney, Australia.

“Future Cinema,” Zentrum für Kunst und Medientechnologie ZKM, Karlsruhe, Germany.

“Do you know those moments,” Astrup Fearnley Museet for Moderne Kunst, Oslo, Norway.

“Hautnah: Die Sammlung Goetz,” Museum Villa Stuck, Munich, Germany.


“La Biennale d’Image en Mouvement,” Musée d’art moderne et contemporain, Centre pour l’image contemporaine Saint-Gervais Genève, Geneva, Switzerland.

“TRANS Editions,” Chac Mool Gallery, Los Angeles, CA.

“Black Box: The Dark Room in Art,” Kunstmuseum Bern, Bern, Switzerland (Cardiff).

“Walk Ways,” ICI Traveling Exhibition.

“Museum unserer Wünsche (100 Wishes) “, Museum Ludwig, Cologne, Germany (Cardiff).

“010101: Art in Technological Times,” San Francisco Museum of Modern Art, San Francisco, CA (Cardiff).

“Elusive Paradise: The Millenium Prize,” National Gallery of Canada, Ottawa, Canada (Cardiff).


“Mixing Memory and Desire (Wunsch and Erinnerung),” Kunstmuseum Luzern, Lucerne, Switzerland.

“Wonderland,” The St. Louis Art Museum, St. Louis, MO (Cardiff).

“La Ville, le Jardin, la Mémoire-1998, 2000, 1999,“ Académie de France à Rome, Villa Medici, Rome, Italy (Cardiff).

“Untitled (Sculpture),” Luhring Augustine, New York, NY.

“LIFE, After the Squirrel,” Location One, New York, NY.

“Between Cinema and a Hard Place - Tate Modern Opening,” Tate Modern, London, U.K.


“Carnegie International 1999/2000,” The Carnegie Museum of Art, Pittsburg, PA (Cardiff).

“The Passion and the Wave: 6th International Istanbul Biennial,” Istanbul, Turkey.

“The Museum as Muse: Artist’s Reflect,” The Museum of Modern Art, New York, NY (Cardiff).

Cardiff & Miller 9

“TALK. Show: Die Kunst der Kommunikation in den 90er Jahren,” Von der Heydt-Museum, Wuppertal,

Germany; Haus der Kunst, Munich, Germany.

“Divine Comedy,” KunstFort Asperen, Beesd, The Netherlands (Miller).

“Voices,” Le Fresnoy, Studio national des arts contemporains, Lille, France.

“Musiques en Scène,” Museé d’Art contemporain de Lyon, France (Cardiff).

“Body and Sound,” Musée régional de Rimouski, Québec, Canada.

“Stumble,” Trianon Gallery, Lethbridge, Alberta, Canada.


“XXIV Bienal de São Paulo (Drogan’s Nightmare),” São Paolo, Brazil (Cardiff).

“Voices,” Witte de With Center for Contemporary Art, Rotterdam, The Netherlands; Fundació Joan Miró, Barcelona, Spain.

“Places in Gothenburg ’98," Kulturnämnden, Göteburg, Sweden (Cardiff).

“Wanås ’98", The Wanås Foundation, Knislinge, Sweden (Cardiff).

“Beauty and the Banal,” The Art Gallery of Alberta, Edmonton, Canada (Miller).

“New Work: Words and Images,” curated by Lorie Mertes, Miami Art Museum, Miami, FL (Cardiff).


"Skulptur: Projekte in Münster ’97," Landesmuseum für Kunst und Kulturgeschichte (LWL), Münster, Germany (Cardiff).

“Present Tense: Nine Artists in the Nineties,” San Francisco Museum of Modern Art, San Francisco, CA (Cardiff).

“Membra Disjecta,” (two-person show with Gary Hill) Argos Centre for Art & Media, Brussels, Belgium (Miller).

“Los Angeles International Biennial Art Invitational,” Richard Heller Gallery, Santa Monica, CA (Miller).


“NowHere,” Louisiana Museum for Moderne Kunst, Humlebæk, Denmark (Cardiff).

“Alberta Biennial for Contemporary Art,” The Art Gallery of Alberta, Edmonton, Canada; The Glenbow Museum, Calgary, Canada.

“Young Contemporaries ’96,” curated by James Patton, The London Regional Art Gallery, London, Ontario, Canada (Miller).


“The Table Project,” The Power Plant Art Gallery, Toronto, Canada.

“A Night at the Show” curated by Harm Lux, Field, Zypressenstraβe 71, Zurich, Switzerland (Cardiff).

"Think Big," Erindale College, Toronto, Canada (Cardiff).

"A Public Room," Cambridge Library and Art Gallery, Whitby Arts Inc., Whitby, Ontario, Canada (Cardiff).


“Intimacies”, performance with Charles Cousins, Nelson Henricks, & Jon Winet, sponsored by The New Gallery, Calgary, Canada.

“Environment”, The Photographers Gallery, Saskatoon, Canada.

“Present Tense: Nine Artists in the Nineties”, San Francisco Museum of Modern Art, San Francisco, CA.

“Whisper in My Ear”, (3 person) A.K.A., Sastkatoon, Canada.

“Auricle Interchange” (two person) Muttart Art G allery, Calgary, Canada.

“Ear As Eye”, Los Angeles Contemporary Exhibitions, Los Angeles, CA.

“A Night at the Show” ‘Field’, Zypressenstrass 71, Zurich, Switzerland.

“Think Big”, Erindale College, Toronto, Canada.

“A Public Room”, Cambridge Library and Art Gallery, Ontario, Canada.; Whitby Arts Inc., Whitby, Canada;

McLaren Art Centre, Barrie, Canada.

Prizes and Awards

2011 Käthe Kollwitz Prize

2001 La Biennale di Venezia Special Award, 49th Venice Biennale .

The Benesse Prize, 49th Venice Biennale

2000 DAAD Grant and Residency, Berlin, Germany

Propagation (Opus 2) 2013

Amplifiers, speakers, microphones, mixers, lights,
walls, columns, cables, guitar, straps, gaffer tape

Lighting Yair Vardi
Installation Tucan

The artist and various musicians will perform
on the work every Thursday at 8:30 p.m.

Collaborating musicians include: Tamar Aphek, Ariel Armoni, Gilbert Broid, Ben Drusinsky, Maya Dunietz, Or Edry, Roei Freilich, Noam Inbar, Ram Orion, Zoe Polanski, Neta Polturak, Avishag Cohen Rodrigues, Yaron Sarel, Gamliel Sasportas, Adam Scheflan, Naama Tsabar, Or Zubalsky, and others.

For performance schedule see PERFORMANCES at bottom

Naama Tsabar’s work is a site-specific installation composed of freestanding walls scattered throughout the exhibition space. The walls are each fitted with a different type of musical stage equipment (an amplifier, loudspeakers, a stage monitor, and more), so that the amplifying part is embedded in the internal, hollow part of the wall. Like a room dismantled into individual components, the walls face in different directions, supported by everyday, functional objects – amplifiers, loudspeakers, monitors, dollies, beer boxes, and so forth. They are thus elevated from the floor, and appear to be floating in space. Each of these walls functions both as an independent sculpture and as a functional amplifier emanating sound from within – sound that is the result of a distant, ostensibly detached, musical action. The space also contains two supporting columns that appear to be suspended on the verge of collapse, and which are held in place by lighting fixtures that illuminate their interior with shafts of light.

The sculptural objects situated in the space relate to its architecture while also diverging from it, creating a shift that opens up onto a new possibility. The floating columns echo the architectural columns of the existing structure, while the floating walls echo the walls of the White Cube – a concept that has been stripped of meaning, so that it appears today as an empty shell. The sensation is of a space that was deconstructed not merely physically, but more importantly conceptually, giving rise to a sense of rupture or dismantlement that makes possible a new subjective and physical experience. The viewer’s movement among the objects in space thus becomes somewhat voyeuristic, as if constituting a search for circumscribed spaces and hidden corners – simultaneously constructing and deconstructing intimate and highly specific areas on both a spatial and a psychological level.

The sculptural space created by the work reflects both an exhibition space and a show space. The sculptural objects combine elements underlying the construction of space and elements enabling the emanation of sounds, which support one another while also creating a limitation – a recurrent principle in Tsabar’s work.

The work produces constant conceptual tension between the dimension of the muffled sound imprisoned within the walls and the dimension of its emanation and eruption into the exhibition space. The amplified sound is directed into the interior of the wall, into an inaccessible space of imprisonment, yet it inevitably filters out, propagating and expanding in space.

The title of this work, Propagation (Opus 2), has a double meaning that relates to the spatial dimension of the work, to the circumscribed space that propagates and expands in a process of structural and conceptual deconstruction. It also relates to the artistic dimension of the varied collaborations between the artist and different musicians, who will participate in activating the work during the exhibition period. In addition, the title points to the personal, intimate dimension of the work, which involves the situation of the performer and the viewer in a state of potentially excessive closeness, mutual examination, emotional exposure, or possible partnership.

In this manner, the work enables each performer to isolate himself with the wall, his instrument or his microphone, while potentially allowing for reciprocal relations between the performers. Gazes may intersect momentarily, hit a wall, and be reciprocated in the course of artistic collaborations.

When the work is activated (an event that will take place once a week when the artist and various musicians perform on it), it will create an acoustic situation in which every wall has a double dimension – interior and exterior, front and back. Standing on the smooth side of the wall allows for only a partial process of listening, since the sound is somewhat muffled and diffuse. On the other side of the wall, by contrast, it erupts freely into the space. In this manner, specific, circumscribed sound spaces are created within the exhibition space. As the viewer moves between the objects, he is exposed to them and comes to know them in a non-visual manner through listening or physical sensations, without being able to anticipate their location or limits, giving rise to a sensorial experience of a different order. By means of sound alone, Tsabar succeeds in creating relations between an exterior and an interior in a space devoid of boundaries, devoid of limits.

  • 1.8.13 / 20:30 UNTITLED (BODY PRESSURE)*, 2013

    Collaborating musicians: Gilbert Broid, Ben Drusinsky, Ram Orion, Neta Polturak, Avishag Cohen Rodrigues, Yaron Sarel, Gamliel Sasportas, Adam Scheflan, Naama Tsabar, Or Zubalsky (Juviley).
    *Including a cover version of Bruce Nauman's Body Pressure, 1974.

  • 8.8.13 / 20:30 UNTITLED (BODY PRESSURE)*, 2013

    Collaborating musicians: Gilbert Broid, Ben Drusinsky, Ram Orion, Neta Polturak, Avishag Cohen Rodrigues, Yaron Sarel, Gamliel Sasportas, Adam Scheflan, Naama Tsabar, Or Zubalsky (Juviley).
    *Including a cover version of Bruce Nauman's Body Pressure, 1974.

  • 15.8.13 / 20:30 RAM ORION AND HILA RUACH

    View (1)
    View (2)

  • 22.8.13 / 20:30 LAILA


  • 29.8.13 / 20:30 MAYA DUNITZ


  • 12.9.13 / 20:30 BELA TAR

    Zoe Polanski, Or Edry , Eilon Elikam , Or Rimer
    View (1)
    View (2)

  • 10.10 / 20:30 MAMBAS

    Jeki Ameamemet, Uri Frost, Gil Luz

  • 17.10 / 20:30 TAMAR APHEK

  • 14.11 / 20:30 ROEI FREILICH and NAAMA TSABAR

  • 21.11 / 20:30 UNTITLED (BODY PRESSURE)*, 2013

    Collaborating musicians: Naama Tsabar, Roei Freilich, Ram Orion, Neta Polturak, Ben Drusinsky, Maya Perry, Kosta Kaplan, Inbal Zubalsky, Uri Frost
    *Including a cover version of Bruce Nauman's Body Pressure, 1974.

Previous works

Composition 24, 2006

Performance with 24 musicians
the Herzliya Museum of Contemporary Art
Musical production: Ram Orion

Untitled (Babies), 2010

Performance in conjunction with
Art Basel Miami Band: Alanna Nuala, Christy Edwards, FonLin Nyeu, Naama Tsabar

Untitled (Raga Multani), 2012

Performance on Propagation (Opus 1)
Musicians: Mindy Abovitz, Kristin Mueller,
David Tsabar, Naama Tsabar, Or Zubalsky (Juviley)
Thierry Goldberg Gallery, New York
Video: Tali Shamir

Untitled (Speaker Walls), 2010

Video: Rodrigo Ribeiro

Naama Tsabar

Born in Israel; lives and works in New York


MFA, Columbia University School of the Arts, New York


B.Ed , Hamidrasha School of Arts Beit Berl College

Solo Exhibitions


"Propagation," Thierry-Goldberg Gallery, New York


"Sweat," Nathan Gottesdiener Foundation finalists, Tel Aviv Museum of Art

"Paul Thek Says Make A Monkey Out Of Clay," Miami design district, Art Basel – Miami Beach (curator: Rirkrit Tiravanija, three-person exhibition)


"Night Falls," Pianissimo Gallery, Milan


"Encore," Art statements, Art Basel 38, Switzerland, and Dvir Gallery, Tel Aviv


"Twilight," Herzliya Museum of Contemporary Art (three-person exhibition)


"More Than This," Sommer Contemporary Art, Tel Aviv (curator: Yoav Shmueli)

Group Exhibitions


"Closer", Spinello Projects, Miami

"Perfect Lovers," White Box Gallery, New York
(Curator: Anthony Spinello,)

"The Big Masonite," Sommer Contemporary Art, Tel Aviv
(curator: Liz Hagag)

"Opulent Vision, " Ford Project, New York


"Uncommon Places," Extracity, Antwerp (curator: Pieter Vermeulen)

"Norfolk," Thierry-Goldberg Gallery, New York

"Experimental," Tmuna Theater, Tel Aviv (curator: Yair Vardi)

"Nine People Monkeys," Allenby Passage, Tel Aviv (curator: Liz Hagag)

"Heading for a Fall: The Art Of Entropy," Ford Project, New York (curator: Tim Goossens)

"Involuntary," Ford Project, New York (curator: Neville Wakefield|)


"New Panorama," Pianissimo Gallery, Milan

"Greater New York," MOMA/PS1, New York (curators: Klaus Biesenbach, Connie Butler, Neville Wakefield)

"The Young Israelis," Leslley Heller Workspace, New York (curator: Lilly Wei)

"Sweat," Columbia University, Fisher Landau Center, Long Island City, New York

"JaffaCakes TLV," Rove Gallery, London (curators: Yasmine Datnow, Maïa Morgensztern, Lara Wolfe)

"Never Can Say Goodbye (No Longer Empty)," Remy-Toledo, Former Tower Records, New York (curators: Manon Slome, Steven Evans)

"A-Genre," Tmuna Theater, Tel Aviv (curators: Yair and Hila Vardi)


"History of Violence," Haifa Museum of Art (curator: Hadas Maor)

"Dark Rooms/Homme Made," Daneyal Mahmood Gallery, New York (curator: Avi Feldman)

"Now Silence," Gallery 39, Tel Aviv

"Become a Member," Spaceship Gallery, Tel Aviv


"A New Way of Seeing," Städtische Galerie, Bremen, Germany

The Bucharest Biennale for Young Artists (curator: Ami Barak)

Art Focus, Jerusalem (curators: Ami Barak and Bernard Blistene)

"Volume(s)," Casino Luxembourg, Luxembourg (curator: Clement Muhlen)


Dvir Gallery, Tel Aviv
"Passing the Batonette," Haifa Museum of Art


"Artik 8," Genia Schreiber University Gallery, Tel Aviv University


"3 Cities Against the Wall," ABC No Rio, Al Hallaj Gllery, Ramallah, and Artists House, Tel Aviv

"League," Hanger 26, Tel Aviv (curator: Galia Yahav)

Gordon Gallery, Tel Aviv

Special Projects and Performance


"Naama Tsabar and the Propagationists," series of 6 unique performances, Thierry-Goldberg Gallery, New York


"Untitled (Speaker Walls)", MOMA/PS1, New York

"Doublesilverburst," Moma/PS1, New York (with Kristin Mueller)


"Composition 8," performance for 8 musicians at X Initiative, New York


"Composition 24," performance for 24 musicians, Art Focus, Jerusalem


"Did You Pack Alone?," stage design for Yair Vardi, Acre Festival, Israel

"Composition 24," performance for 24 musicians, Herzliya Museum of Contemporary Art

Prizes and Awards


Rema Hort Mann Foundation Award.


Artis Grant


Joan Sovern Award, Columbia University, New York


Artis Fellowship, Columbia University, New York


America-Israel Cultural Foundation Award


America-Israel Cultural Foundation Award


Gordon Gallery Grant.


Israeli Ministry of Education Outstanding Achievement Award

Neither Day Nor Night 2013

Wood, Formica, reflective fabric, lights, sound

Lighting Magenta
Original music Gymnopédie no. 1, Erik Satie
Performance Yuval (Tuvi) Zolotov
Musical Production Kalbata (Ariel Tagar)
Construction Didi Alon

Alona Rodeh’s work was specially constructed for the space it is located in, on the lower level of the pavilion. Upon entering the darkened space, the viewer comes upon a wide wooden stage inlaid with white Formica and natural wood. Gradually, the picture becomes clear and the work is revealed. Glaring colors that transition into one another are projected onto a reflective pleated curtain located at the far end of the stage. Low-toned music, which is synchronized with the changing lights, emanates from the loudspeakers set into the floor. At a certain point, the viewer must decide whether the stage is an autonomous sculptural object or a means of display; whether to step onto it and explore the potential experience of spectatorship it offers, or whether to remain standing before it and observe the changing appearance of the space. The deliberation about whether or not to step onto the stage, the lighting transitions, and the development of the musical piece come together to create the sense of preparations for a show. When the musical piece comes to an end, however, the space remains falls silent and is stripped bare, illuminated by a weak, white work light.

The music playing in the space is a contemporary adaptation of an 1888 composition by the popular modern composer Erik Satie, titled Gymnopédie No. 1. Whereas the original composition was for piano, a keyboard instrument, this adaptation is for tuba, the lowest-pitched brass instrument; moreover, the editing process creates a dissonant state in which chords are seemingly produced by the tuba, an instrument which in fact can only produce single notes. The result is simultaneously harmonious and disharmonious, transforming the familiar into the unusual and creating a sense of expansion into a fantastic, seemingly impossible dimension.

The lighting and music sequence does not last more than several minutes, and the pause before the next sequence begins is significant; it creates an inverse dialogue with the work itself, in which silence itself becomes musical and vocal. The introduction of the element of time and duration into the space momentarily transforms it into an abandoned basement, a spectacular banquet hall, and a senseless exhibition space featuring an architectural model reminiscent of the Parthenon. The work as a whole has an impressive, mesmerizing, seductive quality, yet its unique structure does not allow for catharsis. It could continue endlessly or stop abruptly, without any clear indication. In this sense, it does away with familiar habits, concepts, and standards – undermining the fixed structure of the show, and producing an experience of tension and expectation that dissipates in a bright flash of light.

In many ways, this work may be read as an examination of the concept of representation itself. The decision to expose the apparatus of display, the fact that the work simultaneously resembles an architectural model and a spectacular banquet hall, and the viewer‘s potential ability to circumvent the stage and move into the depth of the space, entering the circumscribed, invisible area behind the curtain, all come together to ridicule the pathos infusing the display.

The title of the work, Neither Day nor Night, refers to a state of negation – an intermediate, ephemeral state that defies definition and verges on collapse. In the same manner, the space of the work produces a distinct, clearly circumscribed heterotopia suspended outside the law, outside time; a space that produces suspension, expectation, and unfulfilled longing.

In addition to its literal meaning, the title charges the work with a mystical dimension related to what lies beyond our control. The origin of the expression “Neither day nor night” is the Prophecy of Zechariah, yet it is largely familiar through the liturgical poem “Then, in the Middle of the Night,” which appears at the end of the Passover Haggadah. The poem describes a day that will exceed the natural order of things, when light will shine in the middle of the night. This description refers to the End of Days, when there will no longer be days or nights, when time will exceed its own limits. An entirely different cosmic state. A state of redemption.

Previous works

Anxiety, 2011

Plywood, soundshakers
5:45 min in loop
220x120x120 cm
Installation view,
Petach Tikva Museum of Art

The Etheric Body, 2011

Sound and light installation
Sculptures from the collection of the
Petach Tikva Museum of Art,
wooden pedestals, projectors, smoke machine, sound system, 3:23 min. loop
Music: Bird of Prey (segment), Jim Morrison; Piano: Maya Dunietz; Sound editing: Rona Geffen
Variable dimensions Installation view, Petach Tikva Museum of Art

The Resurrection of Dead Masters, 2012

Sound integrated into architecture
Aluminum and glass door, drywalls, steel door, chains, locks, soundshakers‫,‬ speakers
4:18 min. loop
Music: Master of Puppets, Metallica (instrumental); sound editing: Binya Reches
Variable dimensions
Installation view, Plug In, ICA offsite project, Winnipeg, Canada

Above and Beyond, 2013

Sound and light Installation
Cardboard, natural vegetation, OSB sheets, projectors, artificial smoke, sound system
3:50 min. loop
Music: Yoni Silver
Variable dimensions
Documentation, CCA Tel Aviv

Alona Rodeh

Born in Israel, 1979; lives and works in Tel Aviv


MFA, Bezalel Academy of Arts and Design, Tel Aviv


Sculpture Department, Royal College of Art, London (exchange program)


BFA, Bezalel Academy of Arts and Design, Jerusalem


Akademie der Bildenden Kunst, Vienna, Austria (exchange program)

Solo Exhibitions


"Above and Beyond," , CCA Tel Aviv


"Barking Dogs Don't Bite," and "The Resurrection of Dead Masters," Arch 2 Gallery in collaboration with Plug In ICA, Winnipeg, Canada (curator: Neil Minuk)


"The Etheric Body," Petach Tikva Museum Collection Gallery (curator: Irit Carmon Popper)


"Fire, Work!," Kav 16 Gallery, Tel Aviv (curator: Sally Haftel Naveh)


MFA graduate show, Bezalel Academy of Arts and Design, Tel Aviv (curator: Sarit Shapira)


"Telepatia," artist-curator project, Art TLV, Tel Aviv, in collaboration with Yochai Matos "A Trip in the Mountain Shade," project space, Tavi Dresdner Gallery, Tel Aviv


Curator and participant of "Hand Washing Hand," Bezalel Gallery Tel Aviv


"All Eaters," Rosenfeld Gallery, Tel Aviv (curator: Diana Dallal)

Selected Group Exhibitions and Performances


"Black Eurhythmics," performance at IKT congress, CCA Tel Aviv and the Israel Museum, Jerusalem

"Deviants," The Israeli Center for Digital Art, Holon (curator: Ran Kasmy Ilan)

"Re: Visiting Rockefeller," Rockefeller Archaeological Museum, Jerusalem (curators: Sally Haftel Naveh and Yanai Segal)

"Province: Visitor Center," Arts Department, Tel Aviv-Yafo Municipality (curator: Leah Abir)


"Don't Try," Hezi Cohen Gallery, Tel Aviv (curator: Ofra Harnam)

"Electric Garden," Contemporary By Golconda, Tel Aviv (curator: Naomi Aviv)

Performance, "Chewing the Scenery," Offsite Swiss Pavilion, Venice Biennale (curator: Andrea Thal)

"Disruptions," Arts Department, Tel Aviv-Yafo Municipality (curator: Sally Haftel Naveh)

"End of History," Künstlerhaus Speckstrasse and Kutscherhäuser, Hamburg (curator: Avi Lubin)

"Shesh Besh," Petach Tikva Museum (curator: Hadas Maor)

"On the Road to Nowhere," Ashdod Museum (curator: Aya Lurie)

"Possibility of a Book," Sommer Contemporary Art, Tel Aviv (curators: Ran Kasmy Ilan and Leah Abir)


"Weizmann Rally," The Israeli Center for Digital Art, Holon (curator: Eyal Danon)

"Manimal," Herzliya Museum of Contemporary Art, Herzliya (curators: Ghila Limon, Dalia Levine)

"#1, Yaffo 23," Bezalel Gallery, Jerusalem (curators: Roy Brand, Sagit Mezamer)

"Oz in the City," Tel Aviv (curator: Yudit Haviv, with the support of Artis)


"Fucking Tourists," Remap2, Athens (curators: Yael Messer, Konstantinos Dagritzikos)

"The Fall," Panorama House, Tel Aviv (curator: Ruth Patir)

"Sponsorship of Light," Noga Compound, Tel Aviv (curator: Moran Shuv)


Herzliya Biennale (curator: Joshua Simon)


International Biennial for Contemporary Music, Tel Aviv Museum of Art Vienna Biennale (curator: Mario Grubisic)


"Krav Rav," Tmuna Theater, Tel Aviv. Collaboration with Ariel Efraim Ashbel and Maya Dunietz

Prizes and Awards


Outset Grant


Artis Grant, Outset Grant


Austrian Federal Ministry for Education, Arts and Culture Artist Residency, Vienna

Young Artist Prize, Israeli Ministry of Culture and Sport


Artist-teacher Scholarship, Israeli Ministry of Culture and Sport


Excellence Award, Bezalel Academy of Arts and Design, Tel Aviv


America-Israel Artist Grant

2005, 2007–2010

Rabinovich Foundation Grant