SOMNAMBULIN and BAUCHAUS
SOMNAMBULIN - Station 1, 2000
sonic performance, Spacex Gallery, Exeter, August 2000
Heidelberger Kunstverein, Heidekberg, October 2000
In this performance/installation, I transformed a truck-mounted concrete mixer into a large traveling and performing music box. The transformed mixer served as both an ice cream truck and a story vehicle. A rotating drum functioned as a cylinder, with pins attached to its surface.
Several tunes and sounds were composed for the repertoire of this mixer, created by the musicians Arik Hayut, Guy Kark, Daniel Landau, Robert Bently and Ohad Fischof. The notes of these melodies were played electronically and were made to resonate in the same manner in which ice cream trucks disseminate their tunes.
The truck played music while traveling along small roads. It parked at various stops, where people gathered to participate in an exchange; I gave passersby ice lollies shaped like the Little Matchstick Girl.
Curators: Zoë Sherman and Tom Trevor
The Armory Show, New York City
Bauchaus is a public space performance and sound vehicle, which was initially carried out in August 2000 in Exeter, the U.K. and then again during a journey in the Manheim area.
In this new iteration of the project, I transformed a bicycle-mounted concrete mixer into a large, traveling music box and ice cream giveaway point.
The rotating drum attached to the bicycle functions as a cylinder, with pins attached to its surface. The sound object plays music, as I slowly drive around and give the public ice-lollies shaped like the Little Matchstick Girl. Attached to the candy, in a small body bag, is a paper on which the following text is printed:
“In September 1998, the remains of a frozen vagrant were found at a building site on Orlanienburger Str. in the city of Vermlin. Archaeological analysis of the small corpse (see replica inside this body bag) provided scientific proof that the ‘Little Matchstick Girl’ from Hans Christian Andersen’s tale truly did exist. The child, who was nicknamed ‘Orla’, aged about 5, must have been trying to keep herself warm by lighting the matches that she was supposed to sell. As the city celebrated Christmas Eve, she froze to death and was preserved under an urban avalanche originating at Opencagen at the time of the Industrial Revolution.”
Contrasts and movement are key to this piece. There is a contrast between this child, who failed to sell her matches, and me, arriving from the Israeli inferno and handing out to the public ice-lollies in the shape of her corpse. This counter-lullaby tour, in which I try to bring the girl back to life by orally and morally feeding her to the living, is a story of contemporary survival. In it, I express what I see as a perpetual loss and a yearning for love and life.