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.

  • Knafeh, 2014

  • Hands, 2013

  • MASIK, 2012

  • Four Entered the Grove, 2012

  • A Tree Standing, 2012

  • Window, 2012

  • Salted Lake, 2011

  • Azkelon, 2011

  • Mermaids [Erasing the Border of Azkelon], 2011

  • Laces, 2011

  • Working Title WM I+II, 2010

  • Working Title WM III+IV, 2010

  • Salame', 2007

  • Day Done, 2007

  • DeadSee, 2005

  • Standing on a Watermelon in the Dead Sea, 2005

  • Under the Dead Sea, 2005

  • Dancing for Maya, 2005

  • Phoenician Sand Dance, 2005

  • Arab Snow, 2001

  • Eye Drum, 2001

  • Barbed Hula, 2000

  • Three men hula, 1999

  • Conversation with David Bogeleisen, 1995

Full filmography

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.

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'. Sound by Yarden Erez.

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. Sound by Yarden Erez.

© 2016 Sigalit Landau. All rights reserved
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