Installation & Media Based (selected)

Absentee Landscapes | A project by Sala-Manca in collaboration with Nir Yahalom, Ktura Manor, Adi Kaplan and Shachar Carmel

In the winter of 2017, a group of artists (the SalaManca Group, Nir Yahalom, Ktura Manor and Max Epstein) began building an unauthorized but accurate replica of a painted wooden sukkah from Germany (dating to 1850), which is on display

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Absentee Landscapes | A project by Sala-Manca in collaboration with Nir Yahalom, Ktura Manor, Adi Kaplan and Shachar Carmel

In the winter of 2017, a group of artists (the SalaManca Group, Nir Yahalom, Ktura Manor and Max Epstein) began building an unauthorized but accurate replica of a painted wooden sukkah from Germany (dating to 1850), which is on display

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The Eternal Sukkah and Bawadi Documents at the Imaginary Republic, Bergen

The Eternal Sukkah project (developed by us in collabortion with Itamar Mendes-Flohr and Yeshaiahu Rabinowitz) and the www.bawadi.org development project by the Jahalin Community at Tag Team Studio in Bergen, in a project runed by Brandon LaBelle in the frame

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The Eternal Sukkah and Bawadi Documents at the Imaginary Republic, Bergen

The Eternal Sukkah project (developed by us in collabortion with Itamar Mendes-Flohr and Yeshaiahu Rabinowitz) and the www.bawadi.org development project by the Jahalin Community at Tag Team Studio in Bergen, in a project runed by Brandon LaBelle in the frame

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The Imaginary Republic (Part 2)

22/09/2016 – 16/10/2016 Sat–sun kl. 12:00–17:00  Vernissage: 22/09 kl. 19:00 – 23:00 OPENING: The Imaginary Republic (Part 2) HÉLÈNE FRICHOT MARYSIA LEWANDOWSKA DIEGO ROTMAN (Sala-Manca Group) LISE SKOU September 22nd – October 16th Welcome to the opening of the second part of

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The Imaginary Republic (Part 2)

22/09/2016 – 16/10/2016 Sat–sun kl. 12:00–17:00  Vernissage: 22/09 kl. 19:00 – 23:00 OPENING: The Imaginary Republic (Part 2) HÉLÈNE FRICHOT MARYSIA LEWANDOWSKA DIEGO ROTMAN (Sala-Manca Group) LISE SKOU September 22nd – October 16th Welcome to the opening of the second part of

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Video Documentation: On Hybridization, Transience, and Refugees | Israel Museum | 2.2.16

Video Documentation [Hebrew. Arabic& Hebrew] 2.2. 2016 | On Hybridization, Transience, and Refugees | Israel Museum Entire documentation of a discussion focusing on The Eternal Sukkah by the Sala-Manca group, together with Itamar Mendes-Flohr and Yeshaiau Rabinowitz. For more info

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Video Documentation: On Hybridization, Transience, and Refugees | Israel Museum | 2.2.16

Video Documentation [Hebrew. Arabic& Hebrew] 2.2. 2016 | On Hybridization, Transience, and Refugees | Israel Museum Entire documentation of a discussion focusing on The Eternal Sukkah by the Sala-Manca group, together with Itamar Mendes-Flohr and Yeshaiau Rabinowitz. For more info

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About the Eternal Sukkah Project, 2014-2015 | סוכת נצח

An illegal shanty structure from the Jahalin Bedouin community on the Jerusalem-Jericho Road  purchased, dismantled, and reassembled in the as a Jewish Sukkah at the Jerusalem Hansen House for Art, Design and Technology in October 2014 was purchased by the

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About the Eternal Sukkah Project, 2014-2015 | סוכת נצח

An illegal shanty structure from the Jahalin Bedouin community on the Jerusalem-Jericho Road  purchased, dismantled, and reassembled in the as a Jewish Sukkah at the Jerusalem Hansen House for Art, Design and Technology in October 2014 was purchased by the

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The Eternal Sukkah in exhibit at the Israel Museum

              The Eternal Sukkah, by Sala-manca in collaboration with Itamar Mendes-Flohr and Yeshaiau Rabinowitz is in exhibit at the exhibition “We the People“, curated by Rita Kersting, Israel Museum, Jerusalem.    

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The Eternal Sukkah in exhibit at the Israel Museum

              The Eternal Sukkah, by Sala-manca in collaboration with Itamar Mendes-Flohr and Yeshaiau Rabinowitz is in exhibit at the exhibition “We the People“, curated by Rita Kersting, Israel Museum, Jerusalem.    

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Paradise

Paradise Inn Paradise Inn, Talbiyeh, Jerusalem. A dream for only one person. Infinite stars and a real gate to paradise. Reserve your room at the former Lepers’ home. Jerusalem, where any piece of land can become your temporary dwelling. In

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Paradise

Paradise Inn Paradise Inn, Talbiyeh, Jerusalem. A dream for only one person. Infinite stars and a real gate to paradise. Reserve your room at the former Lepers’ home. Jerusalem, where any piece of land can become your temporary dwelling. In

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La Máquina de Hacer Pájaros, 2014

Formica and wood box, miniature printed circuit board (PCB), MP3 players, audio sockets and earphones, power supply, metal leg, two sofas from Casa Argentina, Jerusalem Text: João Delgado; music: Yarden Erez; electronic system: Amir Markovitz; programming Exhibited in the frame

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La Máquina de Hacer Pájaros, 2014

Formica and wood box, miniature printed circuit board (PCB), MP3 players, audio sockets and earphones, power supply, metal leg, two sofas from Casa Argentina, Jerusalem Text: João Delgado; music: Yarden Erez; electronic system: Amir Markovitz; programming Exhibited in the frame

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Israeli Time, 2015

Interactive installation and questionnaire Exhibited at The Ethnographic Department, 2015 Concept: Sala-manca | Programmer: Guy Yitzhaki “Real time” is an interactive machine that makes part of the sounds shaping Israeli time and pacing conduct according to one’s awareness of the

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Israeli Time, 2015

Interactive installation and questionnaire Exhibited at The Ethnographic Department, 2015 Concept: Sala-manca | Programmer: Guy Yitzhaki “Real time” is an interactive machine that makes part of the sounds shaping Israeli time and pacing conduct according to one’s awareness of the

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Blaybn Vet a Vint, 2013

Interactive Object | Show at “Nivim”, Agripas12 Gallery | Curator: Albert Suissa Programing: Guy Yitzhaki Interactive machine for blind reading Sutzkever’s poetry in Yiddish and Hebrew. You read with the finger.   Albert Suissa curatorial text: click to enlarge  

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Blaybn Vet a Vint, 2013

Interactive Object | Show at “Nivim”, Agripas12 Gallery | Curator: Albert Suissa Programing: Guy Yitzhaki Interactive machine for blind reading Sutzkever’s poetry in Yiddish and Hebrew. You read with the finger.   Albert Suissa curatorial text: click to enlarge  

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Total Investment, 2013

The project budget for the work was 1000 nis. The work is a sculpture  comprised of 1000 – shekel coins, the artists’ fee including expenses. The sculpture is for sale. the price is 8000 shekel. Performa 0:2 Festival / School of

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Total Investment, 2013

The project budget for the work was 1000 nis. The work is a sculpture  comprised of 1000 – shekel coins, the artists’ fee including expenses. The sculpture is for sale. the price is 8000 shekel. Performa 0:2 Festival / School of

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The Church of Criticism, 2012

Installation, in the frame of The Museum of the Contemporary, Mamuta in Ein Karem Another stop along the tourists’ route, where art becomes the decoration of a private school-trip experience. The museum is a modern secular church and the performance

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The Church of Criticism, 2012

Installation, in the frame of The Museum of the Contemporary, Mamuta in Ein Karem Another stop along the tourists’ route, where art becomes the decoration of a private school-trip experience. The museum is a modern secular church and the performance

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Private View, 2012

Plastic blinds, plaster, metal frame, PVC sheet, wood. Box: perspex, wood, metal brackets. Electronic mechanism: servo engines, arduino, cables, batteries. Sala-Manca in collaboration with Mamuta collective Programming: Amir Markovitz Mechanics: Yuval Kedem (Galileo) A sculptural interactive work exploring the tension

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Private View, 2012

Plastic blinds, plaster, metal frame, PVC sheet, wood. Box: perspex, wood, metal brackets. Electronic mechanism: servo engines, arduino, cables, batteries. Sala-Manca in collaboration with Mamuta collective Programming: Amir Markovitz Mechanics: Yuval Kedem (Galileo) A sculptural interactive work exploring the tension

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Eternal Shabes, 2009-2014

Ready made, base with white lacquer, two candlesticks, two light bulbs, white electrical cord, short black electrical cord, electrical plug, white insulation tape Candlesticks created for Osher and Malka Rotman, parents of the artist in Buenos Aires in 1990. The

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Eternal Shabes, 2009-2014

Ready made, base with white lacquer, two candlesticks, two light bulbs, white electrical cord, short black electrical cord, electrical plug, white insulation tape Candlesticks created for Osher and Malka Rotman, parents of the artist in Buenos Aires in 1990. The

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The Messiah is a Polish Carpenter Named Maria, 2008

Action/Video Documentation “Chosen” | Wyspa Art Institut, Gdansk, Poland & Digital Art LAb Holon | Curators: Aneta Szylak, Galit Eilat Foreshadowing the Past | ARTISTERIUM in Tibilisi, Georgia | 2010 |Curator: Eyal Danon In one way or the other, most of

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The Messiah is a Polish Carpenter Named Maria, 2008

Action/Video Documentation “Chosen” | Wyspa Art Institut, Gdansk, Poland & Digital Art LAb Holon | Curators: Aneta Szylak, Galit Eilat Foreshadowing the Past | ARTISTERIUM in Tibilisi, Georgia | 2010 |Curator: Eyal Danon In one way or the other, most of

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Seara/Storm, 2006-2007

vers 2.0 presented @ Hapzura Series, Digital Art Lab Holon | curator: Eran Sachs & Heara 10 | The Science Museum | curator: Sala-manca Seara/Storm * In 1950 during a party on the roof of Marian Loop, celebrating the 100

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Seara/Storm, 2006-2007

vers 2.0 presented @ Hapzura Series, Digital Art Lab Holon | curator: Eran Sachs & Heara 10 | The Science Museum | curator: Sala-manca Seara/Storm * In 1950 during a party on the roof of Marian Loop, celebrating the 100

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Studies on New Israeli Landscapes, 2005-2008

From the beginning of the 20th century, Zionism visually represented ideologically charged Eretz Israel (Palestine), showing the local landscape as an idealized continuation of the biblical landscape. Until around 1970, Jewish Israeli art constructed an ideological representation of  “the own

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Studies on New Israeli Landscapes, 2005-2008

From the beginning of the 20th century, Zionism visually represented ideologically charged Eretz Israel (Palestine), showing the local landscape as an idealized continuation of the biblical landscape. Until around 1970, Jewish Israeli art constructed an ideological representation of  “the own

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Babylon Poems, 2006-2007

Translation, text, and sound works Exhibited in the frame of “Free Radicals”, Digital Art Lab Holon, 24.2.2007-28.04.2007 | Curator: Eyal Danon Hebrew to Hebrew translation of ten poems from the 2006-2007 matriculation exam list for Israeli high school students. The

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Babylon Poems, 2006-2007

Translation, text, and sound works Exhibited in the frame of “Free Radicals”, Digital Art Lab Holon, 24.2.2007-28.04.2007 | Curator: Eyal Danon Hebrew to Hebrew translation of ten poems from the 2006-2007 matriculation exam list for Israeli high school students. The

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Elephants in the Nights of Metula (2005-2010)

Performance (Yiddish/English/Polish/Hebrew)Presented at The Neighbour Next Door Festival (Sasiedzi dla Sasiadów – edycia V), Warsaw, Poland / Jewish Film Festival, Jerusalem /   Belfast Exposed – Interface – Ullster University, Belfast,-24.5.06 / CCA – Tel-AVIV/   ForumStadtPark, Graz, Austria – In the frame

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Elephants in the Nights of Metula (2005-2010)

Performance (Yiddish/English/Polish/Hebrew)Presented at The Neighbour Next Door Festival (Sasiedzi dla Sasiadów – edycia V), Warsaw, Poland / Jewish Film Festival, Jerusalem /   Belfast Exposed – Interface – Ullster University, Belfast,-24.5.06 / CCA – Tel-AVIV/   ForumStadtPark, Graz, Austria – In the frame

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Over Memory- Jaffa, 2004

Jaffa‘s Over Memory/Archives & Invisible Performance | Blurrr, The 4th Biennial for Performance Art, Jaffa, November, 2004 | Curator: Sergio Edelstein Documentation as a “flea.” Memory as an item. Memory creation as a purpose in itself – dialogue with the overflow

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Over Memory- Jaffa, 2004

Jaffa‘s Over Memory/Archives & Invisible Performance | Blurrr, The 4th Biennial for Performance Art, Jaffa, November, 2004 | Curator: Sergio Edelstein Documentation as a “flea.” Memory as an item. Memory creation as a purpose in itself – dialogue with the overflow

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