dumitrescu's dream
2010
Video HD
15 Min 47 Sec.

video still

dumitrescu's dream
2010
Video HD
15 Min 47 Sec.

video still

Black Magic Marker, 2009 (still)
DV-Video
27:40 min

Black Magic Marker’ (2009) shows music producer Lee ‘Scratch’ Perry in his current residence at Einsiedeln (Switzerland). The Lee Perry operated Black Ark Studio in Kingston, and its unique sounds central to the progression and promotion of the Jamaican music scene, mysteriously went up in flames in 1979. Scratch Perry, known as the ‘Upsetter’, psalmodises, in the midst of walls strewn with characters strongly reminiscent of his former studio, on divine power, animalistic objects and the power of symbols and words to become reality.

Black Magic Marker, 2009 (still)
DV-Video
27:40 min

Black Magic Marker, 2009 (still)
DV-Video
27:40 min

The Horns of Jericho, 2009
wood, loud speakers
40x50x118 cm, each

Shortly after the take-off of El-Al flight 1862 in October 1992 from Schiphol Airport in Amsterdam the Israeli Boeing 747 crashed into a residential complex in Bijlermeer on the Amsterdam outskirts. The tragic and never wholly explained airplane accident opened a Pandora’s box, in political terms, in Holland – the secret transportation of weapons of mass destruction, erased sequences from the Black Box recordings and mysterious illness are only a few of the scandals that came to light in the media following the airplane crash.
For ‘Chanting Down Babylon’ (2009) Dani Gal visited residents of the Bijlermeer district, primarily migrants from Surinam and Africa and the journalist Vincent Dekker to enter into a dialogue on the airplane crash and their re-established everyday life in the reconstructed residential complex. The installation resulting thereof in Halle fuer Kunst presents clippings of these meetings in a slide show and the two modified loudspeakers which constitute the sound sculptures ‘The Horns of Jericho’ (2009). Formally quoting minimalistic objects, the loudspeakers lead the sound through a spiral of chambers evoking associations with the spiral trajectory of the freight aircraft before it hit the building.

"Seasonal Unrest", 2009
video\audio installation
50min 37sec

"Seasonal Unrest", 2009
video\audio installation
50min 37sec

instellation view project room, pecci museum prati, italy

i.e., 2008
book/ object, paperback
957 p, 13,4 x 21,4 x 3,3 cm.

Every word in the Oxford Dictionary has one or more example sentences that demonstrate how the word should be used in a sentence. The sentences cover every possible topic in culture so when they are taken out of context, the examples appear to be fragments of a story, a dialogue or references out of another text.

i.e. ( id est-- latin ) means "that is" or  "in other words." It specifies or makes more clear. 
" I'm going to the place where I work i.e. the university."

edition 43, Deutsche Guggenheim Berlin, 2008

"The Ballot or the Bullet", 2008
performance at Deutsche Guggenheim Berlin, 2008
voiceoverhead: Dani Gal & Achim Lengerer

turntables, mixed media, dimensions, variable

voiceoverhead is an ongoing project since 2006 that deals with performative aspects of speech, sound documents and archived spoken language.

In their sound performance Achim Lengerer and Dani Gal work with historical audio recordings and archived acoustic material.

Using this material Lengerer and Gal create
live-performance where they choose sound fragments and arrange them into a newly contextualised composition.

Architecture regarding the future of conversation, 2008 (front)
two modefied turntables, speakers, multi media

based on the record "Conversation on the future of architecture" from 1956, that interviews archtitects such as Eero Saarinen, Philip Johnson, Mies Van Der Rohe and Walter Gropius a.o. on their ideas of the future of architecture, the artist modefied the turntables on which the record is playing in such ways, that it's speed and volume adapt to the movements of the visitor through sensors in the pliths the record players stand on.

Doing so the visitors become conscious of their movements in space and between each other, while they manipulate the record, that let's some of the most influential modernist architects formulate their ideas on space and it's future.


exhibition view, "Freisteller", Deutsche Guggenheim, Berlin, 2008

oscillations, 2007, (still)
installation
16mm/sound
5min44

In his 16mm film “Oscillations”, 2007 the artist re-enacts the last scene of the Tarkovsky film “The Skalker” from 1979: the daughter of the Stalker, seemingly in possession of telekinetic powers, sitting at a table on which three glasses move without explanation. 
While in the original version of this scene it remains unresolved if the glasses move because of the telekinetic powers or simply because of the vibrations of a train passing close by the house, the artist combines this classic scene in his reenactment with a rehearsal of his Frankfurt Punk band “Pornoheft ( Engl. Porn mag). According the frequencies of the bass amplifier onto which the camera was placed, the band is being filmed. The connecting element of the two scenes is the sound recording of the pauses between the rehearsels that is played independently from the two films.

The talking mountain of Israel, 2007
(detail)

The talking mountain of Israel, 2007 (still)
installation
video, image, text

On the 4th of January 1966 the Israeli postal service aired for the first time television in Israel. The purpose of the broadcast was to try the broadcasting devices and to make a reception quality check of picture and sound in different areas of the country.
A special machine was built especially for the broadcast constructed from a simple overhead projector (the one used for school lectures) connected to a television broadcaster.
A technician stood next to the projector and replaced newspaper photos of different people, sites and national events every 30 seconds followed by sounds and music.
The program, that lasted 30 minutes, ended with of a photo of an Israeli army missile battery and was followed by the Tchaikovsky’s - 1812 Overture where real cannons played as instruments.
During the first few minutes of the show a fly flu, accidentally, between one of the photos and the projector and viewers could see it flying across the screen.
A voice of a reporter asked viewers to report on the quality of the broadcast by sending letters to the station giving them a mailing address. Many people responded but one of the viewers, a woman, wrote and asked for one of the photos in which, as she claimed, recognized her self and her daughter picking flowers.
It was actually the photographer’s wife and daughter.
One of the fears that arose by the government regarding the broadcast television was how to prevent the risk of Israeli children being exposed to Arab television that used the same channels to broadcast it’s own shows.

The Israeli television archive holds no documentation of this show. All the information about the broadcast was found in newspaper articles written around the time of the broadcast and stories told of people who were involved in the production.
By reconstructing the event that signified the beginning of the television era in Israel intends to reveal the moment which reflects the way people in Israel perceived themselves as a society and a culture at the time and how people understood the role of television.

La Battaglia, 2007 (still)
video/audio
6min 16sec

"La Battaglia" is a music video of an Italian Hip-hop band “follitrafogli” performing the futurist poem "La Battaglia Di Adrianopoli" of Italian Futurism's founder, Filippo Tommaso Emilio Marinetti from 1914.

Through working with rappers on their own interpretation of the poem, "La Battaglia" shows futurism, as an avant-garde modernist art movement and Hip-hop’s as a street sub culture, which became a billion dollar pop industry are shering the same passions to violence and speed and use similar representation methods.
Through the use of spoken language futurist sound poetry, glorifies danger, violance and speed and points out the urban realty at the beginning of the industrial era. Through the same means and similar aesthetics Hip-hop culture represent dangerous urban reality as experienced at first hand or through the media in a postindustrial era.

The work also creates a link between graffiti culture in Milan and Marnetti’s idea of “Parola in libertá”- which is the typographical experiment that the futurists made in order to free their poetry from old conventions and imbue it with rhythm and sound through graphics.

The rappers were being filmed performing the poet in their own interpretation
different locations, which are associated with the Italian futurist movement in Milan and Turin.

La Battaglia, 2007 (still)
video/audio
6min 16sec

"The déjà vu of Avner Kaufmann", 2006, video
Parallel screening of Steven Spielberg’s “Munich” and Michael Anderson’s "Sword of Gideon"
dimensions variable

In his movie "Munich", Steven Spielberg deals with one of the more sensitive issues in the new Jewish/ Israeli history - the terror attack from the 1972 Olympic Games in Munich where eleven Israeli athletes were killed by the members of the Palestinian group, Black September. The story of the movie revolves around the character of Avner Kaufmann, an Israeli military officer who is personally recruited to the mossad by then Prime Minister Golda Meir to lead the spy team who will avenge the terror attack and will kill the terrorist involved in the attack.
Twenty years ago, HBO produced a television movie about the same historical events. The thriller film, "Sword of Gideon", also focuses on an Israeli agent named Avner who faces a similar crisis of conscience as Spielberg’s Avner and is wracked by guilt after helping assassinate Palestinians believed to be behind the Munich slayings.

Remaking movies and directors ripping each other off is not a new phenomenon in the movie industry. "Munich"/ "Sword of Gideon"'s case, though, is interesting because of Spielberg’s attempt to show his take on world terror and his original position as a Zionist Jew while, actually, making a movie that had already been done and denying even seeing it.

Through the parallel screening, a situation occurs where cinematographic mechanisms become transparent and new connections emerge. For example, some scenes in one movie function as a cinematic visualization of a dialogue in the other. What becomes interesting are the subtle readings that arise when the two films are screened together, namely, Spielberg’s kitchified
simulacra take on the representation of terror. This results in a kind of "déjà vu" that underlines society’s tendency to emotionally frame ideas of terror and justice. Munich’s introductory claim, that it is "inspired by real events", situates the idea of "déjà vu" within the context that the two movies share.