Sirens’ Song, 2005
One channel video and sound installation
Edition 1/5 + 2 A.P.
2007 Inside-Out. Contemporary Artists from Israel, MARCO Vigo, Vigo, Spain
2007 Thermocline of Art-New Asian Waves (a ZKM 10th Anniversary Exhibition), Museum of Contemporary Art, ZKM Karlsruhe, DE
2007 Imaginary Zone, ZKM Seoul, ROK
2006 Collective Gallery, Edinburgh, UK
2006 Coding:Decoding, Nikolaj, Copenhagen Contemporary Art Center, DK
2005 Prix de Rome NL, Stichting De Appel, Amsterdam
2005 V – Internationales Kunstfestival Magdeburg, Art Depot, Magdeburg, DE
The first shot of the 'Sirens Song' shows a stereo speakers that are pointing in four different directions installed on top of a pavilion located on a beach, with people swimming and surfing in the ocean. Bright sunlight peeks through the dark blanket of clouds above as colourful kites fly through the sky.
The camera's perspective changes and becomes level with a stone bollard which stands in front of a busy street. One sees only a image of jogging shoes as their wearer steps up onto the post. Wind instruments playing a military march can be heard off-camera, but the music slowly grows louder and the sound of traffic noise blends in at times with the harmonious sounds. Fanfare music can suddenly be heard. The staccato-like notes then merge into the military march that accompanies a long panning shot along a beach promenade lined with Israeli flags. The musicians, who are dressed in white shirts, appear less in the image than their shadows do as they move across the ground or across the vehicles that pass by. The musicians' harmonious melody soon turns into monotony and eventually gives way to the drone of traffic. None of the people passing in the traffic seem particulary bothered or impressed by the unusual sight of the musicians on the side of the road; neither a man looking out of the passenger side of one car, nor a woman going by in a different car decorated with the Israeli flag.
The camera cuts back to the pavilion in front of which a horse-drawn cart passes by. The fanfare music from earlier accompanies this scene, but does not give away to the familiar military march. Instead, it lapses into disharmony and an increasingly insistent sound against which the melody that can be heard again briefly cannot compete. In between close-up shots of the goblet-shaped openings of wind instruments follow, which also include white-tuba - shapes that resemble those of the speakers atop the pavilion. The musicians once again try to follow the people who pass by in their cars or on their motorcycles with their instruments and cause a reaction in some way but even exceedingly beguiling sounds cannot influence the daily flow of traffic in an Israeli metropolis.
To make mariners drown by the sound of haunted singing: the sound coming from wind instruments do not have this power of sirens from the Greek mythology since the last images of the video - of a traffice intersection lined with Israeli flags and of the pavilion roof with speakers now seen from afar - once again accompanied by military music, as if nothing had happend in-between.