Twilight is an intermediate state,
a time of environmental, aesthetic, mental, and political transition.
The twilight between dawn and sunrise, between sunset and dusk, shapes the consciousness that lingers amid darkness and light. Twilight takes shape in intermediate spaces as a haze, a blur, a confusion, uncertainty, ambiguity, puzzlement and confusion, as disorientation. It is the threshold of decisive resolutions — between deathly obscurity and sober clarity of regeneration.
Twilight is the act of summoning in which creative thought takes shape. It is the suspension of the artistic action in the poetic state, in which ideas materialize and images emerge. It requires a suspension and allows a surrender to inhibition that might make way to new understandings and new structures.
In the reverie of daydreaming, or the fever of delirium, systems of representation collapse and the concrete is the imaginary. The aesthetic experience flickers between faith and skepticism, tangibility and fiction, engagement and distance. It is the time in which the distinction between the artistic, the real, and the functional blurs or is no longer relevant.
Inside the twilight zone of political confusion that generates uncertainty and disavows knowledge, amidst the destruction of ethical distinctions between good and bad, at the end of democracy and post-truth, rises the moment that engenders revolutions.
The new dance platform of Performance 0:6 is a choreographic gathering and an itinerant group exhibition that begins on Monday morning and moves relentlessly in, out, and across the Festival. The artists of the Dance in the Fourth Dimension form the New Wave of Israeli dance, one that deviates from pure physical expressionism, and operates in flux, in the dimension of the invisible, the mysterious, the political and the obscure. A dance that rethinks and re-senses movement, time, light, darkness, and twilight.
This year, for the first time, the performance conference holds an international gathering of curators and artistic directors that will share works, research, and future collaborations.
The Calling 13 is a 13 hour long physical and auditory journey that starts in water and ends with fire. This journey’s point of departure is the common space created by and around the performers. The performance tests endurance, effort, and tenacity in a series of actions that unfold between the private and the public, the hidden and the obvious, in relation to highpoints, duration, and continuum.
For full details and tickets
Nostalgia, the yearning for a lost time and space, has become a global cultural and political phenomenon in the last century. The enticing idealisation of nostalgic memories is often deliberately regressive, and can be a part of a dangerous nationalistic discourse. At the same time, it can also be prospective, creative, and critical.
In this piece, I wish to understand nostalgia as an awakening towards a future goal. A pendulum movement between what exists, what existed, and what can exist. In it, I revisit old images that I formulated in the past and are still important to me, and transform their shape. The longing for what has passed, what is seen as complete and finished, wishes to see the past as an event that holds a potential, possibilities, and developments.
Ma is a Japanese concept that means space — the gap between one thing and another, which symbolizes the balance between them.
The piece brings together different and distinct disciplines — music and movement, traditional and contemporary flamenco, visual theatre and performance — to create an innovating, intriguing, and surprising stage world.
Just days after Ma premiere, Gal Maestro (contrabass) and Adva Yermiyahu (creator) respond to the piece in a post-premiere event.
Embarrassment is a key point on the border between the conscious and the unconscious and between oneself and the other. Embarrassment is a door that a person keeps closed before others, and that is sometimes even closed to himself. We can open that door to discover another side to our human experiences.
Embarrassed Years takes a nonjudgmental look at our most intimate moments, our internal, physical underground, the experiences and actions we conceal from others. By repressing these human experiences, we put up borders between ourselves, our bodies and others.
In this work we wish to acknowledge and join the underground, so as to ofer an alternative of closeness and dialogue and in order to gain freedom.
Private listening to the music of the heart./span>
You are invited to experience a process based on a medical equipment-music box hybrid, spread over a seven floor bell tower.
After the examination, application, and data translation, you will be able to listen to the music of your heart.
The panel will challenge and debate the multi-dimesons of conflict and resolution.
In contrast to the Israeli Dance that excelled in untamable desire and sexuality, in the sensuality of struggles and sweat, in recent years, we witness the emergence of dance from another dimension — one that offers new physical, performative, and aesthetic attitudes, that subvert and revolts against the ecstatic conflict (and the masculinity that roles it).
The re-apparition of the abstract and the formal, the return of the spiritual and the mysterious, the introduction of doubt, void, contemplation — all these evoke a mental, physical fourth dimension that performs in the shadow of the occupation, the revolutions, the wars, the peace and the unknown.
Do I see enough? Do others see me?
Observation Room explores a range of human situations around and in us, at times as a personal interpretation and other times as a response.
Through parameters of sight, deceleration, and duplication, Observation Room releases what has become fixated, and approaches movement thinking, through which we can practice presence and a new kind of observation. Spending time in a space of this kind summons an opportunity to conceive a different type of thinking, to generate a different reality.
A musical event at the magical and political encounter between matter and spirit. The artists, the ensembles, the choirs shape ancient and contemporary mantras composed especially for the industrial spaces of 4 Yad Harutzim.
Mantra is a musical-spiritual form that captures the longing and fulfillment with the same exact breath. The prayer, the chant, the repetition, all hint at the artistic action as driving force, an incentive, as an inner and energetic force of change.
Above all, the mantra insists that art can still, can always and forever, reshape consciousness and realties. Even in the 21st century it expresses the desire to be completely absorbed in the NOW — while being eternally COSMIC.
While waiting for a world to be unearthed by language, someone is singing about the place where silence is formed. Later I’ll be shown that just because it displays its fury doesn’t mean the sea — or the world — exists. In the same way, each word says what it says — and beyond that, something more and something else.
(The Word that Heals, Alejandra Pizarnik)
Ana Wild in collaboration with students from the School of Visual theatre.
A one-day workshop in which we will try to form a language that uses images as letters, with which we can write words and sentences.
Sounds, murmurs, pagan prayers for rain, and ancient women’s singing, serve as images and rituals in the choir’s work.
In Someone Almost Familiar I bring together different characters comprised of fragments of life I have seen, each recites its hope and fears over and over, weaving the fabric of its movements, spaces, and breaths.
The show wishes to deal and challenge the deceptiveness inherent to the concept of “character” and the stage action as a closed and covered illusion.
Voice artist Michal Oppenheim and choreographer May Zarhy have been collaborating since 2015. This time, they group together an all-female ensemble of dancers and singers in order to explore the space between dance and music, between the material nature of voice and the material nature of movement.
Galerie is an immaterial gallery for immaterial artworks. The mission of Galerie is to promote immaterial objecthood: works that cannot be reduced to an object or to the documentation of an action. Simultaneously a commercial entity, a performance and a research project, Galerie has been involved in a wide range of activities since its launch in 2014
Galerie has been working in venues such as Material Art Fair (Mexico City, 2017); Jan Mot (Brussels, 2017); Le Menagerie de Verre (Paris, 2017) ArtRotterdam (Rotterdam, 2016); De Appel (Amsterdam 2016); La BF15 and ENSBA—École Nationale Supérieure des Beaux Arts (Lyon, 2016) a.o.
Galerie is run by Adriano Wilfert Jensen and Simon Asencio and represents works by Hana Lee Erdman (US), Pontus Pettersson (SE), Alex Bailey (UK), Audrey Cottin (FR), Krõõt Juurak (EE), Mårten Spångberg (SE), Valentina Desideri (IT), Jan Ritsema (NL).
The twilight of the Trump era is a zone of fatalism and exuberance. In an almost retro 80s sort of way, we are yet again surrounded by visons of the end of the world and the end of time itself.
The decline of an empire, hurricanes, earthquakes, Iranian threats, North Korean threats, Brexit, the end of Europe, the end of Democracy, global warming, apocalypse — are all used as a political driving force and as an incentive of consuming new adjustable products.
At the same time, throughout the whole history of art, these very forces act as sources of inspiration, often restructuring social, mental, and aesthetic perceptions.
The panel will discuss the art and the politics of “The End of all Days”, that pushes to the NO GO zone, to the Beyond, to the dangerous — as a liberating and critical action.
20:00 — Round 1
Evergreen by Noam Sandel
What’s to Come by Asaf Aharonson
Sleeping Time by Maya Levy, Hannan Anando Mars
22:00 — Round 2
Evergreen by Noam Sandel
What’s to Come by Asaf Aharonson
Standing by Kineret Max
The piece looks at the stage event as a disjointed event. It takes place as chapters of images, separated by transitions between darkness and light, presenting experimentation with a composition of flashes that can be perceived as skipping between different thoughts on Eros.
At the end of the day, there is nothing left of us.
We are empty of thought. The imagination is shut. There is no more place for the spirit. For moments, naughty opportunities emerge from the wilderness, the memory of something that was once a complete artwork and is now fragments of actions.
The return to simple dance is a chance. A dance that someone else conceived and we are only here to perform. On the fly.
Long exposure, resolution, a slice of life.
Markus Öhrn is a Swedish visual artist, born 1972. He graduated from the Masters of Fine Arts programme at Konstfack in Stockholm in 2008. Markus Öhrn works with video installations and performances, his video installations have been presented both in Sweden and internationally in places like Museum of Modern Art, Stockholm, Kunstenfestivaldesarts, Brussels, Volksbühne — Rosa-Luxemburg-Platz and Arsenal in Berlin.
In 2010 he directed his first theatre performance Conte d’Amour, which was awarded the 1st price at the Impulse Festival 2011 in Germany. Conte d’Amour was the first part of a trilogy that was followed by the performances We Love Africa and Africa Loves Us (2012), and Bis zum Tod (2014). Öhrn's performances have been presented at festivals around the world like Theater Treffen Berlin, Wiener Festwochen, Festival D’Avignon, Festival Transamerique, Montreal, Theater Der Welt, Santarcangelo Festival.
Markus Öhrn lives and works in Berlin, Germany.
Panel with thoughts and actions in the twilight of the passion for the real
Live performance supposedly fulfills that tangible authentic grasp of the thing itself, but embeds itself in the twilight of the real. The aesthetic action summons a partnership of the same reality, in the same space, on the cusp of touching the heart of the matter and that absence. The passion for the real is not only the (ontological) desire to grasp what exists, but a struggle for a subjective, moral, socio-political awareness. It is the strive — most likely a deceptive one — to take off the mask and let go of the simulation and the imitation, of the cliché and the “like.”
Can the real, after all, be realized? Are its prevalent forms in performance and performance art — the everyday and functional, irreversible or dangerous — the opposite or the contrast to the insubstantial, fictional, or imaginary? Is the experimentation with what really, but really touches, a flicker or flutter? Is game time present but lost? Can truth materialize in the demarcated and breached site of performance, and in an end of the world party vibe, on the post-citizenship New Year’s Eve?
19:30 - 1st round
Ishtakfut by Galia Einey
Minsk 2 by Anna Zakrevsky
22:30 - 2nd round
Ishtakfut by Galia Einey
Minsk 2 by Anna Zakrevsky
"We live together, we act on, and react to, one another; but always and in all circumstances we are by ourselves… The mind is its own place… Words are uttered, but fail to enlighten. The things and events to which the symbols refer belong to mutually exclusive realms of experience."
(Aldous Huxley)
“The writer softens the character of his egoistic day-dreams by altering and disguising it, and he bribes us by the purely formal—that is, aesthetic…. to make possible the release of still greater pleasure arising from deeper psychical sources… It may even be that not a little of this effect is due to the writer's enabling us thenceforward to enjoy our own day-dreams without self-reproach or shame.”
(Sigmund Freud, The Creative Writer and Daydreaming)
The piece Minsk 2 is torn down and rebuilt, like the real Minsk, my hometown and capital of Belarus that suffered a similar fate. A new autonomous space emerges from the destruction and construction: a “hybrid city,” a song, which collects fragments of memories and selfish reveries with alterations and omissions. A space of day-dreams without self-reproach or shame.
The ancient Greeks had two words, or rather two concepts, to describe time: Chronos and Kairos. And while chronology is the perception of time as an uninterrupted sequence, i.e. quantifiable and measurable, Kairos pertains to the quality, the criticality of time and a given moment. One example can be found in the etymological sources of the word: in archery, Kairos is the exact moment to release an arrow. An “interdisciplinary” moment that amasses countless factors and elements into one sharp and precise quality. The focus on quality rather than quantity is one of the distinct characteristics of HaZira Performance Art Arena. An ongoing and persevering daily practice that engenders and circulates a multifaceted and powerful body of knowledge.
London based artist Anat Ben-David returns to HaZira after 18 years of a rich and diverse career, with her international work Kairos, in a special production for the first Autumn Cult. (This is also a symbolical return to HaZira, since already in its first incarnation as HaBama Theatre was the breeding ground and port from which she embarked on an outstanding career). Alongside Anat Ben-David, Autumn Cult will feature premieres and commissioned pieces by Nava Frenkel, Ana Wild, Anna Sgan-Cohen, and Dana Tkatch — four alumni of the School of Visual Theatre. They will be joined by works of Rotem Volk, Maya Ofir Magnat, and Daniella Meroz, young, sharp, and curious artists who were the guests of HaZira residency program throughout 2017. The program is HaZira’s “laboratory,” which wishes to give young artists an opportunity to hone and elaborate their artistic research questions and methods in an individual and group process.
These performance pieces extend an invitation to an encounter with a unique creative universe that examines the profound connection between work methods, creative processes, and the performance they engender. For each of the participating artists, a “project” is a critical moment in an ongoing process of a tumultuous, powerful, and uncompromising artistic exploration. Each of them practices in her works the quality of the interdisciplinary moment in which body, sound, image, thought, and action come together, fuse and entwine with one another. Over the four days of Autumn Cult their works will build – together and separately – a consciousness continuum, a voice of a generation, and a tenacious and subversive artistic community that does not stop exploring, searching, and building new forms of performance and stage expression.
The first Autumn Cult takes place as the 2017-2018 season opening of HaZira Performance Art Arena, and is a joint and historical celebration with our natural partners: the School of Visual Theatre and Zik Group. This moment allows us to blur the lines and hierarchies between emerging and established artists, students and teachers, viewers and professionals. The Autumn Cult and Twilight Performance wish to put the wind in the sails towards another new journey on stormy waters.
Amit Drori
As an Israeli artist who lives and works in Europe, the engagement with questions concerning my identity is daily and poignant. Aleph is a solo piece created while I was living in Brussels and after completing my master’s degree in Amsterdam, in an attempt to broaden the language and terminology with which I explore questions of personal identity. To find not answers to these questions but rather a way to ask them.
The Hebrew language is my mother-tongue thus it is carried with native ease by my voice and my body. It is a habitat in which I roam around. I look at the Hebrew landscape — which is a mother-tongue, and history. And tradition, and weather, and culture, and identity — and try to figure out my own identity, and its relation to time and space.
Through the figure of an anonymous girl, I move away from the autobiographical and embark on a journey in my own language. As a trickster, I can challenge the emergence of language — Aleph — with its own “weapon”: language itself.
A sequence in time, an event that leads to an event in which there is awareness of another concurrent event. Both engender an emotion that will lead to a conclusion, the conclusion overrides the opinion, but nevertheless it is an amazingly accidental sequence, like stepping out of the house without a final destination, when you walk and change, from man to wound, to conversation, to hour, to blindness, to sweet, to right, from where your flavor was tasted, to a significant story that did happen but is recounted by someone who was not there and cannot remember most of the details, and the light was turned off half way through, and when it was turned back on the warehouse is empty and smells like the color orange.
Nostalgia, the yearning for a lost time and space, has become a global cultural and political phenomenon in the last century. The enticing idealisation of nostalgic memories is often deliberately regressive, and can be a part of a dangerous nationalistic discourse. At the same time, it can also be prospective, creative, and critical.
In this piece, I wish to understand nostalgia as an awakening towards a future goal. A pendulum movement between what exists, what existed, and what can exist. In it, I revisit old images that I formulated in the past and are still important to me, and transform their shape. The longing for what has passed, what is seen as complete and finished, wishes to see the past as an event that holds a potential, possibilities, and developments.
Macbeth, the protagonist of Shakespeare’s tragic play, is faced with a prophesy that one day he will become king. This information leads him on a perilous path of a thirst for power and betrayal. His wife, Lady Macbeth, senses her husband’s internal conflict between the desire to fulfill the prophesy and gain power, and the fear and anxiety of the violence and cruelty involved in its active pursuit. She is worried that Macbeth is “too human” and will avoid taking the “short path.” Lady Macbeth wishes to cancel her sexuality and her husband’s sexuality so that they could both become “men” in order to assassin the current king, crown Macbeth, and live their destiny.
Sarah Siddons, one of the greatest British tragic actresses of the 18th century, became synonymous with Lady Macbeth. It was said on Siddons and her stage presence that she was able to transcend her own sexuality and her portrayal of Lady Macbeth allowed her to stretch her skin and push gender boundaries of her time. The ghosts of Lady Macbeth as an archetypical character and Sarah Siddons as an iconic actress continue to hover and stretch my own skin.
Bad Hair Day is an invitation to look at a ceremony of human hair creatures. A fantastic performance of surreal figures that live in the world of hair.
“There is no home, there is only the journey home.”
(Sigmund Freud)
The performance was created as part of HaZira Performance Arts Arena residency program, and our desire to explore the theme of “homecoming.” As daughters of divorced parents, constantly moving from city to city and from one home to another, it seems that we are doomed to eternal wandering and a constant feeling of split. The notion of “home” became the object of yearning and longing, both mystical and tangible, which is always there, and also there, and there, and there.
And so, we decided to embark on a journey home. Each of us packed her belongings, stories, and memories from the old home, with the intention of coming here for the “residency,” and turning the space of HaZira Performance Arts Arena into a “perfect home.” This is where we slept, where we ate, went to the bathroom, spied after the neighbors. This is where we explored what home means for us, trying to create a room of our own in the public space.
Kairos brings together performers from the worlds of opera, performance art, experimental music, and the avant-garde fashion house Boudicca with electronic and experimental compositions in a series of choreographic sequences. Inspired by Sadie Plant’s book Zeroes and Ones (1997), the show extends and elaborates the hybrid practice that Ben-David had dubbed OperArt. OperArt develops “sonic images” shaped through dynamic combinations of sound, word, and movement. Since OperArt essentially relates to systems that coexist with one another, the composition of the artwork invariably changes with its circumstances.
Kairos in collaboration with HaZira Performance Arts Arena, at Zik Group Studio, will be an exclusive reiteration that draws on its site, time, circumstances, history, and participants.
Hazita
Flamenco artist, dancer, teacher, and choreographer. Graduate of the School of Visual Theatre and David Yellin College (Jerusalem, Israel). Winner of the 2011 Israeli flamenco competition hosted by the Adi Foundation and recipient of the 2013 Jerusalem Foundation Prize. Since 2008, Yermiyahu has been dividing her time between Israel and Spain, where she trained with renowned teacher/dancers, such as: Alicia Márques, Ursula López, Juana Amaya, Andrés Marín, and more. Yermiyahu is an independent artist working between performance, traditional and contemporary flamenco, dance, and visual theatre. She has performed and collaborated with leading artists, flamenco dancers, and musicians in Israel and abroad.
Ana Wild (1987, Tel Aviv) is a performance maker and performer. She graduated from DasArts / Master of Theatre in Amsterdam (2015) and the School of Visual Theatre in Jerusalem (2011). Wild’s creative processes are forms of learning. As an ״amateur scholar,״ she explores the heart-touching side of knowledge, and the space of performance as a place and time of understanding. Her latest works include Aleph (Greylight Projects, Brussels, 2016); La Traviata and the Beginning of the End (Dansmakers, Amsterdam, 2015); Home Mountain (DanceArts, Amsterdam, 2014), The IJ Shells (DanceArts, 2014), Middle Eastern Time Machine (DanceArts, 2015) and more. As a co-maker and performer, she has worked with Julian Hetzel, Tino Sehgal, Ant Hampton, Danae Theodoridou, Lior Lerman and Jonathan Shochet, and Leila Anderson, among others. She is currently learning French and History of Art and works on an atlas of images that elucidate the world. In 2018 she will stay at the Schloss Solitude artist residency program in Stuttgart, Germany. She works in Brussels, Geneva, and Tel Aviv.
Born in Tel Aviv. Singer, actress, and multidisciplinary creator. She studied at Body Theatre School and the School of Visual Theatre. She debuted her solo piece Make Way in Room Dances Festival and presented performance pieces at Barbur Gallery, Jerusalem and the 2016 Performance Conference. Alongside her stage work, she has an extensive experience in acting for screen. She received the best actor award for her role in Shira Florentin’s student film A Meaningful Job produced by Sam Spiegel Film School.
Born in 1987. In his work, Aharonson underscores the importance of spending time together as a site of finding materials for the stage. Aharonson presented his works on stages in Israel and abroad, including L1dancefest (Budapest), New Dance, Machol Shalem, Summerworks (Canada), Joe Good Annex (San Francisco), NW Performance Works (Portland), Theaterszene Europa (Germany), Tiger Dublin Fringe, DOK11, and Ponderosa. Asaf is a graduate of Vertigo Dance group workshop. He earned a bachelor’s degree in dance and choreography from Hzt school, Berlin (2015), and studied aerial acrobatics with Keren Enkaoua.
Ariel Cohen
Born in 1983. Ariel Cohen is a stage artist, visual artist, and a performer. He danced with Batsheva Dance Company in 2013-2014, and created stage works for Intimadance and Curtain Up. He studied at Rakefet Levi Design School and designed the costumes for Sadeh21 and The Hole by Ohad Naharin, and served as an assistant to Naharin for the piece Last Work.
Shani Granot
Born 1978. A dancer and a dance-maker. Granot danced with Batsheva Youth Ensemble. In 2002 she graduated from P.A.R.T.S (Brussels), and in 2003 started working with Cristian Duarte (Brazil) and Peter Fol (Belgium). Since her return to Israel in 2008, she has worked with Arkadi Zaides, Daniel Landau, Sharon Zuckerman Weiser, Maya Weinberg, and Yasmeen Godder. Since 2012, she has been collaborating with Nevo Romano.
Nevo Romano
Born in 1982. An artist, performer, and teacher. Studied at the Buchmann–Mehta School of Music, and graduated from the School of Visual Theatre. Romano has worked and collaborated with Liat Dror and Nir Ben Gal, Nava Frenkel, Daniel Landau, Shani Granot and Ariel Cohen. He is a lecturer in the Department of Dance at Sapir College.
Born in 1985. Performance artist and director. Graduate of the School of Visual Theatre, participating in Musrara Experimental Music Program and HaZira Residency.
Recipient of the Arik Sidey Institute Award, the Israel Music Institute. Her Works include: Abima, A-Genre Festival, Tmuna Theatre, (2017); Like Home at the No Place Like Home exhibition opening, The Israel Museum; Like Really, the 5th International SVT Performance Conference, Manofim Shuttle Lines, Manofim Art Festival (2016). Member of Tzena Ensemble, a group of Jerusalem-based artists working under the auspices of HaZira, which created the show Good Night Talipot (2016). Curated and produced multidisciplinary art events in Jerusalem.
Galit Criden (1986) is a choreographer and movement teacher. She holds a B.Ed and is a graduate of the School of Visual Theatre. Co-founded New Material: a theater, performance, and plastic art group. She performed on various stages in Israel and abroad. Her works include: Observation Room, Walk, Work Big, Singular, and Body Speak. She is an artist in residence at Fest'Factory Bat Yam 2016-2018, and received the 2017 Yehoshua Rabinovich Foundation Award for Dance.
I came to Israel from Kiev, Ukraine. The daughter of two painters. I studied ballet at Bat Dor, physical theatre in Sandciel Circus School, and at the School of Visual Theatre, Jerusalem. I have been performing as a dancer and an actress since I was 5 years old, and work with performance, directing, costume design, and space design with lighting, sound, and material.
Graduated from Bezalel with distinction. Her student film, My Memorial Day (2016), was screened in Israeli and international festivals. This year she co-created and directed with Eden Kalif music videos for Tatran and Noga Erez. In her works, she searches for the intersection of dance and animation, exploring the territory of movement and dance animation and examining the possibilities introduced by the body via the screen. Lives and works in Jerusalem.
May Zarhy and Michal Oppenheim have been working together since 2015. In their works, the two examine the space between dance and music, between the materiality of voice and the materiality of movement, and the subsequent relationships that emerge from them. Their collaborative pieces, Yes (Tel Aviv Museum of art, 2015) and The VOICES (Inbal Theater, 2017) were debuted at Diver Festival.
May Zarhy (choreographer) graduated from the Rotterdam Dance Academy and from the ex.e.r.ce international choreography program in Montpellier France, directed by Mathilde Monnier and Xavier Le Roy. She assisted William Forsythe in the creation of 3 Atmospheric Studies. Co-founded of MAMAZA choreography collective in Germany. A lecturer at the School of Visual Theatre, Kelim Choreography Program, and more.
Michal Oppenheim (vocal artist) works in a performative field that centers around vocal exploration. Her musical pieces and sound performances have been featured in different festivals, including the Israel Festival, Musrara Mix, Loving Art. Making Art., and more. She performed in Noam Enbar and Yonatan Levy’s music-theatre performances (The General and the Sea and A Gibberish Kantata) and in the productions of Ariel Efraim Ashbel. Zarjy co-founded Givol Choir – an experimental vocal ensemble. She is a lecturer at Tel Aviv University, Jerusalem Academy of Music and Dance, and more.
In her performance pieces, Kineret Max wishes to expand the understanding of live art and the potential it holds. Her physical and strenuous performances wish to go beyond the present body or the expression of the self, and present performance as a process and an intersection of action and relationships in a situation that the audience and the artist share. She creates mini-events that have a semiotic – linguistic and human – logic of their own. I Am Here – Body, Self, Time are the central elements of her works, which are usually performed only once. She has exhibited in many festivals and galleries around the world. Max studied at the School of Visual Theatre and is currently completing Bezalel MFA program. She is a lecturer in the New Media Department in Musrara, member of Miklat 209 ensemble and from the coming year, will lead the annual performance program.
A couple in creation and life. Working individually and together - formerly as dancers and currently as choreographers.
The two have been collaborating officially since 2010, and co-created: Net Work 2010, Trance.parent 2011, Renaissance 2013, and Program 12 2016. For the past 4 years they have been teaching the program Expressing. Hannan is a social activist and founded Café Shapira and People Pizza in Tel Aviv Shapira neighborhood. Maya has started her tenure as director of the School of Visual Theatre this year.
Multi-disciplinary artist, performer, and artistic consultant, who creates visual theatre and performance art. Born in 1984 in Kibbutz Barkai and a graduate of the School of Visual Theatre. Member of Pandora Collective. In her works, she creates alternative links between the human and the material-formal world. Her creative processes are based on actively settling into a specific location – physical or emotional. And so, the artistic action exists right from the very beginning of the creative process, and the performance itself is a personal and singular situation generated in the presence of the audience in real-time. Her works offer new expressions of relationships that shift between distance, separation, and alienation to poignant intimacy, examining their relation to the space of the action. Her works touch upon both autobiographical and social realms and raise questions of belonging and detachment.
A theater and performance artist, graduate of the School of Visual Theatre. His works include: You Seem a Little Troubled, One More Living Room, Invisible or Visible, Feeling Something, Feelings.
Maya Ofir Magnet
Performance artist who combines live performance and technology to explore digital intimacy. Member of multimedia artist Danial Landau’s group Oh Man Oh Machine. Holds a bachelor’s degree in Theater Directing from Kibbutzim College and a master’s degree in Performance Research from Tel Aviv University. Her works have been featured in festivals and theaters (Tzavta, Tmuna Festival, Print Screen Festival, fomo Festival, and more). She also gave talks about digital performance, sexuality, and technology in Israel and abroad. She moved house 5 times. Lives and works in Tel Aviv.
Rotem Volk
Rotem Volk is a multidisciplinary theatre and performance maker, director, performer, and teacher. She holds a B.Ed. in Theatre Directing and Teaching from Kibbutzim College and has graduated with distinction the Performance Making MA course in Goldsmiths College, London. In the recent years, she has been featured as an independent artist in different festivals and platforms including Clipa Aduma, and Talooy Bamakom, the International Festival of Puppet Theater, Library at Night, Sale – Art in the Supermarket, and more. Many of her works are site-specific tours of the public space, and audience-participation shows that combine various mediums. She moved house 17 times. Lives and works in Tel Aviv.
Musician, singing teacher, and multidisciplinary artist. Ben David specializes in Mediaeval vocal music and different traditions of folk and religious music, which she incorporates into performance pieces that form a dialogue between the ancient and the contemporary.
Artist, born in Jerusalem 1979. Graduated from the School of Visual Theatre in Jerusalem and holds a BA in Psychology and Jewish Philosophy. Since 2013, she has been teaching directing at SVT, and performance at the Jerusalem Academy of Dance, Research, and Kelim. Co-author of the book Place for Action: Contemporary Choreography in Theory and Practice (Asia Publishers, 2014) that examines the articulation of models of creative processes. Frenkel served as artistic director of the art and dance festival Between Heaven and Earth, and accompanies the works of the choreographers who were featured in it. She directed Beita Art Tours project, and was artistic director of the Voice of the Word Festival 2011. Her recent works include: Learning Songs, Israel Festival, 2016; Whale at Sea, Nahum Gutman Museum, 2015; and Palm Tree, produced by the Culture Administration, 2014.
Contemporary theatre artist, lives and works in Tel Aviv and Abirim in the Galilee. In her works, Sandel examines the concept of self portrait and family portrait, delineating on stage a visual thought using the body, space, object, and time. She graduated from the School of Visual Theatre in 2013. In 2013-2015 she was assistant director and show manager in Miklat 209 directed by Tamar Raban. Since 2013 she has been working in collaboration with the artists Matar Pershits and Galit Criden in New Material group. She has performed her pieces on various stages in Israel and abroad, including performance conferences, Teatro Comandini, Italy, the Voice of the Word, and Warehouse 2. In 2016 she was chosen as the young artist of Socìetas Raffaello Sanzio directed by Claudia and Romeo Castellucci.
Anat Ben-David is an artist, musician, and member of the performance group Chicks on Speed. After graduating from the School of Visual Theatre in 1994, she produced multidisciplinary pieces as the resident artist at HaBama Theatre (now HaZira) under the direction of Mario Kotliar. In 2003, she graduated with distinction from Goldsmiths College graduate program, and in 2015 she received a Ph.D. from Kingston University, London. Ben-David’s performances and collaborations were featured in various international venues including Tate Britain, London; ICA, London; MoMA, New York; Migros Museum, Zurich; Borealis Festival, Bergen; Beursschouwburg, Brussels; MoMAK, Kyoto; Montermeso, Vitoria; Mosak, and ZKM, Karlsruhe.
Choreographer and dancer, graduate of the School of Visual Theatre and the Jerusalem Academy of Music and Dance. She has created dance, performance, and video dance pieces that were performed, among others, at A-Genre, Intimadance, Herzliya Biennale of Art, and Jerusalem Film Festival Experimental Cinema Competition.
Born in 1983. Lives and works in Tel Aviv. Independent choreographer who creates works for the stage. Her works examine the living body in in the spaces between dance, performance, and visual art. She performed on different stages in Israel and abroad, including: Curtain Up, Intimadance, Operation #2, Diver, Machol Shalem, L1dancefest (Budapest), New Dance at Zira, Room Dances Festival. Graduated the School of Visual Theatre (2007), and Kelim Choreography Program (2011). She holds a bachelor’s degree and teaching certificate from the movement and dance program at Kibbuzim College (2014). In 2014, she created a piece for Kibbutzim College Dance Theatre Group and in 2016 she created a piece with a group of students from the movement department of music and dance at Jerusalem Academy of Music and Dance. She is a lecturer at the School of Visual Theatre and other programs.
Hazira — Performance Art Arena
Board members: Azriel Levi (Chairman), Shmulik Cohen, Nava Disenchick, Gilad Lavian, Yael Shefer, Yaron Adel, Yoel Makov, Hanna Ben Haim Yulzari, Nadim Sheiban, Itzik Herman
General and Artistic Director: Amit Drori
Program Director: Sagit Tzur
Technical Director: Daniel Gamlieli
Marketing and advertising: Noa Gamliel
Producer: Karin Lederman
Sales: Michal Polak
Technical team: Boaz Beja Gilad, Eynav Rosolio,
Amir Meir
Lighting Design Autumn Cult: Omer Sheizaf
Design Sound Autumn Cult: Yaron Mohar
School of Visual Theatre
Members of the Board of Directors: Yaron Sadan (Chairperson), Atcha Bar, Dani Danieli, Sigalit Gelfand, Arik Naor, Orli On, Eitan Ronel, Moshe Weingarten, Zvika Yochanan
School Director: Maya Levy
Operating Director: Sigal Nataf
Academic Coordinator: Merav Pelleg
Production Coordinator: Matar Pershitz
Technical Team: Ihab Faroukh, Moaz Faroukh
Maintenance: Mahmud Faroukh
Supporters: Ministry of Culture and Sport - Culture administration; The Jerusalem Municipality - Culture & Art Division; The Jerusalem Foundation; Mifal Ha’Pais - Israel Lottery Council For Culture & Arts; The Jerusalem Development Authority.
Acknowledgments
Thank you to the supporting institutions, to our partners: HaZira and Amit Drori, HaMifal team, the YMCA team.
to the production team, to Dr. Daphna Ben-Shaul, Menahem Goldenberg, Maya Shimony. Big thanks to SVT’s board of directors, to Hila Oren the conference founder, to SVT’s teachers and staff and students.
Special thanks to Anya Shani and the staff of YMCA International
To HaZira crew, to the Board of Directors and General Assembly, to Guy Biran, the outgoing director, for many years of productive role at HaZira.
Special thanks to the artist community, creators, technicians, and students who allow us clarity and twilight.
The Conference Team
Conference curator: Guy Gutman
Artistic committee: Dr. Daphna Ben-Shaul, Guy Gutman, Maya Levy, Amit Drori
Production managers: Lidia Maletin, Marco Milevski
Producers: Meshi Olinki, Nir Ish Shalom
Lighting Design: Reinhard Suave Satoֿ
Technical crew: Ihab Faroukh, Moaz Faroukh, Reinhard Suave Sato
Program Editor: Menahem Goldenberg
Concept and Graphic Design: Yoav Perry, Ayal Zakin
Coded by: Tamir Pomerantz
Portrait Photography and Documentation: Amit Mann
English Translation: Maya Shimony
