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Sigalit Landau

Siren (Claws), 2016

Sand & bonding materials
63 × 141 7/10 × 5 9/10 in
160 × 360 × 15 cm
This is a unique work.
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About the work
Gallery Har-El, Printers & Publishers
Tel Aviv
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6 parts joined together

6 parts joined together

Signature
Hand signd Certificate
Sigalit Landau
Israeli, b. 1969
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Sigalit Landau merges a range of personal and national concerns in her site-specific installations, performances, and videos. Although Landau calls herself a “bridge maker”—connecting East and West, past and present—her complex works tend to focus on circularity and often reference her native Israel. Barbed Hula (2000) is a video of the artist, who is nude on an beach in Israel, performing a dance with a barbed-wire hula hoop, while in DeadSee (2005), she floats amidst an unraveling coil of watermelons, turning over each fruit to reveal its blood-red flesh. Her works often fuse performance and installation, improvisation and explicit reference to the excesses of consumerism. In Thread Waxing Space Installation (2001), for example, she occupied a gallery space for three weeks, filling it with spun sugar that she would wade through, replenish, and unwittingly send home with visitors as it stuck to their clothing

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share
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Save
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share
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About the work
Gallery Har-El, Printers & Publishers
Tel Aviv
Follow

6 parts joined together

6 parts joined together

Signature
Hand signd Certificate
Sigalit Landau
Israeli, b. 1969
Follow

Sigalit Landau merges a range of personal and national concerns in her site-specific installations, performances, and videos. Although Landau calls herself a “bridge maker”—connecting East and West, past and present—her complex works tend to focus on circularity and often reference her native Israel. Barbed Hula (2000) is a video of the artist, who is nude on an beach in Israel, performing a dance with a barbed-wire hula hoop, while in DeadSee (2005), she floats amidst an unraveling coil of watermelons, turning over each fruit to reveal its blood-red flesh. Her works often fuse performance and installation, improvisation and explicit reference to the excesses of consumerism. In Thread Waxing Space Installation (2001), for example, she occupied a gallery space for three weeks, filling it with spun sugar that she would wade through, replenish, and unwittingly send home with visitors as it stuck to their clothing

Sigalit Landau

Siren (Claws), 2016

Sand & bonding materials
63 × 141 7/10 × 5 9/10 in
160 × 360 × 15 cm
This is a unique work.
Contact For Price
Have a question? Read our FAQ.
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Other works from Gallery Har-El, Printers & Publishers
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