Sigalit Landau

Alon Segev Gallery, Tel Aviv
Acquired from the above by the present owner

Tel Aviv Museum of Art, The Helena Rubinstein Pavilion, The Endless Solution, 2005, p. 1-8, illustrated in color in the exhibition catalogue
Marfa, Texas, Ballroom Marfa, Treading Water, 2005
Ludwigsburg, Germany, Kunstverein Ludwigsburg, Loose your Identity, 2005, p. 10 and 15, illustrated in color in the exhibition catalogue
Duisburg, Germany, Lehmbruck Museum, Designing Truth, 2006, p. 55, illustrated in color in the exhibition catalogue
Milan, Palazzo Reale, Israele Arte e Vita, 1906-2006, 2007, p. 55, illustrated in color in the exhibition catalogue
New York, Museum of Modern Art, Projects 87: Sigalit Landau, 2008
Paris, Kamel Mennour Gallery, Salt Sails + Sugar Knots, 2008
Rome, Complesso del Vittoriano, As Is, Israeli Contemporary Art, 2008, p. 117, illustrated in color in the exhibition catalogue and on the cover
Moscow, Winzavod Art Center, The Calm Before the Storm, 2010
Lucerne, Museum of Art Lucerne, Signs of Life, 2010, p. 61 and 63, illustrated in color in the exhibition catalogue and on the cover
Yokohama, Yokohama Triennale, 2011, p. 146, illustrated in color in the exhibition catalogue
Paris, Musee Nissim de Camondo, Echos, 2011
Miami, Bass Museum of Art, Unnatural, 2012, p. 33, illustrated in color in the exhibition catalogue
Moscow, Solyanka State Gallery, Infinite Games, 2012
Florence, Strozzina, Center for Contemporary Culture at Palazzo Strozzi, Unstable Territory, Borders and Identity in Contemporary Art, 2013, p. 102 and 103, illustrated in color in the exhibition catalogue
Budapest, Mucsarnok Museum, Margin, 2013

 

Gabriele Horn, Ruth Ronen (eds.), Sigalit Landau, Israel, 2007, p. 280-281, illustrated in color
Yigal Zalmona, 100 Years of Israeli Art, 2010, p.500-501, illustrated in color
Suzanne Landau Ed., Contemporary Art in the Israel Museum, Jerusalem, 2010, p.148, illustrated in color

Other examples of this edition are included in the collections of The Museum of Modern Art, New York and the Israel Museum, Jerusalem.

"A cord of 250 meters penetrates 500 watermelons forming a 6 meter spiral raft in the saturated salt waters of the Dead Sea. The spiral turns as a whirlpool in reverse from its normal direction. I am floating locked inside the layers of the spiral, between the center and the periphery of the sweet raft. I am reaching out against the direction of the turning raft towards a small area where the fruit is wounded, red, and exposed, like me, to the sting of the salt. The salt solution of the Dead Sea enables everything to float. The spiral gradually becomes a thin green line abandoning the frame. "DeadSee" was first exhibited as part of "The Endless Solution" installation at the Helena Rubinstein pavilion, the Tel Aviv Museum of Art, January-May 2005. The film was shot in mid August 2004 in the area of Sodom south of Masada." Sigalit Landau (sigalitlandau.com)

Perhaps the most well-known work from The Endless Solution, Sigalit Landau’s most important exhibition/installation thus far, DeadSee is also recognized as the work occupying the center floor of the Israeli gallery at the Israel Museum, Jerusalem. Ilan Wizgan discusses The Endless Solution and the importance of this video work: “Her most comprehensive installation to date… took place in 2005 at the Tel-Aviv Museum of Art under the charged titled The Endless Solution – both the title and contents of which implicitly and explicitly alluded to the Jewish Holocaust. Landau created a remote hostile living habitat, peopled by a Sisyphean community occupied with overcoming and surviving some undisclosed disaster, and making a new start. She transformed the huge space to simulate another place (the environs of the Dead Sea) and an indefinable period… The video work included in this exhibition was created for that charged installation and symbolizes infinity, the breaking of a knot, the desalination of the Dead Sea through the sweetness of watermelons, perhaps even the triumph of Good over Evil. Directly referencing Robert Smithson’s Spiral Jetty (1970), installed in Utah’s Salt Lake and signifying the superimposition of Culture onto a natural setting (a piece which was later finally consumed back by Nature), it also brings to mind a lesser known piece by Dganit Berest, an Israeli artist of a generation earlier. In a work exhibited in 1975, Berest had drawn a spiral against the backdrop of a photograph, with a quote from American artist Bruce Nauman which can also be read as a motto for Landau’s work: ‘The true artist helps the world by revealing mystic truths.’” (Ilan Wizgan in Territotial Bodies Contemporary Sculpture from Israel, Beelden aan Zee Museum, The Hague, The Netherlands, 2008, p. 96).