Sigalit Landau

Ein Harod, Mishkan Le'Omanut, Museum of Art, Hebrew Work: The Disregarded Gaze in the Canon of Israeli Art, 1998

KW Institute for Contemporary Art, Berlin, Sigalit Landau, p. 102, a different variation of this edition is illustrated in color in the exhibition catalogue

Sculpture: One very small rub on sculpture’s left knee. There is some yellow dirt on the white of the right “thigh” of the sculpture. Carpet: Threads on some of the edges are slightly loose. Sign: Slightly dirty, The sign is signed Sigalit Landau 1997 on the reverse Overall this work is in very good condition.
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Born in Israel in 1969, Sigalit Landau graduated from the Bezalel Academy of Art and Design in Jerusalem in 1994 spending one semester of her fourth year at Cooper Union, New York. Considered one of the most promising young Israeli artists, Landau has already exhibited in several one-person and group exhibitions in Israel and abroad including a solo exhibition at the Tel Aviv Museum in 2004 and the Museum of Modern Art, New York in 2008.  Gideon Ofrat refers to another variation of the work offered here and notes the connection between Sigalit Landau's early work to the artist's preoccupation with the critical-political aspect of the perception of food prominent throughout her oeuvre until today. "Art as a system of swallowing, digestion, and secretion: this is the basic principle underlying Landau's work. A sculpture of a woman/squat toilet she created in 1999... focused on the affinity between body and waste... - whereas in an earlier video from 1995 we witnessed the artist thrown into a garbage truck and transported from the Israel Museum to a refuse dump in East Jerusalem... The three classified 'German' recycling containers installed outside the exhibition The Endless Solution completed the gigantic concrete pipes (Floodways, 2005) which channeled the human silt onto the threshold of the Tel Aviv Museum's Helena Rubinstein Pavilion, transforming the allegorical 'sea of salt' into a mighty digestive system. Here salt has already presented itself as a decomposing substance transforming the remnants of the organic into inorganic, the living into the dead: the Dead Sea. It is the presence of power systems at the root of the digestive system that is responsible for the critical-political aspect of Landau's perception of food..." (Gideon Ofrat, "Salt and Sugar" in Galerie Horn, Ruth Ronen (Eds.), Sigalit Landau, Berlin, 2007, p. 104). In an interview with the artist printed in the 1998 exhibition catalogue of "Hebrew Work" The Disregarded Gaze in the Canon of Israeli Art in which this work was included, the artist discusses her work and summarizes: "I know that I will not change political reality but, maybe, I will succeed in creating a different experience, opposed to the aesthetic, seemingly 'sensitive' experience of the Israeli bourgeoisie." (Sigalit Landau quoted in Galia Bar Or, "Pictures From Work Life", "Hebrew Work" The Disregarded Gaze in the Canon of Israeli Art, Mishkan Le'Omanut, Museum of Art, Ein Harod, 1998, p. 109).