When I first began to combine live performance and visual
art, I was concerned with the limitations presented as a default
of working within these two different media. Initially, I used video
and then digital image manipulation to try and merge the two together.
I used my image in a virtual digital space splitting my body, duplicating
and working with the parts and voice as materials for my work.
Later on I started working with music creating my own lyrics and
music and performing as a singer.
Towards the end of my MA Fine art studies at Goldsmiths College,
2002, I focused on the relation between the fascist leader and the
pop star as dominant performers in front of a desiring audience
of supporters/fans. Both creating, through their performance, a
focal force that draws people in, in a totalitarian, collective
mode. Media, pop culture and fashion in the case of the pop star,
and images of power and control behind the fascist leader help to
create this mythical figure that is channelling visions of hope
and releases the individual from their every day life into a fantastic
I was drawn specifically to the WWII period because at the time
of my studies I was commissioned to create work for the 'Wonderyears'
exhibition in Berlin, focused on third generation Israeli artists'
view on Nazism and the Holocaust.
Being a performance artist, I decided to take on the pop star role
by becoming one, by joining friends who play in contemporary electro
punk rock acts- Chicks On Speed and Peaches - on a tour of the US
(the 'Electroclash' tour, summer 2002).
I recorded a repertoire of songs that I could perform as a singer.
I took old songs from the WWII period (by Marlene Dietrich, Bertold
Brecht and Kurt Weil), created new melodies and sang them over existing
backing instrumental tracks by synth-pop, music concrete and electrronica
artists such as Visage, Pierre Henry, and Mu-sic (Mike Paradinas).
My brother, the artist Yoav Ben-David, wrote some tracks for me
I got more and more involved in music after my graduation and started
performing with 'Popaganda Live', all over Europe supporting Chicks
On Speed whom I've been working with, as a visuals person at the
time. I performed in a number of festivals, galleries and venues.
I also created the 'Hugo Boss provocation' which was a political
prank and intervention, where I infiltrated the firm's annual event
as a formally booked performer after the firm refused to assist
on my 'Wonderyears' project relating to their business collaborations
with the Nazis. I addressed this during my performance at the party
and caused some furor within the company (details in separate document).
I consider myself not a musician per se, but an artist that uses
music and live performance (art) as a main arena of action, mediation
and communication. I find performance to be the most relevant, engaging
and immediate form of art, as nothing can replace the moment that
takes place when a live performer is in action. A moment that can
not be bought, packaged or traded, only shared
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