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Autobiographical Tale

A Joint Project with Guy Aon

The piece was presented at a group exhibit about politics and poetics by the twins at Hamburg and Krakow.

Subterranean and subconscious journey between two salty realms: Wieliczka salt mines and the Dead Sea. Guy's grandfather, Itzik and his twin sister, Magda, who were "Mengele's twins", on a poetic journey on a donkey.

What connects these two salt reservoirs? What story line is stretched between the two points? what kind of layered historical and cultural intersections emerge between them?


The story is told as a fairy tale using puppet theater and paper cut outs. The journey takes place entirely in the frame of a 19th century engraving of Wieliczka salt mines. Within the caved spaces of the engraving fantastic landscapes are being gaped. Historical and imaginary images are Interwoven leading us to tell our personal story between these two intense coordinates.

The invitation to the exhibition in Hamburg
Curator: Avi Lubin
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An early version of SODOM as a puppet theater.

At the play, Eshet Lot (Lot’s wife) meets the iconic figure of the Palestinian artists Naji al-Ali. Handale is a child wearing rags and barefoot, a refugee from the Israeli-Arab War of 48’; he’s the eternal witness, always facing the destruction, refusing to close his eyes.

It’s the encounter with the child that churns Eshet Lot’s heart and stomach. The image of the cinema inside the cave from Sodom of the 1930s intersects with that of Naji al-Ali’s cinema, with the title The End, implying the victims of the war and occupation.

I, Eshet Lot, a nameless Hebrew woman, choose to look directly at the burning city, defying God’s decree.

Poem no.1 – The Girl

Paper puppets, objects and miniatures theater.

A girl trying to escape the home she lives in, away from the dark and dangerous, she’s sucked into her world of paper puppets, towards the magical and dreamy. She meets the clown, the accordion twins and the “headless puppet whose arm had fallen off last year…”

Will she be able to get away?


The Bald soprano – Exercise

Actor-artist: Vovy Shleimovich

The famous scene from Eugène Ionesco’s absurd play on Bobby Watson, changes its name to that of the actor, from Bobby to Woovy, and opens with the line: “Woovy Shleimovich is dead.” The scene offers a queer identity liquidity and dissociative-traumatic shattering. From the very beginning, my dramatological inclination was to convert the dialogue between Mr. and Mrs. Smith to a monologue, an internally, conflicted and un-cohesive system whose fragments are overflowing. A world that reflects as if through a broken mirror; an excessive proliferation of the same thing. This doesn’t mean richness and versatility but rather a feverish and stifling repetitiveness of the same thing; a clear loneliness of the identity being bounced around the narrow space, the body as a prison, consciousness as a prison.


A Performance

Hair Trimming in a Field of clown's hats.

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