TUNNELING I: performance, 30 min, 2008-2010, in collaboration with Surabhi Saraf.

The visual narrative of TUNNELING I is defined through the process of cutting through the wall of the performance space from inside to outside, the different layers within the building wall slowly exposed until the outer, nighttime street is reached.
This "tunnel" image is constructed in a live fashion through use of a green-screen setup, a specially constructed table and custom software which memorizes the appearance of each layer of material as it’s being cut.
The audio narrative, performed by Surbahi Saraf, consists of a multitude of voices singing verses, which are at first multiplied by many thousands, and slowly decimate while the wall is exposed until only one, the real voice of the audio performer, is left when the street outside is finally reached. An additional layer of domestic cooking sounds is intertwined with the voices, juxtaposed with the sounds generated by the cutting of the wall-layers.
The piece is highly site-sensitive, as a different “tunnel” is constructed according to the materials and contexts present at the location of the performance. Previous performances took place in Chicago, USA and in Bologna, Italy.

TUNNELING II aka "Minhur": Installation and durational performances at MOBY, Israel, 2009, in collaboration with Daniel Davidovsky.

This version of Tunneling was preceded by several weeks of gathering construction materials from the area around the site, then processing these into uniform plates to be placed in storage racks in the installation space. During the three-day event itself, performances took place at 30 minute intervals, for several hours per day. During each session several plates were cut up one at a time and captured into custom software to create the multi layered, looping virtual holes that slowly accumulated all around the space. Each hole was the product of a live 30 minute session incorporating both audio and video performers. The outlines for the cuts were derived from aerial photos of surrounding structures. The images seen at the end of the tunnel of each hole vary, from live video feeds from the spaces behind the walls to thermal scans of the space itself, to docu-footage of figures and scenes from around the site.

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