The SOUND CLOUD is a speaker with a light emitting glass. The speaker works with a sound module attached to the glass surface. The module vibrates the glass surface and creates high quality sound. The glass panel consists of 3 layers of glass, which makes the sound even deeper. A glass fitted in the middle is a light emitting glass called “LED in Glass”, invented by QUANTUM GLASS. LED bars are fitted around the edge of the glass to direct light beams through the edge of the extra clear glass sheet, which is refracted out of the front side by white enamel screen print. I tried to create a thin layer of cloud using millions of tiny dots of light. It visually should float in the air. So, it gradually disappears near the ground.

The sound is designed by the French based Sound designer, Gling-Glang. My request to the sound designer was that visitors should be able to feel the sculptural construction of the music by walking through the glass panels. They should be able to hear the sound move from one to another, jumping back and forth and echoing from the panels.Furthermore, when all the connected speakers
work simultaneously the sound wave hit is an incredible feeling.


lejandro González Novoa’s loudspeakers that look like washbasins are his bit towards water conservation. The loudspeaker on the left buzzes out constant spurt of water, while the other with unending falling drops. Through his sound installation and sound performances, he plans to educate people not to waste water – not even a drop!

French sound and visual artist Pascal Broccolichi creates installations that envision sound as a vocabulary of forms, but whose focus is on listening. In his piece Raccorama (top four photos) Broccolichi takes mica dust and places it in identical heaps, following a specific pattern which is then emphasized by iodide spotlights. Loudspeakers play a sound piece simulating the patterns of sound flux in motion.

In a more recent work, and variation on the Raccorama theme, Broccolichi creates similar mica dust heaps, this time placing a loudspeaker in the center of each creating a crater. This installation titled Table d’harmonie (bottom photo), also plays a sound piece simulating sound flux in motion.

Leviathan, a site specific sculptural installation stands in the center of Dana Yoeli’s new solo show. The installation features two deeply different sculptural languages and the relationship between them: monumental sculpture on one hand and realistic miniature sculpture of decorative objects on the other.

Leviathan an installation based on a wo-side system, the front of which is a massive, concrete, rocky relief with a formalistic aesthetic characteristic of memorial sites as well as architectural – decorative elements identified with kibbutz architecture of dinning rooms and assembly halls.

The front is anchored to a substantial wall that divides the gallery into two spaces. Positioned behind the concrete relief, the stark white wall functions as the demarcation line in which an arrangement of pedestals on top of which miniature porcelain-like sculptures in
differing stages of finish are placed.

The miniatures are in keeping with the heritage of traditional European porcelain
craftsmanship. They feature a rich repertoire of nature’s devastation, wild
beasts and dismembered bodies. It is a collection of horrifying tales of cruelty in
which man is confronted and defeated by nature’s untamed power.

On the formalistic level, the installation embodies the tension between
monumental sculpture which refers to the collective memory, ideology and solidarity that are imprinted on the viewer but which, in fact are a “cover story” for the local historical narrative and foreign sculptural language of decadent and enigmatic decorative objects, filled with lust and passion.

The subject of the local aesthetic of the material arises: the austere roughness and coarseness of the exposed concrete typical of local 1960’s pragmatic Israeli architecture represents the cold and reserved side of the piece. When contrasted with the rich, overflowing sensuality of the porcelain figurines, the confrontation invokes sensory vertigo.

The refined technique and the aesthetic nature of the miniatures disrupt moral
judgment and facilitate the presentation of these obscene and grotesque scenes.
Exotic motifs such as peacocks, elephant tusks, and African figures call up a yearning for unattainable beauty and sharpen the gap between that beauty and horror. It is a voyeuristic peek across the forbidden boundaries of fantasy.

Leviathan leads the viewer through a sculptural system comprised of two
contradictory languages while both grapple with the same extremes: death,
bereavement and commemoration.