Issue #8


  2. All Our Departed / El Male Rachamim אל מלא רחמים

  3. Jewish Ugliness

  4. Plastered Cistern That Leaks A Drop

  5. A Ghostly Seam

  6. Searching for Spanier Arbeit

  7. Reading Me

  8. Palestine, Antisemitism, and Germany's "Peaceful Crusade"

  9. Holding Onto Nothing to See How Long Nothing Lasts

  10. Hallucinatory Ethnicization

  11. lady of the sutures

  12. Anti-Racism as Procedure

  13. A Revolution of Silence

  14. Bodiless At The Bimah

Holding Onto Nothing to See How Long Nothing Lasts

Elana Katz

Holding onto Nothing to See How Long Nothing Lasts, Installation: Elana Katz, 2020. Video (4:18mins): Elana Katz in cooperation with Dario Srbic, 2020

This work takes place in the House for the End of the World. The space is in a transitory state; an unrenovated 3 room flat in Berlin, Kreuzberg. Formerly a private apartment, its current use as an art space is temporary, and its future thereafter remains to be seen.

An installation in House for the End of the World is situated in what is believed to have once been a bedroom. A wooden platform base that references a bed, a pillow made of an undefined white powder, and a fan above that subtly, nearly imperceptibly, blows the powder away. In the corresponding video, the artist is creating her pillow to perfection, redefining circumstances of “comfort,” allowing the pillow to blow away at will, and, likewise, to transfer onto her skin and the space surrounding. A continued sweeping, scraping, resting, building the surface.  

This action is captured by Dario Srbic in a series of “live” photographs. The photographs are then assembled — unedited — resulting in this video. The relationship between Katz as the subject and the never-seen camera operator is markedly undefined. The fragmented interaction creates an uncertainty of the dynamics of power, intimacy, and control that are active in the room. Holding onto Nothing to See How Long Nothing Lasts, in both its parts, examines symbols of home, comfort, and attachment — all in relation to the dysfunctional.

[Image description: A photograph of the site-specific installation in an unrenovated room with a tall window in the background, a metal wire fan and exposed cords attached to the right wall, and a black cord plugged into an outlet on the lower part of the left wall. Light shines through the closed window onto a white rectangular wooden platform on the floor that references a bed. A pillow made of an undefined white powder is at the head of the bed. The fan is positioned to subtly blow the powder away.]

House for the End of the World [HEW] is a contemporary art project space by Elana Katz, realized in cooperation with Gallery KWADRAT. HEW’s activities are reactionary, creative, and critical experimentation, including site-specific installations, actions, and discourse — both in the context of public events and the intimacy of studio work. Founded at Falckensteinstraße 24 in Berlin Kreuzberg, HEW as a conceptual platform operates in a transitory manner. This House will thus regularly occupy different spaces, working site-specifically at each location. Launched in March 2020 at the beginning of Berlin’s first COVID-19 lock-down, HEW functions, in the context of the current pandemic, as a dystopian sanctuary created by artists in surreal and uncertain times. More info here and Instagram.

Elana Katz is a conceptual artist working primarily in the medium of performance art. Katz’s work confronts cultural conventions, critically examines the complexity that lies within contradictions, and thus aims to provoke experiences of unlearning the assumed. Katz has exhibited/ performed at the Royal Museum of Fine Arts of Belgium (2011), Diehl CUBE, Berlin (2013), P.P.O.W. Gallery, New York (2013), DNA Berlin (2015), ROCKELMANN&, Berlin (2016 -19), IEEB 7th of Bucharest (2017), Gallery KWADRAT, Berlin (2017-20), DFBRL8R Performance Art Gallery, Chicago (2019), and the Museum of Sundsvall, Sweden (2019-20), where her work has been recently acquired into the museum’s permanent collection. She earned a Meisterschülerin title from the Berlin University of the Arts, from the class of Professor Katharina Sieverding. In 2020, in cooperation with Gallery KWADRAT, she founded the Berlin contemporary art space House for the End of the World, where she curates a program focused on site-specificity. Katz is represented by Gallery KWADRAT (2017-present), and has been based in Berlin since 2008.

Dario Srbic, born in the former Yugoslavia, lives in Berlin and London. Dario holds an MA in Photography from Central Saint Martins and is currently studying for a practice-led PhD at Royal College of Art supervised by Professor Johnny Golding. His work is situated across the fields of artificial intelligence, philosophy, performance, and digital sculpture. His practice examines the embodiment of desire and ethics into artificial intelligence and expresses it in algorithmically generated sculptures and performances. Dario’s work has been exhibited in Science Museum – London 2019, Angewandte Innovation Lab – Vienna 2019, Austrian Cultural Forum – Berlin 2019, The Victoria & Albert Museum’s Digital Futures – London 2018, Assembly Point and Asylum – London 2018, MAK Museum – Vienna 2017, and Seen Fifteen Gallery – London 2016 amongst others. Dario’s work has been published in numerous publications, his MA thesis published in Journal of Philosophy of Photography, and his video work is held in Ursula Blickle Videoarchive.