Katzenstein Uri
Born 1951, studied at the San Francisco Art Institute in the late 1970s, and after receiving his MFA moved to New York City where he lived and worked throughout the eighties. His early performance work was regularly presented at such legendary performance venues as The Kitchen, No-Se-No, 8BC and Danceteria. His work in sculpture, video and installation have been exhibited in museums such as The Russian State Museum (St. Petersburg), The Chelsea Art Museum (New York), Kunsthalle Dusseldorf, The Israel Museum, Duke University Museum of Art (North Carolina) tate Modern, London. MOCA, Los Angeles U.S.A . Katzenstein participated in the Sao Paulo Biennial (1991), the Venice Biennial (2001), the Buenos Aires Bienal (first prize, 2002), and the 9th Istanbul Biennial (2005). His performance work was shown in theatres and galleries in London, Berlin, San Francisco, Cardiff (Wales), Santiago de Compostela (Spain), New York, and Tel Aviv. Uri Katzenstein is based in Tel Aviv and teaches at the University of Haifa, Department of Fine Art

selected exhibitions:
2010 Trembling Time, Tate Modern London, GB (group) / 2009 Who am I and what is my name, new video works from ill. MOCA, LA, US (group) / 2007 Hope Machines, Gallery G.D.K, Berlin DE (solo), Hope Machines, (full version+robot) C.C.A Tel Aviv, IL (solo) / 2004 Vehicles, Trace Gallery, Cardiff, Wells, GB (solo) / 2003 [pro]cmotp, HOME (video installation and talk), The Russian Museum, San Petersburg, RU (group) / 2001 Home, Venice Biennial, the Israeli pavilion, IT (solo) / Ciclo de performances, Centro Galego de Arte, Santiago de Compostela, ES (group) / 2000 Families, Duke University, North Carolina, US (solo) / The family of Brothers, Givon Gallery, Tel Aviv, IL (solo)

The Ocean Does Not Respond to us
The Transcendence of Time in Katzenstein's Video Work
Hope Machines (Maszyna Nadziei)

Only hope allows us to progress – confidence is the actual driving force of fractals and the true impetus of the future. And it requires rituals that continually maintain a non-apocalyptic zone. An essential one is the engagement with communication and networking, because the greatest danger that looms upon humankind is atomization, isolation from the systematic vital energies of the universe. Those who do not desire to communicate are usually depressive, full of apocalyptic delusions, thus not fit for the future. Yet, one should not confuse singularity with individuality, as it does not exist as such, rather it manifests itself via an alienated self-awareness in relation to others, proving to be a projection of one's own conscious - namely as isolation among the masses, that thereby nevertheless has to be.
A sense of individuality can only exists within socialization, within a network, and not in a vacuum on a lonely planet. Optimism and faith in one's plan are necessary in order to perpetuate one's originality. This is not solely communicated via one's desired appropriate means, rather is modified and defended accordingly to the conditions that arise. /Emma Braslavsky/

Hope Machines, 2007-2009, DVD technika mieszana / DVD mixed media
Fot.: Micki Benjamini

Curated by Noam Braslavsky