Aluminium and glass door, walls, steel doors, chains and locks, sound shakers
Dimensions Variable; 4:18 min looped "Master of Puppets" by Metallica (re-edited instrumental version); Sound Editing: Binya Reches.
The Resurrection of Dead Masters was commissioned by the Israeli Center for Digital Art, Holon.
The work was further installed as an offsite project at 340 Donald Street, Winnipeg, Canada: a collaboration of the Faculty of Architecture - University of Manitoba, Plug In ICA and Border Crossings Magazine. Co-curated by Neil Minuk and Janique Vigier. Made Possible with the support of Artis and the Israeli Ministry of Foreign Affairs. Documentation: Matthew Swatzky (Winnipeg), Shachar Freddy Kislev (Holon)
Read Ran Kasmi Ilan's text:
At first glance, everything seems normal about “The Resurrection of Dead Masters”. Just an entrance to any generic store downtown. But then, thrash-metal music is heard from inside, suggesting that it is playing at an intense volume in the space the lies beyond the doors. And suddenly strong knocks come from behind the inner door, shaking the chains holding it, as if someone (or something) is desperately trying to break out, crying for help. The vibrating heavy shakes are in perfect sync with the music playing, an instrumental “Master of Puppets” by Metallica, a classic tune by the popular 90’s band. The shakes actually replace the singing. The physical effect is tremendous. We realize that, more than we wish to see what is taking place inside, whatever is inside wishes to get out, threatening to break open the door, and flood the space in which we stand. There is no possibility to get in, the doors are locked, and the simple question “What is this?” remains unanswered.
Alona Rodeh’s The Resurrection of Dead Masters continues her investigation of the interrelations between sculpting and the perception of space on the one hand, and music and sound on the other—at times complementing each other, at other times seeking to break each other apart.